Contrary to his characteristic aversion to press interviews (his last one was with Korea¡¯s closest answer to Oprah, Son Seok-hee, in 2015 regarding his exhibition), Hur welcomes the KOREA staff team with a nonchalant and down-to-earth, yet stylishly easygoing manner. A candid representation of his calm, graceful composure and presence, his home is stockpiled with endless books, (of course) cartoons, collectibles related to his bestsellers, large desks functioning as work (drawing and writing) stations, record labels (CDs, LPs and even antique sound gadgets) and most poignantly, an analog atmosphere.

Though the masterful storyteller claims to have ¡®discarded
cartfuls, huge loads of books,¡¯
most corners and shelves of
his house are stockpiled with books.

Hung on the walls of Hur¡¯s house are framed posters of works produced on behalf of his original (cartoon)
narrative, plus his previous exhibition poster (far left).

Legendary Career

Forty years into his career, Hur¡¯s earlier works are treated as national classics and darlings of popular culture by the Korean mainstream. Even his more modern works capturing standout representations of Korean society (¡°Tazza,¡± original publication 2000) and culture (¡°Sikgaek,¡± 2003) spawned multimedia remakes of record-setting ratings.

Among his notable works prior to the millennium are ¡°Asphalt Man¡± (1992), ¡°Beat¡± (1994), ¡°Fly Superboard¡± (1989, and adapted animation that aired till 2002) — cartoons for adult, teenage and children, respectively. The broadcast animation for ¡°Fly Superboard¡± raked over 42% viewership, a record which has yet to be challenged.

Considering the sheer variety of Hur¡¯s topics of choice or those featured in his works, it is perhaps not much of a surprise that Hur is a keen observer and not necessarily related, either on a personal or direct level, to themes that his works revolve around. Apart from his sharp eye and attentiveness to detail, Hur is known to feature conflicted protagonists and their dualities, rather than static heroes. With a critical, even satirical stance toward society, Hur easily captures both artistic finesse and mass appeal.

In youthful spirit, Hur claims his
¡®works-inprogress are slated for publication.¡¯

Hur¡¯s workroom is replete with CDs, LP records, piles of books and photo albums, plus clippings of various medium and format.

Upkeeping Diligence

Hur has often been compared to Kant for the impeccable consistency with which he attends to his daily routine. Hearing his breakdown of what his day — by which, we mean every single day — looks like, it becomes strikingly apparent how enriching, not to mention productive, of a life he maintains. ¡°I¡¯ve been on this routine — of spending 7-8 hours in the morning in deep work-mode — for nearly forty years. It started on the year of my debut as a cartoonist (1974), before which I was prone to rise at noon, get started midday and attend to my laborious drawings till the wee hours of dawn. That rhythm was a physical toil, in total contrast to how refreshingly enriching each day is for me now.¡±

He continues, ¡°It was a senior cartoonist who influenced me to change my schedule drastically. When we lived sideby-side, the way he¡¯d get up at dawn to attend to his work just looked so wholesome and productive. It made me want to try out the routine for myself as well. Once I had the ball rolling, it was nice to be greeted, upon getting out of bed, with his lit window in the dim hours of dawn.¡± It¡¯s clear that back in the days when he was a young adult (he debuted at the age of 27 and published prolifically from the 80s, 90s and into the millennium), camaraderie amongst fellow cartoonists was lively.

For aspiring artists, he offers straightforward advice: to ¡°do whatever in the world they want.¡± He says, ¡°That¡¯s actually how my son describes me. Though the pandemic has limited the scope of my carefree adventures for the time being, I used to simply get up and head to foreign lands, go enjoy golfing, fishing or whatever activity I¡¯m inclined to indulge in that day. For me, that¡¯s the way to live it up. Expanding the scope of your genuine, tangible, firsthand experiences — I cannot overemphasize how important that is for an artist. It¡¯s your free, boundless resource for inspiration!¡±

Hur¡¯s ¡°How About a Cup of Coffee?¡± (2015) was serialized
since the 40th anniversary of his debut as a cartoonist.

