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<strong>Text</strong> shifts between narrative, speech or soundeffect functions, without visual cues as to these functions, thus further destabilising the structure of the comic. Interest is added to the comic at the expense of clarity. An overall flatness is created by background and foreground vying for attention; characters do not exist within an environment but are placed on top of decoration. This reduces them almost to the substance of similar decoration [fig 36]. /I lIlt/iY !VICE 130r ~~--------~~ro~~ Figure 36 Breytenbach Nothing in Common pI (reduced) The links between frames are tenuous,and they become a varied series of pictures. Nothing in Common looks like a comic, but does not behave like one. Sorfa's one-pager Total Disintegration of A is a personal joke, as already mentioned [see fig 1]. It is notable because he combines the two styles favoured by Komiksoc: traditional action-to-action frames on the righthand side of the page, and on the lefthand side, drawing with comments. The Killing of Bunion would be more surreal to an outsider than to the people involved. But part of the ethos of underground comics is the celebration of the personal over fantasy, producing work about a community for consumption by that community, however small it is. The characters are cartoons of real people [fig 37]; my characters, although 74
cartoonish, all look very similar. Sorfa tries to inject surreality into the real world. Figure 37 Sorfa The Killing of Bunion Sorfa's Spiders is again produced from one of Mitchell's scripts, with it's whimsical, playful and inventive use of language. The script uses real people, not cartoon characters, so a balance has to be found between cartooning and a more photographic approach. Sorfa's solution lies in the idiosyncracy of his drawing style, which allows him leeway to use more cartoonish and exaggerated methods of depiction than a realistic approach would [fig 38]. Because it is consistent throughout, it becomes the character's reality [fig 39]. Anything is possible; they aquire the solidity of photographically realised characters, because they are consistent with their environment. This is a solution to a particular problem that has plagued Sorfa's cornics since he started simplifying his drawing. The only choices were plagiarism of a complete style, or development of his own. 75
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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
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 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 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],
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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
Page 156 and 157:
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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