Ubby’s Underdogs: Heroes Beginnings (Book 2)

Introductory activities

This graphic novel is the sequel to Ubby’s Underdogs: The Legend of the Phoenix Dragon. A Reading Australia teaching resource based on this text is available for those who would like to know some of the pre-story to Heroes Beginnings.

Pearling

Explain to students that the setting for Ubby’s Underdogs is the town of Broome in north-west Australia. Locate Broome on a map of Australia.

Tell students that the main industry in Broome in the late 19th century through to the mid-20th century was pearling. Teachers can direct students to do some background research on the pearling industry from a variety of sources. In particular, Mike McCarthy’s 1994 article ‘Before Broome‘ will help them to learn something about the history of this industry (be aware that, as this article is more than 30 years old, some of the terminology is outdated and may not be culturally appropriate). Emphasise the role played by coastal Aboriginal peoples as divers.

Show students the NITV video about pearl luggers. Explain that hard hat diving had replaced earlier ways of collecting shell by the early to mid-twentieth century (read a description of this technique from the National Museum of Australia).

Some important characters

This graphic novel contains a large cast of characters. The following thumbnail sketches should help students identify some of the more important characters as they appear in the text.

Yawuru people

The author and artist Brenton E. McKenna has Aboriginal and Malay heritage. Ubby is based on his grandmother.

McKenna identifies as a Yawuru man. Yawuru people are the Traditional Custodians of the Broome region. Students should visit the Nyamba Buru Yawuru website to learn more about this language group. They can also visit the Yawuru Language website to read about the six Yawuru seasons.

Students can then use the AIATSIS Map of Indigenous Australia or Gambay First Languages Map to locate Yawuru Country. The Gambay map includes several audio and video recordings; you might like to play some of these for students. You can also invite them to identify their own local language group on one of the maps. How near or far are they from Yawuru Country?

Race riots

Ubby’s father Delomarr was killed in the last race riot while trying to bring peace to the community. Research these riots involving different groups in Broome in 1907, 1914 and 1920. NOTE: The linked article is fairly dense so students will need some guidance to unpack it.

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A note on visual literacy

Students live in a multi-modal world in which meaning is communicated through a variety of modes. Obviously in a graphic novel the two primary modes are print (words on the page) and images (the pictures). For each of these modes students need a working ‘grammar’ to explore how the creator has used words and images to:

• construct the world of the text
• set up a relationship between the text and the reader/viewer
• set up relationships between characters within the text
• compose the elements of the text into a cohesive whole

Students will need a metalanguage for analysing visual images (PDF, 140KB) to unpack and make meaning of the graphic novel. Initially you will have to model the use of this metalanguage by unpacking selected panels using an explicit instruction approach. This sample analysis (PDF, 114KB) can be a starting point for students’ own work.

Looking at the cover

The front cover of any book provides an important introduction to the text. McKenna designed his own cover. No doubt he hoped that it would attract readers and also provide some information about the content of the book itself.

Using the metalanguage for thinking about images, students are to complete a visual literacy three-level guide (PDF, 141KB) as a way of thinking about and recording what they learn from the front cover of Ubby’s Underdogs: Heroes Beginnings.

Tracking the rhythm of a sequence of panels

In addition to being able to ‘read’ the construction of each image in a graphic novel the viewer also needs to be able to understand how the artist has created a cohesive flow of images in a sequence of panels. This is similar to the way in which the director of a film plans the series of shots in a discrete scene from a film.

Choose a sequence of images from the text and ask students to discuss how the artist has planned the movement from one image to the next. See the model (PDF, 247KB) as an example of how this movement can be described.

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Activities while reading

Introduce students to the elements that make up a graphic novel, including panels, margins, frames, images, verbiage in speech and thought balloons, and motion lines (vectors). Use the metalanguage for analysing visual images to unpack a selected panel from Heroes Beginnings.

Find out more about the elements of graphic novels by reading the ‘Thinking through the format’ section (p. 6) from Scholastic’s Guide to Using Graphic Novels. Then choose a discrete sequence of panels from the book and discuss how each element contributes to the overall meaning of the sequence.

Take another sequence of panels from the book. Ask students to read just the words in the speech balloons and explain what they have learned. Next, ask students to look at the images and think about what they learn from those. Finally ask students to think about how the words and the images work together:

• Do the images simply illustrate the information given in the verbiage?
• Do they offer different information?
• Do the words and images work well together to create a cohesive text?

Ask students to reflect on how they read the information in each panel. Different readers will pursue different reading paths (e.g. some will read the words first, then the images, then perhaps return to the words). Have students compare how they tend to read this book with a partner.

A graphic novel will have a particular rhythm created by the juxtaposition of static images (conceptual processes) with action images (narrative processes). As students read Heroes Beginnings, ask them to identify static images and action images, and explain how their placement in relation to each other creates a sense of movement or rhythm (this is similar to what the director of a film will try to achieve). Ask students whether this effect is achieved more by words or images.

