Applying the requisite attributes outlined by Peter Coogan, namely being on a mission, having special powers, a secret identity and distinctive dress, Dragon Hurtor does not qualify as a superhero.
Coogan, P. (2009) “The Definition of the Superhero” in Heer. J. and Worcester, K. (eds.) A Comics Studies Reader (Jackson: University Press of Mississippi)
He is more of a warrior, and a renegade one at that. (Heer and Worcester 2009: 77) In the three-panel page shown above, a dragon attacks the village and its inhabitants scorching
Hutchings, B. (1996) Dragon Hurtor #1 (Wanniassa, ACT: http://hutcho.wordpress.com/)
both with its fiery breath and depositing a giant pile of excrement in the main street. Hutchings represents the villagers in simple, cartoon style, all wild-eyed and open-mouthed with beads of sweat
Lee, S. and Buscema, J. (1978) How to Draw Comics the Marvel Way (New York: Simon And Schuster)
on their faces, running in panic towards the front of the panel, facing and confronting the reader for whom it is intended to be more amusing than frightening. On the other hand, the architecture and the excrement are given much more detail and pen-
McCloud, S. (1994) Understanding Comics: The Invisible Art (New York: Kitchen Sink/ Harper Perennial)
manship. This seems to fit McCloud’s description of the combination of cartoon-style characters overlaid over a more realistically-rendered background (McCloud 1994: 42-43). The dropping plops in spectacular fashion with little droplets flying out toward the edges of the panel and onto the reader before settling with the effects of gravity into a stinking, sinking mound amidst the burning buildings. Here the action-hero comics narrative is turned on its head with humorous intent in its celebration of the scatological content. In terms of comics storytelling the layout of this page almost fits Ivan Brunetti’s notion of the democratic grid:
152
153
By “democratic,” I am referring to a grid of panels that are all exactly the same size, from which we can infer their equal weight and value in the “grand scheme” of the page. We can also think of this type of grid as an “invisible template”; it does not call immediate attention to itself, but invites us to an unimpeded narrative flow, acting as a living “calendar” of events, sweeping or microscopic. The democratic grid need not be uninteresting or undistinguished; with a spirited approach, it can be the apotheosis of elegance, simplicity and sophistication. (Brunetti 2007: 51) Brunetti’s approach to cartooning provides a more appropriate stage for Hutchings’ visual antics than any by Marvel. In this comic Hutchings delivers humour and silliness rather than awesome heroics.
references Brunetti, I. (2007) Cartooning: Philosophy and Practice, A Supplement to Comic Art, Number 9(Oakland, CA: Buenaventura Press)
The Comics Grid. Year One. 2011–2012
The Comics Grid. Year One. 2011–2012