INTERVIEW: Writer Jonathan Chance talks THE BOY WHO CONQUERED A MOUNTAIN
By Zack Quaintance — Publisher Heavy Metal of late has been making a big market out push and putting out some really interesting new comics, one of those being The Boy Who Conquered a Mountain. It’s a great book that’s being billed as an “action fantasy Kaiju story.’ Recently, we had a chance to sit down and chat with the book’s writer (via email, of course) Jonathan Chance about the new comic.
Check out our conversation below!
INTERVIEW: Jonathan Chance
ZACK QUAINTANCE: So, full disclosure: this book had me at 'action fantasy Kaiju story' in its description. What inspired you to bring all of those elements together into one story?
JONATHAN CHANCE: Haha! I'm glad it did. I could see there was going to be more interest for Kaiju stories. At first, I wasn't immediately compelled to write about it because there has been a lot of modern-day Kaiju stories already told. It's been done. And there’s films. But what if I changed the time completely? And if I was going to write this story, it needed to be different. Something I'd really enjoy writing, because if I'm bored writing it, you'll be bored reading it! And that would show. It also shows if you put your passion into your story. So I always try to do a unique take on things, or something that hasn't been seen a certain way. Setting it in this time period, the 1600s, made it fun to write and to storyboard a more cinematic tale. And fantasy offers so much to delve into.
ZACK: Kind of building on that, I was also curious what makes 1600s Japan the ideal setting for this story?
JONATHAN: For so many reasons! I wanted to take the reader to Japan in a truly historic period of time in its culture and to see how they lived. To show that graceful, spiritual, innocent time, and then when you contrast the setting to something diabolical and absolutely devastating in a chain of events, I think that equals TNT. We fear for the innocent here and we truly wonder who can defeat this unknown enemy, and equally we're dumbfounded to exactly what happened in the beginning. The readers know just a little more than our lead character, Kaleb.
Initially, I wanted to write something out of my comfort zone and make it a fantasy action piece set hundreds of years ago in specifically Japan, which instantly sets it apart from everything else Kaiju. A fantastical beast from centuries past, a time of magic, could combine with an element of real-life history—samurai, ninja, apothecaries—and it actually becomes believable because they existed. And Samurai in particular rode into battle dressed as beasts to intimidate the enemy. In this story, they have to defeat a real beast! Their armour and weaponry were extensions of the self and here we fear for them more so because they're just children, which gives it an air of innocence, but they're forced to grow up and to fight.
ZACK: I absolutely love Emilio Utrera's artwork in the previews of this comic. What made Emilio the right choice for your collaborator on The Boy Who Conquered a Mountain?
JONATHAN: He did a spectacular job! When I work with different artists, I can see what work or area they'd be fantastic for. I'm a lifelong comic fan but I also did three years of art college before I got into filmmaking. I think it gave me an eye for finding talents. My friend and fellow comic creator, John Crowther, worked with him before me and I inquired about him. Then the first thing Emi and I did was an eerily pre-COVID, post-apocalyptic short called "Now All is Silver Blue" with characters in masks awaiting a family in a snowstorm as other elements close in. Funny enough, it's out this Wednesday August 4th with Antarctic Press' Horror Comics #6, along with another story I wrote.
After we did that, I was super impressed with what he did, but also how in sync we were. If I can describe a story in words and vaguely sketch it, Emi can bring it to life. I write and do storyboards to further express shots/angles for panels and details of characters and their positions in the story, and he transfers that to the comic mastery and we keep building upon it. Originally, The Boy Who Conquered a Mountain was going to be shorter, but once I realized where this was headed and what it was becoming, I wanted it to naturally take its course and I'm so happy it did. And I was happy that Emilio was on board so we could create this journey together. This wasn't supposed to be a small story—it was an epic story. If there's a story about a mountain, it can't be small!
ZACK: How was your working relationship with Emilio? I was especially taken by the color choices on these pages, and I was wondering how the process went in making those choices?
JONATHAN: We wanted to start off colorful, when the moments were sunnier, in the bustling village in the beginning. And then later, after some sadder moments, the colorful Samurai suits create a sense of adventure, hope even, and combined with the kids humor, it really lightened the mood and balance, just before it’s torn apart again.
Even when the town is scorched and burnt, twilight conveys the majesty of the stars, which are seen beautifully glittering in the sky, and for a moment there's enchantment in a child's eyes. Even in the most troubling, haunting times we wanted to show that beauty and that hope somehow still exists. And then, as the story builds, I wanted to show the continuity; the worn and dirty suits, personalities frayed, and growing conflict—Emi illustrates this and all parts of the story beautifully. As they proceed closer to the mountain, the darker it gets, and so does their fates—the misty mountain is a vision and I wanted to see the coldness of their breath! We are feeling this all with them—and it adds another element toward the atmosphere of the book.
ZACK: Finally, I think the intuition that something dreadful is coming is something we can all relate to as of late. How did real life inspire the themes of catastrophe in this comic?
JONATHAN: We fear for our kids. Sometimes every day. Maybe we're all in fear a bit currently. But I dedicated this book to my Son because he lost his mother a few years ago. One day, he may have to climb this mountain, just as I did. As much as it's a fantasy, it has many realistic qualities throughout the book. And it's allegorical to what I was going through at the time. This impossible mountain to climb and what's inside it; the psychological threat for me was like the physical threat in this story. To not be consumed by pain, grief. And he has to leave all that was behind him and become what he is supposed to be: a warrior. We all can relate to his journey. He is a survivor, and he's alive another day, and here Kaleb has to inspire others to be as strong as they can be—even if they don't feel that they are, or look it. The former quashed becomes the ultimate role model; the underdog that becomes a strong leader.
Here in his raw grief and pain, spiritually we're on the crux of this journey with him. I wanted to show that. The warriors on one knee to a fallen soldier was a direct response to last year's injustice of a life taken, George Floyd’s, and the many other lives taken, and my full support for BLM. These are emotional times for people right now. This book is an escape, but also a cathartic experience. We often sidebar very real important factors of a story, or characters in development, to "get to the point.” Here we're with him on this journey all the way. And right now, it’s relatable for many. It's hard to be strong, to deal with the loss of family, and to face fears, doubt and this newfound weight of leadership. But carry on we will. This is a powerful story of transformation. One we're all capable of undertaking. And happiness waits for all who can be brave and are good of heart.
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Zack Quaintance is a tech reporter by day and freelance writer by night/weekend. He Tweets compulsively about storytelling and comics as Comics Bookcase.