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Personal response on reading the text

Students have already done some research on Broome and the history of the pearling industry. Now ask what they understand about the term ‘multiculturalism’. Ask them what idea of multiculturalism they have gained from their earlier research. Discuss how multiculturalism manifests in contemporary Australia and how it relates to their own lives.

The subtitle of the first volume of Ubby’s Underdogs is The Legend of the Phoenix Dragon. This is based on Chinese mythology. Ask students if they know any other stories from Chinese history, legend and/or mythology. If so, invite them to share with the rest of the class.

Now show students the first 01:50 of Episode 1 of the SBS documentary series First Australians. Display once again the AIATSIS map of Indigenous Australia, which illustrates how the pre-European continent was occupied by hundreds of different language groups. Ask students if they know any Dreaming stories from these groups. If so, invite them to share with the rest of the class. You can access some of these stories in Reading Australia’s teaching resource for The Rainbow Serpent (see More Resources > Dreaming > Other Dreaming Stories).

Explain that McKenna has melded elements from Chinese mythology and Aboriginal storytelling as a starting point for his graphic novel.

Before students begin to read Ubby’s Underdogs: Heroes Beginnings in earnest, they will need to know something of the story so far. You might provide a quick summary of the first volume or show them the 2011 book trailer. Be prepared to flesh out some of the gaps in this trailer.

Ask students to keep a reading journal to reflect upon and make observations about their responses to this second volume of Ubby’s Underdogs. Have them share their reflections and observations in small group discussions.

Students will probably have many questions as they read this graphic novel. They should list these on the left-hand side of a journal page and answer them on the right-hand side as the story unfolds. This will help students to understand the complex storylines of the text.

After revising the story so far, ask students to predict what Heroes Beginnings might be about. Remind them of what they learned from Looking at the Cover earlier. Has this helped them to make their predictions?

Although Ubby’s Underdogs has a strong Australian flavour, it shares many of the features of contemporary fantasy fiction. As students read the graphic novel, ask them to identify and list the familiar fantasy elements (e.g. the presence of good and evil wizards, sorcerers, shamans and demons returned from the dead, and sacred weapons that select those worthy of them). Ask students if they are familiar with the story of Excalibur. Is this similar to the three sacred Nanren weapons that select Gabe, Finn and Sel? Also talk about the fantasy elements that seem unique to this graphic novel.

Read with students ‘The Council of Magic’, which is an appendix at the end of the book. This is reminiscent of the Ministry of Magic in the Harry Potter books. Both the Council and the Ministry signal the existence of a secret magic world that exists alongside the ‘normal world’. Discuss with students the appeal of such a world for younger teen readers. What might be the advantages of a council that provides sanctuary for mythical beings from around the globe?

Point out that this book also references superhero comics (characters with super powers like Superman and Wonder Woman) and other popular culture texts such as Star Wars (is Uning, the Master of the Hede, a version of Darth Vader?) Is Sai Fong with her firecasting and fighting skills a superhero? Is Ubby? Discuss with students whether these intertextual references make Ubby’s Underdogs more appealing to them.

Young teens will be familiar with the concept of a ‘gang’. This word does have pejorative connotations, so it may be more appropriate to ask students if they belong to a special group of friends rather than to a gang. Invite them to share the interests and other elements that they think bind this group together. Discuss whether they think that the world beyond their group is hostile or benign.

Point out that some writers for young people represent adult characters as unsympathetic (e.g. Isobel Carmody’s The Gathering*), or the adult world as terrifying (e.g. The Chocolate War by Robert Cormier). Have students discuss whether McKenna has done this in Ubby’s Underdogs.

* Reading Australia title

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Outline of key elements of the text

Plot

Making sense of the subplots

Students may find it difficult on a first reading to make sense of the various subplots operating in the text.

Divide the class into small groups and allocate each group one of the following subplots:

• The Underdogs rescue Medinga the ape.
• Yupman Poe searches for Sai Fong, who has disappeared after being bitten by a juvenile King Brown snake in the first book (she does appear to Ubby as an apparition).
• Paul Donappleton has ambitions to gain great personal wealth and power, and this involves him in the pursuit of both Medinga and the Sandpaper Dragon.
• Uning and the Hede return from hell after 2,000 years disguised as the Black Guard.
• Ubby’s mother Maryanne, Sylvania Neocrati, and Paul’s father Samuel Donappleton share a backstory.
• The various elements of the plot start to come together towards the end of the book and a gathering conflict of epic proportions (to be explored in Return of the Dragons) is foreshadowed.

Students will work together to summarise their allocated subplot in point form on a piece of butcher’s paper. Alert them to the possibility that their subplot may have a pre-story told through flashback.

