Savage Hulk #5

Savage Hulk #5

            Compared to other comics we have read in class, what stands out to me in this comic issue are the interruptions created in the story from paratextuality. For example, the back of the comic is an excerpt from a different Marvel comic. This means that the reader cannot flip to the back of the comic to get additional information as one can with other comics such as Trillium. In addition, the advertisements break the story line and the reader’s attention. I would compare the annoyance felt from this to the annoyance felt from being drawn into a movie storyline only to have it cut by a television commercial. Although advertisements hold some importance in comic books, I feel that they cause more harm than good, which may lead readers to choose graphic novels as opposed to series comics.

            Intertextuality is seen in this issue of “Savage Hulk” with the introduction of Doctor Strange. This use of intertextuality with another Marvel character can either intrigue or confuse a reader. Previous knowledge and exposure to Doctor Strange would intrigue a reader and push the story further. However, Doctor Strange is not as popular of a character as Iron Man or Captain America, so fewer readers may have this previous knowledge. The reader then must rely on Doctor Strange’s words, wardrobe, superhero abilities, and actions to create this knowledge in order to incorporate intertextuality into their reading experience.

            The use of different word balloon shapes and lettering is important in this issue. This is seen when Master Ebbin and his “people” are talking. As seen in the image below, the creators used curvy, shaky word balloons and a non-bolded font for these creatures. This is important to the story because as Gene Kannenberg explained in “Graphic Text, Graphic Context: Interpreting Custom Fonts and Hands in Contemporary Comics”, the use of text and its appearance guide the reader’s understanding of the narrative. Perhaps the change in text and word balloons is meant to imply these creatures' inferiority to humans. Another possibility is that it may suggest an extreme change in the way they sound. As David Carrier explained in “The Speech Balloon: Or the Problem of Representing Other Minds”, speech balloons are meant to be heard, not just read. This difference in word balloons causes the inner voice of the reader to change every time one of these creatures is talking.

            Finally, paneling and page layout also play a critical role in this comic issue. Considering the example below, no definite panels are seen. Instead, the times and pictures are separated by colour. The beige background of present time collides with a light blue of a future time and a darker blue of a closer future time. This page layout helps the reader understand that all of these memories are active in Doctor Strange’s mind as he is in present time recalling the events to the court audience. If definite panels were used, the story may become confusing as readers may misuse closure and think these events are happening currently in a different location.

As can be seen, several techniques are present in this comic issue.

-         -  Stephanie Taylor

Works Cited

Carrier, David. “The Speech Balloon: Or, the Problem of Representing Other Minds.” The      Aesthetics of Comics. University Park, PA: Pennsylvania State University Press, 2000.          27-45. 

Kannenberg, Gene. “Graphic Text, Graphic Context: Interpreting Custom Fonts and Hands in       Contemporary Comics.” Illuminating Letters: Typography and Literacy Interpretation.       Eds. Paul C. Gutjahr and Megan L. Benton. Amherst: University of Massachusetts Press,    2001. 165-192.