Wild Horse Summer (1974)

Sample images

Wild Horse Summer pg 1

Wild Horse Summer pg 2
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Wild Horse Summer pg 3
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Publication: 3 August 1974 – 30 November 1974 (18 episodes)
Artist: Unknown (same as Gwen’s Stolen Glory)
Writer: Unknown (but see Thoughts)

Translation/reprints: Translated into Dutch as ‘De zomer van het witte paard’ (in: Tina 1976, Tina Topstrip 15 (1980)). Translated into Indonesian as ‘Elvira misteri kuda putih’

Synopsis

We first meet Daphne in the orphanage that she has been consigned to since the death of her parents in the car crash that also left her unable to speak. She clearly loves all sorts of animals – she finds some field mice and her immediate thought is that they are really sweet and she wonders if she could tame them as pets. She herself is pretty wild though – when the cook finds the mice and is about to splifficate them, Daphne’s resort is to attack and bite the poor woman. Well, she can’t argue rationally with anyone, but additionally everyone in the orphanage seems to have written Daphne off as a daftie who has strange ideas and is not to be trusted.

Nor does anyone in the orphanage empathise with her in other ways. Even when she writes it down as a heartfelt plea, she is not allowed to miss the road journey to the farm that is proposed as a holiday trip – even though such a journey is bound to bring back memories of the day her parents were killed.

At the farm however she makes friends with a wild horse. Unfortunately this is a horse that everyone has been told to keep away from, as it’s ‘best left alone’ – rather like Daphne herself, I suppose. Again and again the misunderstanding by the authorities who are looking after this girl are clearly signalled – she is still shocked after the journey but the matron thinks she is avoiding doing her share, or mooning about. And the matron doesn’t really do her job properly in other ways – in telling the other girls not to go near the wild horse she doesn’t check that Daphne had heard or understood, which could have been a fatal error. She also asks her daughter Eileen, arrived to share the holiday, to befriend Daphne – and Eileen clearly shares her mother’s lack of tact, talking loudly to Daphne as if she was stupid rather than simply unable to speak.

The matron continues in this vein, taking Daphne into town by car despite her clear fear of this mode of travel; Daphne rebels and walks back by herself, but this backfires when she gets lost in the moorland with night coming on. The white horse that everyone else was warned about comes to comfort and help her, and she is charmed and delighted by the mare rather than being frightened (because she didn’t hear or listen to the earlier warning). Daphne is led back to the farm by the horse and manages to make more time to spend together after that – each lonely creature being the other’s only friend. Of course it doesn’t take long for the other kids to find out – they throw stones at the horse they believe to be dangerous, and of course Daphne can’t speak to tell them that she is friends with the mare.

The matron is fed up of Daphne sneaking off and assigns her daughter Eileen to make friends with the girl and to keep an eye on her – not that Daphne is fooled. Especially as Eileen thinks she is so clever, training to be a nurse and having an interesting case to study right in front of her! Daphne rebels, cheekily writing in Eileen’s set of notes that she needs to take ‘more care … over simple spelling.. very untidy writing…’. After initial crossness, Eileen laughs heartily and takes Daphne more seriously, opening up the possibility of real friendship between the two – but of course Daphne still has the secret of the horse to keep.

It’s not a secret for ever – Eileen finds the bridle that Daphne has been using to ride the mare, and has a dilemma of her own. If she gives away the secret then she knows Daphne will never forgive her, and if she doesn’t, then she’s afraid the white mare may turn dangerous and even kill Daphne one day. What should she do? The secret is clearly not going to last for long. Eileen tells Daphne her fears, which is at least rather more grown-up than just telling the authorities – and the warning seems to be borne out when the mare throws Daphne for no very obvious reason. Is the horse turning wild and unsteady again?