Most known as an 24-episodic series of SBS¡¯s 2008 TV adaptation, the storyline of ¡®Sikgaek (Gourmet)¡¯ (original cartoons serialized on the daily Dong-A Ilbo, 2002–2008) was applied to a film in 2010, in addition to a serialized sequel on the Kakaopage platform and hard-copy publication. / Among Hur¡¯s expansive work scope is the sports comedy adapted into a 2013 film and available on Netflix as ¡®Mr. Go,¡¯ originally serialized in the comic magazine Bomulseom (1974).

Conscientious of His Toolbox

Speaking for his own artistic process, he professes, ¡°Perhaps I¡¯m just an oldie who hasn¡¯t adjusted to the flashy conveniences digital tools offer nowadays. That said, I still find worthwhile that touch of the grip, of leaving that pencil sketch on literal paper. That tangible contact, to me has yet to be rendered replaceable. I am in awe especially of how fast the coloring procedures are done on pads or tablets. However, I can¡¯t help but feel that the electronic gadgets have a split-second lag compared to the responsivity of the touch of pencil-on-paper.¡±

Medium for Communal Appreciation

On a similar vein, he says, ¡°the industry, too, feels strikingly individualist relative to how it had used to be.¡± He continues, ¡°Since submissions were handed to publishing houses in hard copy and through face-to-face encounters, the natural course of action was simply to wind down in what tended to draw out into casual networking sessions at dive bars and pubs.¡± It is no wonder how cozily analog his home feels, with all sorts of trinkets laden atop flat surfaces of varied sorts.

It may perhaps even be this sensitivity of his that led him to produce a classic hinging on a philosophy of treating food as a medium for interpersonal experiences. ¡°Sikgaek (Gourmet)¡± was adopted into a widely popular TV series of the eponymous title, released in 2008 by SBS; as of late, he stars in the ongoing reality program ¡°Gourmet Mukbang Trip¡± (2020, available on Netflix).

Contrary to the connotations of the program¡¯s English title, ¡°Gourmet Muk-bang Trip¡± focuses on casual, accessible eateries (cheap eats usually priced less than USD $9). Reflecting on the show¡¯s longevity and popularity, which ¡°I hadn¡¯t foreseen,¡± Hur says it let him ¡°appreciate what (priceless) value a mere ten-dollar bill can bring us.¡± In addition to the taste, which he always savors but admits is entirely subjective, he remembers ¡°the streetscapes, the merchants and vendors in these marketplaces making do with their daily routine.¡± He says, ¡°Many of them are reluctant to receive — indeed, insist on keeping at bay — any sort of help from their children, because they consider their work a rough, lowly kind. That¡¯s heartbreaking, seeing what an amazing experience their food has to offer. That said, it¡¯s nice to get to interact with them, notwithstanding the cameras and all.¡±

Hur¡¯s desk attests to his faithful habit of note-taking — a practice critical for composing intricately woven narratives and realistic details that spring alive, both of which he is renowned for.

Still Alight, Blazing Forth

Despite being a maven frequently looked up to, it quickly becomes obvious that he is not bound to ¡®settle¡¯ for his astounding achievements thus far. ¡°This applies neither specifically to me, nor to my fellow artists. Rather, I believe any professional — passionate in whichever field they¡¯re active in — wishes likewise: to die in the middle of working. To do so amid my work tools, in my work studio, in the middle of what I love to do most.¡±

He continues, ¡°I¡¯m working on my next cartoon, which I am not about to reveal any spoilers or leave whatsoever hints of. I won¡¯t speak about its topic, because there should be no such giveaway. All I¡¯ll let on is that I¡¯m preparing something unprecedented, most likely unexpected for my audiences. It¡¯ll feel totally new.¡± His pure, undistilled passion toward his art and unwavering pursuit in creating yet another novelty, of challenging himself boundlessly is in itself, a feat only a maven of his prowess can impress us with.