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In Die Hero van die Bitch [fig 29], Dog has taken an advertising comic and altered the text. This is a classic satirical technique, widely used in underground comics. The original strip frequently appears in mainstream American comics, and is therefore immediately associated with trashy comics, to the extent that it is virtually shorthand for these comics. Dog reduces the plot, such as it is, to nonsense, which is in itself a comment on mainstream comics, ridiculing them by association. The altered text is completely selfreferential. In the fourth frame, a character comments on his own seemingly implausible actions, making them even more ludicrous. Die Hero van die Bitch is a bad comic made interesting, exploring just how bad a comic can be by examining what comics are. Subversion of a very familiar text forces the reader to notice the structure of the comic, rather than to believe in its reality. It is a joke within a joke, and a joke about a joke too. With the subtitle of Alcohol [fig 30], Dog states explicitly how this comic is constructed, and why it is constructed in this way. It is a visual poem, which is not the same as an illustrated poem. The difference, however, does lie in the illustrations: the comic starts with text which is ostensibly illustrated, and then loses the text and turns into pure illustration. The first three frames could be construed as representations of reality, but the last two are collages, constructed from a combination of photograph and drawing. Each is composed of various disparate elements thrown together, and such meaning as they have is generated by their context and especially their juxtaposition. Unlike Dog's other non-narrative comics, this one is not merely a visual list. The frames are clearly sequential, with each one containing elements from the preceding one. Dog also includes instructions to read the comic to background music, in other words, to a soundtrack. This kind of note is common in comics like Love and Rockets and Tankgirl, where the 'soundtrack' is often listed after the drawing and writing credits. It 124
aLe 0 h Q~ I>D viSliele gedig - idogl LEES MET HARD&. A(,TEI{GR.O!VD}.11i5IEX - V€R./{/ESLfI< ·wISH r \oo,IAs III EL 5~LVA!lOR· D£.lJR, TELLO 8IAF!!.A EN D.O:;1. ~~~'- ~~~~-'~& . G OtIs RDS NA DIE ~ "" RENDEZVOUS ******** Figure 30 Dog Alcohol 125
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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
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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
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omb) are lost in an attempt at pers
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a single emotion, depicting various
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Figure 19 Breytenbach Eddie Jumped
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Content is sometimes allowed to esc
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Sorfa's technique saves, lives up t
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Figure 23 Casey Showcase: Item 1 pI
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Two people, a scriptwriter and an a
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Sorfa's collaboration with scriptwr
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Casey's understanding of blacks and
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From the whimsical, poetic scripts
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This same regularity forces pace to
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In previous comics, my 'visual writ
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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 104 and 105: 'Tj ~. (1) ..,. tj o OQ ;l ,(1) VEI
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 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
Page 154 and 155: closeup, then pulls away to explain
Page 156 and 157: stories in issue 1 are in English,
Page 158 and 159: 4. CONCLUSION The comics are all pr
Page 160 and 161: The most common genres (my definiti
Page 162 and 163: the first generation whose world is
Page 164 and 165: ways of creating this entrance poin
Page 166 and 167: S. BIBLIOGRAPHY BARKER, M. 1989. Co
Page 168: Thames and Hudson. NEAL, C. 1987. T
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