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of the text, which is the reason for correspondence between frame and phrase taking precedence over close frame-to-frame transitions. This is a very rudimentary comic, which uses only a limited number of standard comic tools, and links between verbal and visual are easily seen. The visual aspects of a comic are its grammar, in as strict and controlled a sense as the grammar of a written text. The structure of the comic is not just aesthetic; it serves a very mechanical function, enabling clarity of expression. The comic shows restraint: the drawings are almost over-literal, and yet the overall view is oblique. No blood is shown, although the script begs it at one point. In fact nothing specific is shown. Teargas Me and I reveals a few more of Sorfa's influences, as this story partakes of a science-fiction genre known as cyberpunk. The leading female character is similar to the heroines of Love and Rockets [Hernandez). 1987] and Tankgirl [Hewlitt, Martin, 1989], both very influential to all the Komiksoc artists. Knowledge of Japanese comics was apparent in his earlier comics, and here a simplified drawing style allows him to develop idealised, cartoon-like characters, without the idiosyncracies of feature so beloved of Bitterkomix. This occurs at almost the same time as a similar tendency appears in my own work, also a result of a search for clear and concise expression. Sorfa frequently uses blank backgrounds: only the essential components of the story are shown clearly, with no amplification and no symbolism, merely illustration. The style is reminiscent of the photographic simplificaton of Love and Rockets. It is a linear rather than a tonal style, with little background detail. When he does depict backgrounds, the frames become confusing. Details essential to the plot (in this case the throwing of a 46
Bun OFF! You SIlJ.'Y NOSEY SLAG! i " ( \ . Figure 14SonaIT~ea~r~ga~s~~~ Me and r p2 47
Page 1 and 2: A CRITICAL ANALYSIS OF SOUTH AFRICA
Page 3 and 4: dialect differs from the language o
Page 5 and 6: "Does he paint? He fain would write
Page 7 and 8: 1. INTRODUCTION What I am attemptin
Page 9 and 10: existence ... until food gets short
Page 11 and 12: is making comics respectable in the
Page 13 and 14: Most of these comics are produced a
Page 15 and 16: 2. DEFINITIONS AND TERMINOLOGY The
Page 17 and 18: In addition, extraverbal sounds, or
Page 19 and 20: The decision as to whether visual l
Page 21 and 22: For the first two decades of the tw
Page 23 and 24: Wertham's book The Seduction of the
Page 25 and 26: Undergrounds were amoral, sexual, s
Page 27 and 28: coalesced into comics intended for
Page 29 and 30: 3. ANALYSIS Four different groups o
Page 31 and 32: incomprehensible passages are incom
Page 33 and 34: positive shapes, even or especially
Page 35 and 36: 3.2. KOMIKSOC The confessional aspe
Page 37 and 38: ,0 ::l£~) \e B . f"'CM P'!~t .....
Page 39: Figure 2 Franklin After the Plagues
Page 42 and 43: Sididis's Tripping uses comic conve
Page 44 and 45: example of how the appearance of a
Page 46 and 47: M\..I.A i H !lVIE ou~ rut", """" ""
Page 48 and 49: The artist only solves this problem
Page 50 and 51: text. Yet the frames function in su
Page 54 and 55: omb) are lost in an attempt at pers
Page 56 and 57: a single emotion, depicting various
Page 58 and 59: Figure 19 Breytenbach Eddie Jumped
Page 60 and 61: Content is sometimes allowed to esc
Page 62 and 63: Sorfa's technique saves, lives up t
Page 64 and 65: Figure 23 Casey Showcase: Item 1 pI
Page 66 and 67: Two people, a scriptwriter and an a
Page 68 and 69: Sorfa's collaboration with scriptwr
Page 70 and 71: Casey's understanding of blacks and
Page 72 and 73: From the whimsical, poetic scripts
Page 74 and 75: This same regularity forces pace to
Page 76 and 77: In previous comics, my 'visual writ
Page 78 and 79: 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 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
Page 168:
Thames and Hudson. NEAL, C. 1987. T
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