"Here, I thought, is a whole subcategory of vocabulary"by Sam Leith / April 12, 2017 / Leave a comment
Published in May 2017 issue of Prospect Magazine
It occurred to me the other day—being, as I am, a semi-retired comic book nerd of a certain age and a nostalgic bent—to wonder about cartoon strip sound effects. Here, I thought, is a whole subcategory of vocabulary that lives on the page in this isolated little world, but that has quietly insinuated itself into the wider culture. The locus classicus for it, I suppose, is Roy Lichtenstein’s Whaam!. In that painting you can see the moment that the comic book sound effect—with its characteristic reduplicated vowel—leaps from the newsstand to the art gallery.
But there are others. Not just the “Biff! Bam! Pow!” of early Batman comics—lovingly literalised on screen for the camp 1960s television series. For anyone who ever read Marvel comics, the word “snikt”—even on a blacked-out panel—tells you exactly what’s going on. Wolverine has popped his adamantium claws and is about to go to work on a baddie with them. “Bamf” is the sound of imploding air as Nightcrawler performs his sulphurous short-range teleportation. And “thwip,” loveliest of all the comic book noises, is the sound that Spider Man’s webs make as they whip out to yank a pistol from a goon’s hand, or fasten to a convenient flagpole for a speedy swinging getaway.
The denigration of comics as kids’ stuff seems to ignore their almost Shakespearean contribution to the language in this respect. Think of the real person who says “ptui,” or the unimpressed psychopath (Rorschach in Alan Moore’s Watchmen) who says “hf.”
Where, since Joyce at least, has there been such loving attention to onomatopoeia? And in being made uniform—Wolvie’s claws always go “s…