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'Tj ~. (1) ..,. tj o OQ ;l ,(1) VEI\OOMP NO(;MAAL5 ! DE DAGbA-KLEP III .' . ::r" '''0 '0:> :~ ::1. ~ '"d N '" 00 WHAT? ... lt? \\.l SfA\1.Crl ?; ,~, YOUR TRA\(.ToP. - MC)\OP." ~ jJ, ~ SHE ASKED IN A f'..AT\\E.1'- 1'O\l:~ ., . PE;'CULIAR ACCENT . •• A>lD TIl'S SAKE SToP GAWKIj\G AT hi""
( , - ~ o hat " "7 t~ "'~ .fro"", up t\~ ..... ~ -..-"7-, • ..t:' .. - -, , , bELl ("PH fF-Vl.. \ '1e~ , 1ft ~ ..- . • f:EI.. ~ :0 , Figure 5 Botes Oh! Sugar 99
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A CRITICAL ANALYSIS OF SOUTH AFRICA
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dialect differs from the language o
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"Does he paint? He fain would write
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1. INTRODUCTION What I am attemptin
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existence ... until food gets short
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is making comics respectable in the
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Most of these comics are produced a
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2. DEFINITIONS AND TERMINOLOGY The
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In addition, extraverbal sounds, or
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The decision as to whether visual l
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For the first two decades of the tw
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Wertham's book The Seduction of the
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Undergrounds were amoral, sexual, s
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coalesced into comics intended for
Page 29 and 30:
3. ANALYSIS Four different groups o
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incomprehensible passages are incom
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positive shapes, even or especially
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3.2. KOMIKSOC The confessional aspe
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,0 ::l£~) \e B . f"'CM P'!~t .....
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Figure 2 Franklin After the Plagues
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Sididis's Tripping uses comic conve
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example of how the appearance of a
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M\..I.A i H !lVIE ou~ rut", """" ""
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The artist only solves this problem
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text. Yet the frames function in su
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of the text, which is the reason fo
Page 54 and 55: omb) are lost in an attempt at pers
Page 56 and 57: a single emotion, depicting various
Page 58 and 59: Figure 19 Breytenbach Eddie Jumped
Page 60 and 61: Content is sometimes allowed to esc
Page 62 and 63: Sorfa's technique saves, lives up t
Page 64 and 65: Figure 23 Casey Showcase: Item 1 pI
Page 66 and 67: Two people, a scriptwriter and an a
Page 68 and 69: Sorfa's collaboration with scriptwr
Page 70 and 71: Casey's understanding of blacks and
Page 72 and 73: From the whimsical, poetic scripts
Page 74 and 75: This same regularity forces pace to
Page 76 and 77: In previous comics, my 'visual writ
Page 78 and 79: The comic was drawn full-size on A4
Page 80 and 81: Text shifts between narrative, spee
Page 82 and 83: Teo iNTE.N5E · Figure 38 Sorfa Spi
Page 84 and 85: ' .. Figure 1 T. Begg The Battle of
Page 86 and 87: The text of Bone Staircase, by Freu
Page 88 and 89: of solid blacks and a subjective vi
Page 90 and 91: Rue, by Sididis, begins well. The f
Page 92 and 93: completely resolved. Possibly his p
Page 94 and 95: seems to pick out elements, without
Page 96 and 97: The awkwardness of this comic is a
Page 98 and 99: 3.4. BI'ITERKOMIX Bitterkomix start
Page 100 and 101: From Case No. 308, the story of Tom
Page 102 and 103: Figure 3 Botes, Dog The Tommy Saga:
Page 106 and 107: etween form and content, but also p
Page 108 and 109: Another example is figure 8, from A
Page 110 and 111: structured. Familiar sources, conte
Page 112 and 113: Some verbal comic conventions are m
Page 114 and 115: Both artists make use of a great va
Page 116 and 117: character, Chico D, into a martyr a
Page 118 and 119: Figure 17 Van Zyl Die Besoek p5 112
Page 120 and 121: The transitions between panels are
Page 122 and 123: simply by its silence and inexplica
Page 124 and 125: Figure 22 Botes Die Mens 118
Page 126 and 127: Verdwaalde Harte [fig 23J, also by
Page 128 and 129: Figure 27 Dog, Winterbach Rewerie p
Page 130 and 131: In Die Hero van die Bitch [fig 29],
Page 132 and 133: draws the reader's attention to the
Page 134 and 135: Figure 32 Bates Siembamba 128
Page 136 and 137: The Proverbs are selected and reint
Page 138 and 139: In Klapmuts Polisie Slaan Toe, Bote
Page 140 and 141: Ina van Zyl is more concerned with
Page 142 and 143: I ROSIE is NUUT deur Ina van ;Zyl I
Page 144 and 145: M y DEliO !r1OTHER H I..4NG UP I LE
Page 146 and 147: Botes is very good at acidic social
Page 148 and 149: The second episode of Missileman, b
Page 150 and 151: In Kanker Botes' subject is again t
Page 152 and 153: coincides with the appearance of th
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closeup, then pulls away to explain
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stories in issue 1 are in English,
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4. CONCLUSION The comics are all pr
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The most common genres (my definiti
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the first generation whose world is
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ways of creating this entrance poin
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S. BIBLIOGRAPHY BARKER, M. 1989. Co
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Thames and Hudson. NEAL, C. 1987. T
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