The story of the horse and the girl are clear parallels – the reason the horse seemed wild and unreliable was because of the bad experiences she had that led her to grow wild in the first place. Daphne’s hair style had reminded the horse of that time, which is why she was thrown. But the two couldn’t stay away from each other for long. When they next met they rode together for joy – into dangerous bog! Daphne is saved by the mare’s actions and wants to save her in turn – which means revealing the secret. Unfortunately, it is to the last person in the area who will take it well – she has to tell Jem, the farmhand who bears the most of a grudge against the mare, from when she broke his arm in a frenzy. He thinks the mare is dangerous and vicious, and is more likely to kill her than save her!

Because Daphne is willing to go into the bog after the horse, and drown alongside the mare if need be, Jed is forced to save the horse – but takes his gun out later to kill her after all, now he knows where she is. Of course Daphne can’t leave it like that, so she sneaks out after midnight to save the mare, which she does by hiding her in an abandoned mine – little knowing that this is just another danger. This time it is a danger for Daphne herself, who falls down a hole and cannot even scream to let people know she is there. The mare knows, but how can she bring help? Only by exposing herself to danger, which she does – she brings the farmer and Eileen to rescue Daphne. Many people in the farm now realise the horse is not dangerous after all, and are willing to rehabilitate it – but not Jed (as can be seen in the penultimate episode above). He drives the horse away and shoots at it, to make it seem as if the horse went wild again and needed a mercy-killing – but Daphne gets in the way and is shot instead.

Of course this is the denouement that leads to great remorse on Jed’s part – he carries Daphne into the farmhouse where she is nursed back to health, and leaves the farm in disgrace thereafter. The shock of the injury gives Daphne her voice back (in that way that happens in comics) and everything else ends happily – the mare will be kept by the farmer, Daphne will be understood by the people surrounding her, Eileen nurses her back to health, and the mare is given a fitting new name (Hope). In the last two panels, similarly to the sort of vindication seen at the end of “Slave of Form 3B“, Eileen even offers Daphne a bright new future – “Being dumb has given you a lot of patience and understanding, Daphne. You’d make a wonderful nurse! Mum says when you’re old enough, you could train along with me!” “Oh Eileen! I’d love to!”

Thoughts

The unknown artist (who also worked on “Gwen’s Stolen Glory”) does a lovely job once again. These were the only two Jinty stories that s/he drew: if anyone knows of any stories by this artist in other story papers, please do let me know. Many of the episodes are very clear and open in feel, with a lot of white space used for hair and other details that might well be completed in darker textures by other artists. This artist reserves that for scenes like the one in the sample pages – taking place by night, and with potentially deadly outcomes. It makes for a story drawn with a lot of nuance and variety.

The writer is also unknown. We understand that often the same writer and artist were paired up repeatedly, and Alan Davidson is known to have written “Gwen’s Stolen Glory” – could he therefore have written this story too? Hopefully his wife Pat would be able to confirm or deny this at some point, but against this suggestion we should set the point that “Jackie’s Two Lives” ran at the same time as this story. It was not unknown for writers to have two or even more stories running at the same time, but nor was it that usual.

Pat Mills is also known to have written at least one horse story in Jinty, and he has declined to specify which one (giving the impression that he was a bit unimpressed in retrospect with that particular story). This is actually a rather good story – tight and dramatic, if more low-key than some other Jinty stories with supernatural goings-on or scenery-chewing villains. It’s not the sort of thing that I would expect Pat Mills to have any particular reason to disown – the protagonist is hard-done-by by the authorities and has to make her own way in life. She takes no guff, and this is not a particularly daft story or over-the-top in any way. It could still be the missing Mills horse story, but I take leave to doubt it.

Girl and Tammy 25 August 1984

Girl cover 25 August 1984

  • The Return of Splat! (photo story) – first episode
  • Animal Poem – competition
  • Olly Decides! (artist Trini Tinturé) – complete story
  • Let’s Go Pop! Regular feature
  • The Kitty Café Cats – cartoon (artist Joe Collins)
  • Wham Pinup – feature
  • Village of Shame (photo story)
  • Patty’s World (artist Purita Campos, writer Phillip Douglas)
  • The Final Curtain (photo story) – last episode
  • Help Me! – problem page

We continue exploring the context of Jinty’s family tree with Girl. IPC published Girl from 14 February 1981 to 1990. Later IPC published the Best of Girl Monthly, which reprinted stories from the original comic.

