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The second episode of Missileman, by Dog, is also drawn in classic comic style. As most of the text consists of conversation, the artist's handling of timing comes under scrutiny [fig 48]. Visually, tone, emphasis and variety are handled by way of focuses and dramatic viewpoints [fig 49]. Dog uses the same kinds of details Botes does in a much more purposeful way. The reader's expectations are carefully built up, but the ending is anticlimactic; all the elements of a conventional action story are present, except the anticipated climax. Missileman is written and drawn like a serious comic, but does not take itself seriously, and becomes a drama over nothing. The most classically narrative and potentially meaningful format that Dog could use is still rendered meaningless . _.. CDNEHEAD ... PIN ,ou~ DMPE~S ON AND GET our OF eEl) •. HI5 HO£), GREIITNESS F=====~ wANTS To SEE ,OV!. Figure 48 Dog Missileman p2 (reduced) Figure 49 Dog Missileman p3 (reduced) 142
Walkin~ on Water by Botes is also narrated in a conventional style, but carries its theme through to the end. Botes is becoming concerned with the meaning he can communicate, not just the vehicle. The story is complete over three pages, and ambiguity is due to lack of explicit comment from the artist in terms of editorial or narrative text, not to subversions of the structure. The story is also not explicitly personal. Missileman is in a sense a personal cornic because it is very much about comics. Walkin~ on Water has a wider frame of reference. Realistic Romances are three cynical one page stories by Dog. They read like exercises in cornicmaking, a judgement that could extend to more of Dog's work. The first two are like edited cornics; the drawings show isolated moments of action, snapshots illustrating a text [fig 50]. The third is more cinematic. This seems to be a major dichotomy in Dog's cornics, as he wavers between literary or cinematic approaches. It is even a major difference between Botes and Dog. Dog errs on the literary side, while Botes is more traditionally cinematic. Dog's stories tend to be contemplative, dwelling on silent significant moments, and texts tend to be narrator oriented. Botes is story and character oriented, trying to create the illusion of a selfsufficient world that is only partially revealed through description in his cornic. Dog's cornic world exists only for the comic. Figure 50 Dog Realistic Romances pI 143
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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
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seems to pick out elements, without
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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 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 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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