Bryan Q. Miller is a writer who can, and has throughout his career, take an idea that may not seem like a surefire win, and doing something really special with it. And, for many comics fans, hearing about a Space Mountain original graphic novel is cause for little more than a snarky comment. But Miller, along with his creative partner on this project, Kelley Jones (“Sandman,” “Batman”), has crafted a really fun, totally engrossing book that takes place in a world very few would identify as the standard Disney universe.
For those unaware, Space Mountain is the famous roller-coaster at Walt Disney World and Disney Land, in its “Tomorrowland” section. Miller and Jones use the title of the ride as a jumping off point, and create a book that is reminiscent of both swashbuckling adventure stories and futuristic sci-fi wonkiness. I had the chance to talk to Miller about the book, and why exactly comic fans should take a shot on the book, which came out last week via Disney Press.
This property is obviously one without a rich history in comics – what about writing a Space Mountain story appealed to you originally?
Bryan Q. Miller: The clean slate, more than anything else. It was a chance to use the toys from the sandbox without having to tell a pre-delineated narrative. Pirates of the Caribbean did kind of the same thing, but there were still winks and nods to “scenes” from the ride. Same with Haunted Mansion. “Space Mountain” was a chance to take the same kind of big leap with a piece of the park, minus having to line up with anything at all (aside from the look and feel of Tomorrowland). It was very freeing.
How much did you want to stay true to whatever mythology was already around Space Mountain – was it important to you that, for Disney fans who know the backstory of many of their rides, there was something familiar there? Or, were you able to approach it in a totally new way?
BQM: We were given cart blanche to responsibly repurpose aspects of that area of the parks as needed. Imagineering kept a watchful eye over the whole affair as quality control in that aspect, and it worked out wonderfully.
Kelley Jones did some absolutely incredible work on this book – what was the working relationship like? Because of the nature of a licensed property, was there a need to have a very detailed script for Kelley to work off of, or could he improvise a little more?
BQM: Kelley’s amazing. With Book 1 (we’re working on Book 2 now!), I had the entire script done (minus a few added scenes when our page count got upped later in production) before Kelley put pencil to paper. So he really got a chance to drink the whole story in and put all the pieces together in his head before he started layouts. As for detail, I tend to do very shot-specfic scripts (which I know some artists loathe). Mike, our editor, and I talked to Kelley about my part of the process before we went to script, and he was totally fine it. The part where he really got to cut loose was with non-pre-defined designs, like the Cygnus Colony, the evil Warships, etc. And, of course, with Queen Paradox and her castle. The level of detail in those first few pages (aside from scripting that the castle was built from things like submarines, etc.) is all from Kelley’s head.
Your work is always accessible to people of all levels of fandom – was it liberating to have a topic that everyone is familiar with but very few have a real relationship with to work on? I doubt you will get many “you did Space Mountain wrong” emails.
BQM: Absolutely liberating, yes. Though not without a small bit of pressure. This is Disney Publishing’s first long-form foray into IP as Graphic Novel. We did our best to respect the spirit of Tomorrowland and the experience of those rides.
You also tend to work a lot with teenage characters – what is the appeal to working within a character’s formative years?
BQM: They aren’t done baking yet. The dough is still mushy in all the right places. They can make mistakes, and learn from them. Plus, life experiences we elders take for granted are brand new for younger characters. The trap writers can easily fall into is writing children as adults. You’re missing all of the good stuff when you do that.
This book harkens back to a lot of the sci-fi stories I loved as a kid – did you grow up reading/watching lots of science fiction? If so, what work influenced you the most, both then and now?
BQM: At the end of the day (and one supposes the subconscious has a lot to do with this), Space Mountain wound up being a love child between Disney’s The Black Hole and the Witch Mountain movies. Which I may or may have not have lived with as a child. As well as a host of the post-Goonies “kids vs. the world” gold rush in the early-to-mid 80’s. That whole era is a major part of my writing DNA, period, so it certainly came in handy when this project emerged from the churning depths of Mike Siglain’s mind.
This book is quite funny; there are a number of jokes that only older readers will get, but will pass right over our kids’ heads. Was there a deliberate attempt to put some things for the older generation in this decidedly all ages book?
BQM: It’s a long-standing tradition in not only the early-80’s stuff that my imagination is forged from, but further back into older Disney and Looney Tunes cartoons. Why not put a little bit in for everyone? That way, you’re neither talking down to or up to a given audience. Projects like this help everyone meet in the middle.
This book reminded me quite a bit of your creator owned book, “Earthward.” Beyond being about young people in space, did you feel a kinship between the two works?
BQM: How can I not? “Earthward” had been in play long before “Space Mountain” was born, however. So it was easy to make sure the two never wound up being too similar, given their shared subject matter. With “Space Mountain”, you’ve got kids swept into an adult world along WITH adults. With “Earthward”, there’s more of a Party of Five, kids forced into adult roles vibe.
The end of the book teases a second volume – can you give us any more details as to what we can expect from the further adventures of Stella, Tommy and the rest?
BQM: Even though we’re hard at work on both art and script on Book 2, it’s a bit early to give anything away, so all I can really say is: More adventure. More peril. More Time Travel. New villains. And a T-Rex.
Finally, to the cynics out there who will ask, “why would I want to read a book based on a roller coaster?,” sell them on the book. Why should they give this a shot?
BQM: How long does a roller coaster last? Two minutes? How long do you wait in line? 90? This is a 168 page graphic novel adventure story that you can start reading, quite literally, as soon as you get your hands on it. And then, after you read it, you can let your kid take a crack at it. Or you can read it together!
With the book itself, the whole team (including Rob Leigh on letters and Hifi on colors) has put together a love letter to the kinds of comics and movies that simply don’t get made anymore – lots of adventure, optimism and heroism. With a ton of heart. If you miss those, on either side of that book/movie fence, “Space Mountain” is for you.
