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Casey's understanding of blacks and whites clears up Sididis's drawing, while his pencilling gives her work greater liveliness than before. In effect, she edits his work, giving greater prominence to some things than others. While Bitterkomix and Morai's work seem to be aspects or episodes of the same world, admittedly the world particular to each artist, Komiksoc's artists are more experimental, choosing the style to suit the theme. Sometimes changes are radical, like Sorfa's change in style in Van Newman's Hot Coklit Cainder. While the permanent artists struggle to develop and maintain a style, their style is seldom the subject of their stories, as Bitterkomix's sometimes dense one-pagers are. The thread of unintelligibility running through his work became more marked when Sorfa started illustrating other writers' scripts, producing a surreal, poetic, closed world. Paradoxically, the more cartoon-like his characters and the more surreal his scripts become, the more real and controlled his stories become. Van Newman's Hot Coklit Cainder is the comic in which Sorfa finally finds his own style, one that suits his haphazard scripts. It is the most successful love story produced by Komiksoc, poignant and funny. The artist is no longer reliant on outside reality; the comic has it's own world. Almost mythological in scope and approach, its characters are fantastical creatures that are treated as if they are real. This development is partly due to his knowledge of comics, and the idea that 'anything can happen', as the comic's reality is extended to include more possibilities than before. A moody atmosphere is created through judicious use of blacks and whites, and only essential details are used to contextualise the story [Fig 28]. The lessons learned in Amor:phous Picknick are strengthened. The characters belong 64
completely to the background, and to the environment. Instead of the background still containing references to and being bound by reality, it has the same substance as the cartoon characters. Furthermore, giving up all photographic realism allows Sorfa to use extra-verbal signs: the glowing heart, the cainder cracking open [Fig 29]. Figure 28 Sorfa Van Newman's Hot Coklit Cainder p2 - ••. U~fUw Figure 29 Sorfa Van Newman's Hot Coklit Cainder p4 65
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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
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 52 and 53: of the text, which is the reason fo
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 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
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The transitions between panels are
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simply by its silence and inexplica
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Figure 22 Botes Die Mens 118
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Verdwaalde Harte [fig 23J, also by
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Figure 27 Dog, Winterbach Rewerie p
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In Die Hero van die Bitch [fig 29],
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draws the reader's attention to the
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Figure 32 Bates Siembamba 128
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The Proverbs are selected and reint
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In Klapmuts Polisie Slaan Toe, Bote
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Ina van Zyl is more concerned with
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I ROSIE is NUUT deur Ina van ;Zyl I
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M y DEliO !r1OTHER H I..4NG UP I LE
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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
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coincides with the appearance of th
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closeup, then pulls away to explain
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stories in issue 1 are in English,
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4. CONCLUSION The comics are all pr
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The most common genres (my definiti
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the first generation whose world is
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ways of creating this entrance poin
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S. BIBLIOGRAPHY BARKER, M. 1989. Co
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Thames and Hudson. NEAL, C. 1987. T
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