Each group will then give a short presentation about their allocated subplot. All group members should be prepared to answer questions from the rest of the class. Following the presentation, the sheet of butcher’s paper should be added to a class display (space allowing). As each group reports back, the summaries will build into a more comprehensible overview of the complex plot of this graphic novel.

Character

Although cartoon characters are obviously not like real people, graphic novellists will nevertheless provide enough information, through both text and image, to encourage audiences to ‘read’ the characters as real people with whom they can engage. Indeed, readers will take the information provided in the text and embellish it from their own lived experience.

Ask students to create a retrieval chart (PDF, 104KB) with the following headings:

• Naming
• Physical appearance
• Behaviour
• What the character says
• What the character thinks and feels
• Reactions of other characters
• What other characters say
• What the author says

Then allocate different major characters to small groups and ask students to explore the construction of their assigned character by listing information on the chart. Major characters can include:

• Ubby
• Paul Donappleton
• Yupman Poe
• Sai Fong
• Any of the other Underdogs
• Scotty Donappleton

An example retrieval chart has been completed for Paul Donappleton (PDF, 176KB).

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Themes

• Heroism and courage
• Evil in the world
• Militarism and weaponry
• Adolescent friendship
• Feminism and ‘girl power’
• Violence/hatred
• Parent-child relationships
• Pursuit of power
• Immortality
• Morality (doing the ‘right’ thing)
• Magic/sorcery
• Aboriginal stories
• Chinese history, legends and mythology
• The pearling industry
• Teenage gangs
• Magical realism
• Corruption
• Racism
• Sexism
• Intercultural relationships

Synthesising task

This activity will help students to understand the mutual relationship between imagery and verbiage for making meaning in a graphic novel.

Students are to work in pairs (Student A and Student B).

Each student will share their work with their partner and explain the choices they have made.

Finish by distributing the original version of the comic so students can compare their work with the source material.

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The writer’s craft

Structure

The early part of this volume is taken up by the Underdogs’ attempt to rescue the mysterious ape Medinga from Paul Donappleton’s estate. Ask students to discuss what narrative (storytelling) purposes this first part of the novel achieves. Some possibilities include:

• showing the Underdogs in action with Ubby as their leader
• revealing Paul Donappleton’s evil plans to gain great power by developing deadly weapons
• introducing several new characters (Sylvania, Styper)
• developing Medinga as an important character

Sai Fong, who played such a central role in The Legend of the Phoenix Dragon, does not re-appear in Heroes Beginnings until p. 82, when she appears to Ubby through Medinga’s consciousness. Readers will recognise this as a new phase in the story, especially as Ubby also sees a sinister ‘stranger hiding in the shadows’.

Remind students that this book is subtitled Heroes Beginnings. Revise the 12 stages of the hero’s journey outlined by Joseph Campbell. As students read Heroes Beginnings, ask them to complete a hero’s journey outline (PDF, 162KB) using information from the novel. Have them consider that Sai Fong’s re-appearance marks the beginning of the heroes’ story as promised by the subtitle of the book.

McKenna has created a number of mysteries in the first two volumes of Ubby’s Underdogs. These will be resolved in the third volume, Return of the Dragons. Engage students in a discussion about the following mysteries as they read through the graphic novel:

• What is Sai Fong’s illness? Why has Yupman Poe brought her to Australia to find a cure? You may need to re-visit the first book to explain how the warrior woman carried druga from the Sandpaper Dragon to the Phoenix Dragon.
• Why does Ubby think that Yupman Poe is not telling her the full story about Sai Fong (p. 11)?
• Samuel Donappleton refers to Medinga the baboon as ‘old chap’, tells him to look after ‘that boy of yours’ (Safa), and says that one day he will have to explain to Safa who he really is, and thus who Safa also is. Who might they be?
• The gremlin (the pilot of the War Crown Spider) explains that it needs its egg in order to incubate Sai Fong. What could this mean? Is this a story of re-birth?
• What message does the scroll contain? Who has the scroll? Who will be able to interpret it?

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Approach to characterisation

Consider first the meaning of the word ‘underdog‘:

• What is an underdog?
• What makes each of the four members of the gang an underdog?
• Is their ethnicity part of their underdog status?
• Is their socio-economic status part of this identity? Notice that the Underdogs regard Donappleton a a ‘silverspooner’. What do they mean?

The naming of characters can contribute to their construction. Consider what each of the following names suggests about the particular character:

• Scotland Donappleton
• Clancy Bankler
• Sergeant McIntyre
• Ubby
• Ghan Stryper
• Sylvania Neocrati
• others?

McKenna has given each of the four Underdogs an identifiable trait. For example:

Ask students if they find these traits endearing. Does it help to individualise the character? Does it help readers to predict the future of each character?