This was the second series called Girl; the first was a comic that ran from 1951 to 1964. Another photo story/picture story comic, Dreamer, merged with Girl in 1982. Tammy was scheduled to merge with Girl in 1984 but was instead dropped after a strike, leaving her stories unfinished. None of the Tammy stories carried on in Girl. Only the Tammy logo made it, mysteriously appearing on Girl’s cover (as is the case here), some time after Tammy disappeared with no explanation. It appears about the time Tammy was originally scheduled to be cancelled, so it was probably meant as a token gesture. All the same, Girl readers must have been puzzled by the sudden appearance of the Tammy logo. In 1990, Girl merged into My Guy.

Note: As Tammy came out Monday and Girl Thursday, my theory is that Tammy, being originally meant to be cancelled in late August, was set for cancellation 22 August and readers instructed to pick up the week’s issue of Girl on Thursday 25 August.

Girl II was largely a photo story comic, but always included two picture stories. One was the regular, “Patty’s World”, which made its way into Girl after going through several other titles. The other picture story was a serial or complete story. The photo stories were in black-and-white. Strips included “Nine to Four” (written by Pat Mills), “The Haunting of Uncle Gideon”, “No Mother for Marty”, “The Pink Flamingo”, “Slaves of the Nightmare Factory”, “The Evil Mirror”, “Wish of a Witch”, “The Runaway Bridesmaid”, “The Perfect Pest” and “To Catch a Thief”.

Most of the photo stories were about school, boyfriends, horse riders, gymnasts, theatre and ballerinas. But some photo stories did have a supernatural theme, such as “Wish of a Witch”, where a girl is given a ring that can grant seven wishes. But she gets greedy and also wastes several wishes because she is not using the power thoughtfully. “Splat” and its sequel, which starts in this issue, are among the few Girl photo stories to delve into science fiction. Occasionally the photo stories used the theme of tortured and abused heroines as well. One, “Slaves of the Nightmare Factory”, was about a racket where girls are abducted and used as slave labour in a dress factory – in the 1980s.

The early Girl annuals are noteworthy in that they reprinted serials from Tammy, Jinty and Misty. These include “Tricia’s Tragedy”, “Secret of the Skulls” and “Journey into Fear…” – which was a badly abridged reprint, with about half of the material cut out. The annual would have done better to use a shorter serial or one that lent itself more readily to abridging.

And now we turn to the issue that has been chosen to represent Girl. In this issue, we see the start of a sequel to an earlier Girl story, “Splat!”, about a space alien. Splat returns in response to a call for help from his Earth friend Wendy. But another alien has landed too. Is it friend or foe?

It is the final episode of “The Final Curtain”. It is the final curtain in more ways than one because Julian Berridge, who has been giving Sherry Martin acting lessons, dies on stage after helping her give the performance of her life.

In “Village of Shame” the Walker family are on holiday at a fishing village – only to find it mysteriously empty. Except for some bank robbers who are now holding them hostage! But the bank robbers could be in trouble too if there is some supernatural force responsible for the empty village. And it’s not much of a holiday for Patty either – she has discovered the holiday chalet her family booked got destroyed in a cliff collapse! And the place they do end up in delivers another whammy – Patty’s arch enemy Doreen Snyder is there too!

“Olly Decides!” is a complete story, where a dog has to end up choosing between the girl who has taken him over and loves him, and his previous owners who have suddenly turned up to claim him.

