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From the whimsical, poetic scripts written by Loewenthal and Mitchell, Sorfa learns to play with language. His script does not obey the rules Gf grammar or spelling. Instead, the text reflects the confusion and surrealism of the drawings, where strange beings exist, and rules of perspective are warped (without being abandoned) [Fig 30]. Language has been stretched in order to express the nature of the speaker beyond mere characterisation. Lettering and spelling contextualise the narrator beyond what meaning alone can do. Figure 30 Sorfa Van Newman's Hot Coklit Cainder pi Transitions and action are managed and narrated visually because the comic is conceived visually. Blacks and whites are manipulated in such a way that the drawing often looks more like writing or signs than pictures. The drawings are equivalent in their evolution to the text: they are close to conventional reality, but mixed with comic conventions, and taken further on their own terms. Eventually the whole comic no longer works by rules other than its own. Elements in the story do not have to look like anything other than that they belong to the comic. Language makes sense in the same way. With sophisticated 66
simplicity, Sorfa creates a completely self-referential universe. In previous comics, trying to draw realistically interfered with the fluidity of the· plot. He gives up photographic detail in order to concentrate on essentials, and finds a new style. In the same way, by exaggerating a former fault, namely the untidiness of his lettering, a new style of lettering more suitable to his work is created. All this adds up to an exuberant, almost rubbery comic. Even the frame borders are irregular and flexible, yet solid. Small fluffy animals, so beloved of detractors of comics, are inserted into the story, breaking it up into sections or episodes and controlling its pace [Fig 31]. They are cartoons in themselves, separate from the story, slotted into empty spaces and margins. Their ostensible purpose is comic relief: lightening the tone, providing interruptions. Yet they also reinforce the reality of the comic. The style is not restricted to this particular comic; a whole world of similar characters exists outside of it. &Ol
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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
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 70 and 71: Casey's understanding of blacks and
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
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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
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The second episode of Missileman, b
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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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