Major characters in fiction often grow and change, just like people in real life. Discuss with students the changes that occur with these characters:

Of course, most of the minor characters in the story do not change. Some simply occupy a narrative niche while others are easily recognisable as stereotypes:

Aboriginality is privileged through the representation of Mulli as the leader of the Council of Magic. He is able to mobilise the whole community against the gathering storm of evil. He also gives voice to the importance of spirituality in the face of a new scientific age.

An author will create characters who carry specific values. Ask students to consider the values promoted through the representations of the Underdogs:

• opposition to power
• determination to challenge those with privilege, e.g. the Pearl Juniors
• loyalty and friendship
• scepticism about the adult world
• willingness to help those in trouble, e.g. Sai Fong, Medinga

The book ends with a roll-call of possible heroes as the people of Broome prepare to do battle with the forces of evil at Hollow Graves.

Ask students to make a list of the potential heroes and find quotes to explain why these characters may become heroes.

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Setting

Students should consult the map (PDF, 185KB) at the beginning of the first Ubby’s Underdogs book, The Legend of the Phoenix Dragon. Without this, they may find it difficult to know exactly where the story is taking place at any given point.

Occasionally McKenna provides a fairly realistic setting as a way of providing a specific location for the action of the story. Ask students to try to locate the following places on the map of Broome:

• Donappleton’s estate (p. 89)
• the exterior of Donappleton’s house (p. 22)
• the interior (p. 23)
• a scene in Chinatown (p. 109)
• houses along a beach in Broome (p. 72)
• Maryanne’s house (gives context to Ubby’s family life)
• the market place in Broome where Medinga is pursued

Most of the panels in the novel simply have coloured backgrounds. However, the colours can carry their own meanings through the ambience that they create.

Ask students to contrast the background colours on pp. 77–78 with those on pp. 79–84, when Ubby enters Medinga’s consciousness. Discuss with them what meanings they think the different colours carry.

To illustrate this point, ask students how colours like red, orange and yellow make them feel. They will probably say that they feel a certain emotional warmth towards what is being represented. Similarly, ask them how they feel when they look at a scene in which the colour intensity has been reduced, and they will probably say that the scene looks eerie or surreal.

Occasionally the artist has upscaled the force of an image by drawing it in vibrant colours and making it much larger than the other panels. One obvious example is the explosion at the jetty, when Ubby is able to firecast and set Stryper’s special fuel alight (pp. 130–131). Note also the many vectors formed by bodies, arms, ladders, and lampposts to create a sense of violent movement.

One important setting, which does not feature often in this volume, is Hollow Graves where Sai Fong is being held captive. Ask students to look at the panels on p. 82 and pp. 146–147 and explain how McKenna has created an otherworldly atmosphere for Hollow Graves.

Ubby is described as a ‘street rat’ by one of the hunters. Presumably he means that she spends most of her life on the streets of Broome rather than indoors in her mother’s house. Does McKenna successfully convey this sense of Ubby as a ‘street rat’ through the images in his book?

Use of parallels and contrasts

There are several interesting parallels and contrasts in this volume of Ubby’s Underdogs:

• The connection between the Chinese Phoenix Dragon and the Australian Sandpaper Dragon was important in the first book; readers will suspect that there is a link to be revealed between the story of the dragons and Sai Fong’s search for a cure to her illness.
• The spirituality implied by both Chinese mythology and Aboriginal stories is an important ingredient in the novel. Mulli explains how the Council of Magic in Broome has become a sanctuary for spiritual beliefs from around the world.
• Adult-child relationships (Maryanne and Ubby; Samuel, Paul and Scotty Donappleton; Yupman Poe and Sai Fong) provide an interesting parallel in the story, and also a potential contrast in the nature of those relationships.
• Uning and the Hede can be seen as a parallel to the evil embodied in Paul Donappleton and Ghan Stryper in their quest for power.

Point of view

In a print text, point of view is often achieved through a focalising character whose thoughts and feelings drive the story. Readers are positioned to accept this character’s version of narrative events unless they are obviously an unreliable narrator.

In Ubby’s Underdogs, the main focalising character is Ubby. McKenna positions readers/viewers to see events from Ubby’s point of view by what she says (‘I got a plan’, p. 13); by what other characters say about her (Fin: ‘You’re a genius, Ubby’, p. 56; and Butch: ‘Ubby’s got a plan’, p. 21); and through the use of images that lead viewers to see what Ubby is looking at (looking/seeing process), to experience her reactions, or to see what Ubby is doing (narrative process, narrative). This can be seen in the sequence of panels (PDF, 247KB) that show Ubby and Fin searching for Medinga in Paul Donappleton’s house.

Ubby is also established as the focalising character through her role as the leader of the Underdogs, demonstrated through her use of commands to the other three gang members.

