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Thames and Hudson. NEAL, C. 1987. Tape delay. Harrow: SAF. NOAKE, R. 1988. Animation. A guide to animated film techniques. London: Macdonald. PARFREY, A. 1990. Apocalyse Culture. s.1.: Feral House. PECKHAM, M. 1969. Art and Pornography. New York: Basic. PLAGENS, P. 1994. "Drawing on the dark side". Newsweek (New York) September 19, p.54. RATCLIFF, C. 1986. "Gilbert and George: The fabric of their world", in Gilbert and George. The complete pictures 1971-1985. New York: Rizzoli International Publications. RENTON, A. 1989. "How to be Andy Warhol." Blitz (London) 87, p.30-37. REYNOLDS, S. 1990. Blissed out. The raptures of rock. London: Serpent's Tail. ROTHENSTEIN, J. 1984. Modern English painters. Vol 3. Hennell to Hockney. London: Macdonald. SCHODT, F.L. 1983. Manga! Manga! The world of Japanese comics. New York: Kodansha International. SMUTS, T. 1992. "Bitterkomix se galbitter humor 'n eerste fir SA". Die Burger (Cape Town) August 31, p.6. SPIEGELMAN, A. 1986. Maus: a survivor's tale. New York: Pantheon. VISSER, M. 1993. "Die grafiese roman: comics as literatuur". Die Suid Afrikaan. (Cape Town) No. 42, p.36-40. WALKER, J.A. 1983. Art in the age of mass media. London: Pluto Press. WATTERSON, B. 1990. in G. Herriman, The komplete kolor Krazy Kat. Volume 1. 1935-1936. London: Titan. WERTHAM, F. 1955. Seduction of the innocent. London: Museum Press. WHALLEY, J.I; CHESTER, T.R. 1988. A history of children's book illustration. London: John Murray. WILLIAMSON, S. 1989. Resistance art in South Africa. Claremont: David Philip. 162
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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
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3.4. BI'ITERKOMIX Bitterkomix start
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From Case No. 308, the story of Tom
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Figure 3 Botes, Dog The Tommy Saga:
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'Tj ~. (1) ..,. tj o OQ ;l ,(1) VEI
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etween form and content, but also p
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Another example is figure 8, from A
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structured. Familiar sources, conte
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Some verbal comic conventions are m
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Both artists make use of a great va
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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
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
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