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seems to pick out elements, without explaining their context [figs 10, 11). The result is an abbreviated version of the genre. The plot then turns into a standard action sequence, its structure derived from film or comics. It is scrappily drawn, but the timing is conventionally arranged, which facilitates comprehension. In creating a fantasy comic, Sididis draws on both fantasy and comic conventions, producing an amalgamation of the two genres. Looking Forward to Death, by Donn Ingle, is a completely derivative script, also relying on 2000 AD science-fiction for inspiration. Excessive violence seems to be obligatory in these cloned comics: either the comics are an excuse to draw violence, or this violence is necessary to the appearance of a 'proper' comic. Figure 12 Ingle Looking Forward to Death p2 The artist appears to be familiar with some comic conventions. Tonalities and layout are skilfully manipulated, and frame sizes change according to the pace of the narrative. 88
Speech bubbles and text boxes are not as awkwardly placed and lettered as they usually are in amateur comics. Motion lines, however, are overly decorative, inhibiting their function [fig 12]. In all, this strip is remarkable only in its accurate duplication of a commercial comic. Out of my Mind's Eye, by Donn Ingle, features the lead singer of a band as a guardian angel come to help a boy defend himself against bullies. It is a fantasy of revenge, and this time the extremes of violence serve a purpose, creating an escapist world of superheroes with superpowers who are able to exact this revenge. The depiction of violence has a kind of black humour to it, because it is an indication of the extent of the small child's victory over his persecutors. Inserting a superhero dynamic into a realistic situation, and transforming a reallife hero, the singer, into a superhero, explains and tempers the borrowings from commercial comics. Such copying often takes itself very seriously, becoming the most significant aspect of the comic and leaving little space for any personal expression, or even a sense of humour. Figure 13 Ingle Out of my Mind's Eye p2 89
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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 .....
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Figure 2 Franklin After the Plagues
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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 90 and 91: Rue, by Sididis, begins well. The f
Page 92 and 93: completely resolved. Possibly his p
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
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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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