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M y DEliO !r1OTHER H I..4NG UP I LEIJ VIN6 lYlE WI TH THE Cl..4fUOLIS F EELING OF HflYING TIlf.XEO TO .50ME130D)' THRT DIDN'T eXIsT tUfTS LIITEA. I RECEIYEO JI U TTER /1# OLD fRIEND , £){PLRI N ING Figure 43 Dog A Boy Called Julia: Part 3 p2 (reduced) A Boy Called Julia: Part 4, is a skilful collage of received images, structured around a ludicrous plot [fig 44]. It is probably more personal than Proverbs of Hell because it is humourous, and reveals much of his attitude towards cornics, what they are and how they work. The story is almost frivolous, indicating that the plot itself is not to be taken too seriously. It relates to Proverbs, as if it were the next episode, and also to Dog's previous nonsensical one-pagers. Hints that Julia is about Dog's work as a whole are found in references to Gif and Max Plant. All these stories accumulate to form between them a statement about cornics and communication. Julia: Part 4 reveals that despite attempts at serious cornics, Dog still feels ambivalent about the potential of communicating a message. He rearticulates the bitterness and frustration that filled the first issue of Bitterkomix. 138
c.URRENny RESIDING ON THE FR.ONTIER. (;IT TliE MOUNTAIN .oF SINLUMk,/lfJII) WITH HI':; C4R.L NELSoN. PERSECI.JfTED By THE /lUTHORITlE!, FOR. HI5 CoNTRI/!,UTlo/V To THE CJJNT.R.OYERSML 0f J MR... JULIA CJJUt./) R£Sl.IME WORK ONCE 1N7"ER:NJ.ITI{))JALl {j)ST mAC!< OF HIM.IfIS MOST 1Kl:-1'-.t:NT PROJE
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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
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Text shifts between narrative, spee
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Teo iNTE.N5E · Figure 38 Sorfa Spi
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' .. Figure 1 T. Begg The Battle of
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The text of Bone Staircase, by Freu
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of solid blacks and a subjective vi
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Rue, by Sididis, begins well. The f
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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 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 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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