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Rue, by Sididis, begins well. The first page, certainly, is both more professional and conventional than work he did for Komiksoc. The setting is· a pop concert; Sididis always confines his subject matter to a very particular subculture, one heavily informed by comics and music. The exaggerated violence of this story is derived from mainstream comics, as is the standard layout of the first page and the action-to-action transitions throughout [fig 8]. However, as in almost all his other comics, . it deteriorates and loses intensity. The detailed drawings of the first page become sparser and sparer line drawings, which in comparison look incomplete, as if areas of black have been left out. After the carefully paced first page, narrative and explanatory detail become verbal rather than visual, a kind of shortcut. Visual explanation depends on shifts from detail to detail; this is instead telescoped into frantic speech bubbles, placed in rather spare frames [fig 9]. Fussy drawing had been a problem for Sididis in Komiksoc publications, and this is a problem he has solved. However, the most dramatic moments of the story fall flat because of insufficient drawing and a lack of emphasis. Figure 8 Sididis Rue p 1 84
Figure 9 Sididis Rue p2 (reduced) Layout is effective in conveying the action, and the composition of elements within each frame is dramatic. But in such a visually detailed cornic, composition needs to be supported by tonalities giving direction to focal points. The Fifth Arm of the Pentacle is drawn by Sididis, from a script by Paul Hewitt. It borrows from a part of pop culture known as Gothic, which is informed by fantasy and science-fiction writing, horror movies, and a particular genre of pop music, and has rules and conventions peculiar to itself. It is a very European subculture; once again Sididis is airning at a very specific audience. This is one of his more ambitious projects, combining photographs with very detailed drawing. Still a standard cornic script, and not terribly original, The Fifth Arm copies 2000AD style cornics, but with a personal sense of humour thrown in. With cartoonish exaggeration and simplification, the cornic satirises itself while unfolding. Although more completely and carefully executed, it still has all the faults of carelessness that Sididis's other work shows. The amalgamation of his personal style and his influences is not 85
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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
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3. ANALYSIS Four different groups o
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incomprehensible passages are incom
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positive shapes, even or especially
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3.2. KOMIKSOC The confessional aspe
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,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 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 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
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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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