• ‘Fin, get back up here now’ (p. 49)
• ‘Fin, grab my hand’ (p. 49)
• ‘Everybody move’ (p. 57)

Thus, readers/viewers are encouraged to respond to the other characters and to the action of the story through what they assess to be Ubby’s own set of values, attitudes and beliefs.

Voice

The concept of ‘voice’ as it relates to First Nations characters is complex. Historically, Aboriginal and Torres Strait Islander peoples have been (mis)represented by non-Indigenous writers. Over time, however, First Nations literature has expanded enormously and there is now no shortage of diverse and well-rounded Aboriginal and Torres Strait Islander characters.

One example is Ashala Wolf, the protagonist of Ambelin Kwaymullina‘s Tribe series. Kwaymullina comes from the Palyku people of the Pilbara region of Western Australia, and drew on this history and culture in writing The Tribe. Similarly, McKenna draws on his own experiences as a Yawuru man to create authentic Aboriginal characters, give them an interior life (what they think and feel), and give ‘voice’ to that life through what they say (their speech).

Discuss with students the ways in which they think McKenna has given a ‘voice’ to authentic Aboriginal characters and experiences. One obvious example is through his main character, Ubby, who is inspired by his own grandmother. Ask students to suggest other examples.

‘Voice’ can also refer to the author’s style. Students will probably agree that McKenna has quite a distinctive storytelling style, through both the words on the page and his drawing style.

Ask students to find examples of McKenna’s distinctive style as an artist. One example could be his use of humour to create a bond between his characters and readers. Students should find other examples of his artistic style.

Finally, ‘voice’ refers to the language and style used in character construction. This will be dealt with in the next section.

Language and style

McKenna has used the spoken language of various characters to give them a sense of individual identity. For example, readers will recognise the very formal English of Paul Donappleton (‘I need your help to win a contract to develop new military technology’), the Irish references in Fin’s dialogue (‘a Dublin Knuckle sandwich’), and the rather eccentric flowery speech of Sergeant McIntyre (‘The day grows busy for us all, so I shall hold you no longer’).

More than 80% of Aboriginal and Torres Strait Islander people speak a variety of Aboriginal English (AbE). There is a pervasive view among traditionalists that AusE is more ‘correct’ than other varieties of English, such as AbE. This, however, is a misconception. AusE is simply another variety of English that has been codified and accepted as the ‘standard’ in Australia. It is important to challenge the notion of what is considered ‘standard’ in this country, and to remind students that there is no one ‘correct’ way to think, speak, or act in the world.

NOTE: Bardi and Kija person Sharon Davis has written about AbE for both AIATSIS and IndigenousX – it would be worthwhile sharing and discussing these articles with students, OR selecting appropriate passages that you can break down for a Year 7 cohort.

Students should listen to this 2017 Awaye! episode to find out what AbE sounds like, and to learn just how much of AbE has entered AusE.

Text and meaning

Exploration of themes and ideas

Evil in the world, militarism and weaponry

After having been defeated by the Phoenix Dragon and consigned to hell 2,000 years ago, the Hede (led by Uning) have returned to take their revenge against the Nanren. Uning plans to use the War Crown Spider to create a new empire with himself as leader. However, his drive for power is matched by Paul Donappleton’s desire to harness the druga of the Sandpaper Dragon to produce weapons of unimaginable power. Ask students to discuss whether they see a parallel between Uning, Donappleton and the leaders of contemporary nuclear powers.

Parent-child relationships

There are three adult-child relationships developed in Heroes Beginnings: Ubby and her mother Maryanne; Sai Fong and her guardian Yupman Poe; and Paul Donappleton and his son Scotty. The first two relationships are positive and endearing, but the last is a destructive relationship featuring a father’s humiliation of his son. The situation is explained by the ghostly appearance of Samuel Donappleton, Paul’s father.

Feminism and ‘girl power’

McKenna has created several female characters – including Ubby, her mother, Sylvania and Sai Fong – who demonstrate ‘girl power’ in the face of the violent patriarchy embodied by Paul Donappleton and Uning. Ask students to consider how this ‘girl power’ is exercised. Show them this short video about the Marvel character Storm and ask them to think about which qualities the graphic novel characters share with her.

Magic and sorcery

Mulli, the leader of the Council of Magic, laments that the old world of magic and spirit is being replaced by the new god of Science. However, the popularity of fantasy fiction stories today suggests that young readers still look for an escape from the scientific world of facts and figures. Discuss with students whether they think that it is possible to be both spiritual (whether religious or otherwise) and scientific.

Aboriginal stories

Many people still have little idea of the rich cultural history of Australia before the arrival of colonial settlers in 1788. Ask students whether a graphic novel that features Dreaming stories can contribute to reconciliation between non-Indigenous and First Nations peoples.

