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Another example is figure 8, from A Boy Called Julia: Part 2, in which the picture is<br />

clearly not illustrating the text; yet the two are interdependant.<br />

Ii'<br />

f/ {<br />

ft· '<br />

I {<br />

~ !"<br />

\ '- \<br />

'<br />

\ '<br />

, \' ,<br />

''- \ ,<br />

DRESSED<br />

"<br />

Figure 8 Dog A Boy Called Julia: Part 2 pI<br />

The reason they cannot be completely independant is that they are linked by the<br />

conventions of comics. However bizarre the link between the two, it will still be accepted<br />

as a link and some reason will be found for it, because that is how comics, by definition,<br />

work. Often such frames or inserts rely on a wider frame of reference than the comic<br />

itself; often this is how the link can be deduced. In An Occurrence this device is blown<br />

out of proportion to become a thing in itself, and a reason for the comic. The joke is the<br />

comic. In contrast Drug Raid at 4am [fig 9] plagiarises Tintin by Herge, in the tradition<br />

of underground comics, and the comic illustrates the joke.<br />

Issue 2 as a whole appears more confident and focused, therefore less flamboyant, than<br />

the first one. Dog's Missileman has the same feeling as The Tommy Saga but it is more<br />

comprehensible and accessible, although still highly personal. Frames are composed<br />

classically, favouring narrative over pure expression; the drawing style is clean and<br />

102

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