Text - Rhodes University

The artist only solves this problem in the next comic, Kersjnibiknjik, when he switches
to drawings with a minimum of tonal detail. He recognises what is arresting about his
presentation and expands it, until the clear spaces of silence are the body and subject of
his work. The Japanese page in Hardcore Whimzies [fig 10] is an indication of these
possibilities. The entire page is patterned in almost solid blacks and whites. Two possible
horizontal orientations, perpendicular to each other, are provided and frames flow in and
out of each other, over the gutters. This comic is design and drawing for its own sake,
with writing (acknowledged to be purely decorative) running all over the page. The style
of drawing is very much imitative of Japanese comics, and the mood, explained in
contemplative scene-setting frames, as well. The irony is that there is no plot, no scene
to be set, just a single meaningless moment of inaction, a potentiality.
Kersjnibiknjik contained only work by Sorfa and myself, the core members of Komiksoc.
The cover [fig 11] is both a parody of, and a homage to classic comic covers, yet not to
. the extent of Bitterkomix's covers, which are more studious parodies. It bears some
resemblance to Pop Art, specifically the paintings of Lichtenstein, betraying the fine art
background of the artist (myself), and some of the aspirations involved in the creation
of the comic. The face on the cover is androgynous and idealized, both qualities which
are typical of Komiksoc's work. The editorial warns readers that these are "not typical
'comic' spreads."
The first story, Baby Goth Fantasies, is one of my own. It is an essay on the
disillusionments that accompany entry into a subculture, depicted through the vehicle of
a fantasized relationship.
Each frame is separate, and each one linked to one sentence [fig 12]. The pictures'
contents are strictly illustrative, containing added detail but not really expanding on the
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