Growing up

This book could be regarded as a coming-of-age story as the Underdogs confront a number of challenges that will contribute to their growing maturity. Since the emphasis is primarily on Ubby, students may be interested to read entries in Growing Up Aboriginal in Australia* edited by Anita Heiss. You can also compare McKenna’s graphic novel with other titles in Reading Australia’s coming of age archive.

* Reading Australia title

Synthesising task

Step 1

Begin by writing a short story about 250–300 words long.

One approach is to write in the style of a myth. Remember that the main purpose of a myth is to explain an event or phenomenon in the world. Possible topics are:

• how the snail got its shell
• how the stars were made
• another topic, in consultation with your teacher

Another approach is to write a hero story based on an event in your own life, e.g. ‘The day I saved my dog from drowning’. Use a simplified version of the hero’s journey to plan your story.

Step 2

Take a scene from your written story and transform it into a short series of panels (perhaps five or six) for a graphic novel. You will need to:

• Sketch the characters in your panels.
• Add speech and thought bubbles to show what your characters are saying and thinking.
• Consider the setting for your panels. Will you draw a realistic background or just use colours to provide ambience?

Share your panels with your classmates.

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Ways of reading the text

McKenna’s graphic novel is not a re-telling of traditional Aboriginal knowledge. In fact, he has fictionalised both Chinese mythology and Aboriginal stories for his own narrative purposes. However, his re-working of the history of Broome and the pearling industry could be seen as a post-colonial ‘writing back’ against white history that provides an Aboriginal perspective. ‘Writing back’ is just a way of saying ‘I don’t agree with your way of telling the past, and here is how I interpret history from my point of view.’ Notice that Paul Donappleton, the pearling master at the top of the social hierarchy in Broome, is the villain of this story, while Mulli, Ubby’s paternal uncle, is the powerful leader of the Council of Magic. Arguably, Aboriginal literature is post-colonial by its very nature (in that it gives a voice to a group that has been subjugated by a colonial power), and that certainly applies to this text.

McKenna’s representation of a young Aboriginal girl as the hero of his graphic novel also provides a feminist challenge to stereotypes about women. Ubby represents female empowerment and a celebration of Aboriginal women. The links with Asia are also very important as contemporary Australians consider their geographical and strategic position in the world more so than previously.

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Comparison with other texts

Versions of the text in other modes, media and contexts

You may have already shown students the 2011 book trailer for the first volume of Ubby’s Underdogs. You can also find interviews with McKenna about his craft under More Resources.

McKenna has also contributed to the anthology Things a Map Won’t Show You edited by Susan La Marca and Pam Macintyre.

Remember that Ubby’s Underdogs is a trilogy, with Heroes Beginnings preceded by The Legend of the Phoenix Dragon* and followed by Return of the Dragons. McKenna also has a new series cheekily called Hairy Holes, with two instalments currently available (here and here).

* Reading Australia title

Genre

Ubby’s Underdogs began as a teenage gang action-adventure story, interwoven with elements of Chinese mythology and Aboriginal stories. The supernatural pre-history of the Phoenix and Sandpaper Dragons is reinforced in the story by such fantastical elements as Sai Fong’s ability to ‘firecast’ and the appearance late in the novel of the fearsome War Crown Spider, apparently an ancient Chinese mechanical fighting machine piloted by a gremlin.

Heroes Beginnings transitions much more into a full-blown fantasy fiction graphic novel in the style of the Harry Potter series, complete with a Council of Magic, wizards and sorcerers, dragons and ghosts and, of course, a place for the undead (Hollow Graves). This secret world exists parallel to, but separate from, the ‘normal world’ of the town of Broome.

The graphic novel also belongs to the hero’s journey genre, signalled by its subtitle. This genre has an ancient lineage, stretching back in Western culture to the Old English epic poem Beowulf. J. R. R. Tolkien recycled episodes from Beowulf in his own epic fantasy story The Lord of the Rings. There is, for example, a very explicit connection between Beowulf’s fight to the death with Grendel and Gandalf’s battle with the Balrog (PPT, 706KB).

The graphic novel as a form, of course, is related to a family of texts including comics, picture books and illustrated books. Young readers will be familiar with movies and games based on DC and Marvel comic book heroes who, like Ubby’s Underdogs, fight against terrible evil in the world. Manga (Japanese comics/graphic novels) have also exploded in popularity: in 2021, they accounted for 76% of all comics and graphic novel sales in the US.

Other genres that are hinted at in Ubby’s Underdogs: Heroes Beginnings are horror (the return of the Hede from hell 2,000 years after their defeat by the Phoenix Dragon) and drama (the personal stories of Maryanne, Sylvania and even Scotty in their dealings with the Donappletons).

Other texts using similar approaches or dealing with similar ideas

A similar approach to telling Aboriginal stories in graphic novel or comic form was taken with NEOMAD, a Big hArt project that involved 40 young people from Ieramugadu (Roebourne) in the Pilbara region of Western Australia. These youths created an interactive sci-fi comic series combining animation, music, voice-over and film. The series, now also available in print, has won several prestigious awards. The creators of NEOMAD were mentored by Australian comic book artist, writer and interactive designer Sutu (AKA Stuart Campbell).

K’gari is a short interactive documentary that responds to the story of Eliza Fraser from the perspective of the Butchulla people. It demonstrates how settler narratives can be challenged by contemporary Aboriginal voices. You will likely need to provide some background information before showing the documentary to students – more information is available from Reading Australia’s teaching resource for Finding Eliza by Larissa Behrendt.

The importance of dragons in Chinese culture is well-documented. AustLit has a collection of books about the mythical creatures of Asia, the most powerful of which is the dragon. Other Australian books about dragons that are appropriate for Year 7 students are Dragon Skin* by Karen Foxlee and Dragonkeeper* by Carole Wilkinson.

* Reading Australia title

Students may also make connections between Aboriginal stories about mermaids and Donappleton’s Ocean Maids. These include Muli kanybubi tjitjuk kawuny na yagatiya (The two mermaids’ dreaming place) from the Marri Ngarr Yek Dirrangara people; The Mermaid and Serpent from Wugularr Aboriginal Community; and ‘Mermaid Story’, a Dhuwa story featured on Dust Echoes (all three communities are based in the Northern Territory).

Students may be interested to read this 2025 ABC News article, and this 2017 Guardian article, to learn more about contemporary Aboriginal superheroes. More comics and graphic novels by First Nations creators are listed on Gestalt Comics’ website. Finally, you can browse Reading Australia to find a range of other graphic novels, including those with fantasy elements like Ghost Book* by Remy Lai and The Deep* by Tom Taylor and James Brouwer.

* Reading Australia title

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Evaluation of the text

Representation of Australian culture

In the past, colonial writers like Henry Lawson (‘The Drover’s Wife’) included Aboriginal characters in their work only as stereotypes, not as ‘real’ human beings. More recently there has been an explosion of literature by Aboriginal and Torres Strait Islander writers, who present their characters as complex and diverse individuals. One such writer is Kim Scott, author of That Deadman Dance* and Taboo, whose characters have the power to act and speak in their own voice. Many other contemporary Aboriginal and Torres Strait Islander writers can be found on Reading Australia.

* Reading Australia title

Ubby’s Underdogs: Heroes Beginnings flips the script on settler narratives and centres the experiences of McKenna’s Aboriginal characters. Mulli is a leader in the Broome community and Ubby herself is a celebration of powerful Aboriginal women, while Paul Donappleton, the Broome businessman, is the villain of the story.

There have been many significant developments in recent Australian history that have paved the way for better relations between First Nations peoples and non-Indigenous Australians.That said, we still have a long way to go. Truth-telling – and indeed, truth-listening – can be uncomfortable. But it is important as students look to a future that demands recognition of First Nations peoples as the Traditional (and enduring) Custodians of the lands and waters we now inhabit.

Significance to literature/the world of texts

Colonisation and post-colonialism

The modern nation of Australia began as a British colony in 1788. Over time colonial settlers spread out over the continent, taking land from people who had been living there for tens of thousands of years. This involved much violence and dispossession. White Europeans considered themselves superior to First Nations people, who represented the ‘other‘. One writer who was critical of colonialism was Joseph Conrad. The title of his novel Heart of Darkness refers to the darkness in the hearts of white Europeans in the Belgian Congo.

Contemporary Australian writers are now doing what Conrad did: writing truthfully about the past, present and ongoing impacts of settler colonialism. One such writer is Peter Carey, whose novel A Long Way from Home explores the brutal nature of racism in Australia. Another important writer is Tony Birch, who explores life under the Aborigines Protection Act (1909) in The White Girl.

Fantasy

Fantasy fiction is a very popular genre today. Students will be aware of such series as Harry Potter and Percy Jackson. These texts feature supernatural elements such as magic and a battle between good and evil. Students can discuss whether they think McKenna has borrowed ideas from classic fantasy fiction stories and given them a uniquely Australian flavour in Ubby’s Underdogs.

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Identifying and justifying language/stylistic techniques for specific narrative or dramatic purposes

Synthesising task

Persuasive speech

Around Australia there are a number of schools that are attended mainly by Aboriginal and Torres Strait Islander students (e.g. Djarragun College in Far North Queensland, Tagai State College on Thursday Island). If yours is not among them, you should do some research to locate the nearest one. Students in these schools would likely be interested to read Ubby’s Underdogs with its themes of First Nations identity. However, the ideas and themes in McKenna’s work will be of interest to all Australian students.

In addition, the graphic novel format of Ubby’s Underdogs – with its combination of words and images – will promote literacy across a range of students, from advanced to reluctant readers (especially boys) to EAL/D learners and students with diverse learning needs.

Your task

The time has come for all Australians to understand the Aboriginal and Torres Strait Islander history of this nation. This will require more than the perfunctory once-a-year NAIDOC activities presented in most schools around Australia. The study of First Nations texts must become part of the curriculum in all schools.

Prepare a PowerPoint presentation for the leadership team of any school in Australia urging them to buy a class set of Ubby’s Underdogs: Heroes Beginnings (and, if possible, the complete Ubby’s Underdogs trilogy) for Year 7 students. Add a voice-over to your presentation using persuasive speaking techniques to convince the leadership that Ubby’s Underdogs is worthy of study, both for its content AND as a tool for improving the literacy levels of reluctant readers at the school/college.

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Synthesising task

Creating a graphic novel

Option 1

During your work on this unit you have made some predictions about what might happen in the final book of the Ubby’s Underdogs trilogy.

Using your predictions, write the first four pages of the next Ubby’s Underdogs story. You know that many of the characters are heading for the mysterious Hollow Graves where Sai Fong is being held captive, and that the Sandpaper Dragon also has been called there. You also know that members of the Underdogs gang are going there to prove themselves to be heroes.

Then, transform your story into the first four pages of a graphic novel. Incorporate into your novel such elements as panels, images, margins, speech and thought balloons, and colour. Use your drawings to capture the gestures and facial expressions of your characters. Alternatively, if you are not a confident drawer, you could work with a partner or small group to pool your skills.

Option 2

Earlier in this unit you experimented with creating the first six panels of a graphic novel based on a myth or hero story that you had written yourself (see Close Study > Synthesising Task). Go back to this earlier work and expand on it to create the first four pages of a longer graphic novel. Incorporate into your novel such elements as panels, images, margins, speech and thought balloons, and colour. Use your drawings to capture the gestures and facial expressions of your characters.

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Rich assessment task 1 (Responding)

Creating a multimedia presentation

The book trailer for the first instalment of Ubby’s Underdogs features images from the novel, explanatory text cards and a rollicking soundtrack. This certainly captures something of the energy and excitement of The Legend of the Phoenix Dragon.

Your task is to create a similar multimedia presentation based on Ubby’s Underdogs: Heroes Beginnings, using iMovie, Canva, Prezi or a similar program. You will need to:

• Choose some panels from the graphic novel and copy them into your presentation.
• Draft and insert some text cards to help the audience understand what is happening.
• Choose suitable music as a soundtrack for your presentation.

The presentation should be between two and four minutes long. Don’t forget to preview and edit your work to make sure it runs smoothly. Once you have finalised your presentation, share it with your classmates.

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Rich assessment task 2 (Creating)

Creating a myth to accompany a scientific explanation

Preamble

In Heroes Beginnings Mulli, the leader of the Council of Magic, regrets that ‘mankind no longer believes in spirit’ (p. 134). He says that ‘the old world of magic and spirit is slowly dying’. McKenna, in an end note, says that the human race has embraced a new god called ‘Science’.

Preparation

One of the key genres of scientific writing is the explanation, which is used to explain the processes involved in the formation of natural phenomena. As an example, read the Murray-Darling Basin Authority’s (MDBA) explanation of how the Basin formed over hundreds of millions of years. Use a flow chart (PDF, 99KB) as a way of making notes about this example.

Now that you have seen how ‘the new god of Science’ explains the formation of the Murray-Darling Basin, contrast it with the Bangerang account of how Dunggula (the Murray River) came to be.

Your task

Earlier in this unit, you had the option to write a short story in the style of a myth (also under see Close Study > Synthesising Task). Remember that the main purpose of a myth is to explain an event or phenomenon in the world. Your task is to expand on this exercise by picking a naturally occurring phenomenon, researching the scientific explanation for how it came to be, and then writing an original myth to provide an alternative origin story.

Some guidelines for this task:

• Ideally your chosen phenomenon will be Australian. You can either pick something in or around Broome as the subject of your writing (to reflect the geographical context of Ubby’s Underdogs), OR another phenomenon that is more local to where you live or learn.
• You will need to research and explain in your own words how, scientifically, your chosen phenomenon came to exist.
• You will then need to create an original myth that explains the same phenomenon in a supernatural way. You should NOT appropriate the real spiritual beliefs of another culture in your writing; your myth should be purely imaginative.
• Try not to select phenomenon that already have well-established creation stories or spiritual significance for Aboriginal and Torres Strait Islander people, e.g. Uluru.

Aim to write about 750 words in total (approx. 250 for the scientific explanation and 500 for the myth). Don’t forget to plan and edit your work before turning it in.

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