References

http://ukcomics.wikia.com/wiki/Girl_(1981-1990)

http://britishcomics.wikia.com/wiki/Patty’s_World

http://britishcomics.wikia.com/wiki/Girl_(IPC)

 

Dreamer 17 October 1981

Dreamer cover

  • My Strange Sister (photo story)
  • Shari King – Shark Girl (artist Juliana Buch)
  • Dawn Dreamer (cartoon)
  • Rose Among Thorns (photo story)
  • Cliff Richards – pinup
  • Pattern Printing – feature
  • Ugly Duckling (artist Santiago Hernandez)
  • Dog-in-the-Middle (photo story)
  • The Silver Ballerina (artist Eduardo Feito)
  • Who Stole Samantha? (photo story, writer Alison Christie Fitt)
  • Shower Power! (feature)

Like Girl, Dreamer was a 1980s IPC title that was a blend of photo stories and picture stories, and the blend seemed to be more balanced than in her sister comic Girl, which consisted of mostly photo stories. Dreamer was probably inspired by the popularity of Girl, a title that lasted nine years. However, Dreamer proved to be another short-lived title. It lasted 35 issues, from 19th September 1981 to 15th May 1982. It then merged with Girl.

We are privileged to know the writer of “Who Stole Samantha?”. Alison Christie Fitt, who has been credited more often with emotional stories, is writing a detective story here. Cheryl Homes (not Holmes!) is investigating who stole her sister’s doll, Samantha. She has to check six suspects and it is a race against time because little sister is pining for Samantha so badly that she refuses to eat.

“My Strange Sister” is also a mystery story. Joanne, who has been wheelchair-bound since an accident, is noticing her sister Eve is acting very strangely all of a sudden and sets out to discover why. But that wheelchair could be a handicap to investigations.

A ballet story is always a guarantee in a first lineup, and in this case it is “The Silver Ballerina”, about two girls who accidentally had their identities switched as babies and haven’t a clue until the power of the silver ballerina bracelet begins to reveal itself. Eduardo Feito demonstrates that he can draw beautiful ballet, and it is a pity he wasn’t called upon more regularly to draw ballet stories.

“Rose Among Thorns” is the school story. Rose is having trouble settling in at her new school and crossing a lot of bullies. And snooty old Mum nearly breaks up the only friendship Rose has there because the girl is not good enough for her. A dog is causing problems with another friendship in “Dog-in-the-Middle” where two friends start falling out over who should own the dog.

Our shark girl is a real cheat who has cheated all her way to team captain. Now she’s got her swimming team cheating against other schools. No doubt readers are reading on to see how her comeuppance shapes up. Meanwhile Sandra Swann is dubbed “Ugly Duckling” and trying to turn herself into a swan by learning to skate. It would do her well to take more care with her appearance too.

 

 

Princess (series 2) #4, 15 October 1983

Princess cover 1

  • Ring of Feathers (artist Santiago Hernandez)
  • Mr Evans the Talking Rabbit (photo story)
  • Their Darling Daughter (artist Bert Hill)
  • Miranda’s Magic Dragon (artist Carlos Freixas)
  • Stairway to the Stars (photo story)
  • The Incredible Shrinking Girl! (artist Hugh Thornton-Jones)
  • The Princess Diana Story – Feature
  • Sadie-in-Waiting (artist Joe Collins)
  • Princess Diana Pin-up – Feature

Here we continue the theme of more context around Jinty’s family tree at IPC. As I do not have #1, I present #4, which is the earliest issue in my collection, to represent Princess.

Princess (not to be confused with the 1960s Princess, later called Princess Tina) ran from 24 September 1983 to 31 March 1984, and then it merged into Tammy on 7 April 1984. It was riding on the popularity of Princess Diana, and included pinups of Diana and the story of Diana’s life. It lasted for 28 issues and, unusually for IPC girls’ titles, numbered its issues. Up until #18 it had a lot of colour pages and two photo stories, one in black-and-white and the other in colour. But it had fewer pages than Tammy, which was printed on cheaper newsprint than Princess. From #19 Princess dropped the photo stories and colour pages and switched to the same newsprint, format and number of pages as Tammy. This is similar to the pattern that Penny followed three years earlier before it merged into Jinty.

Princess also reprinted several serials from Tammy and Jinty: “Horse from the Sea”, “Stefa’s Heart of Stone” (completed in the merge with Tammy), “Rowena of the Doves” and “The Dream House”. These changes and reprints are signs that Princess was not doing well. Ironically, the reprints in Princess enabled some original Jinty artwork to survive the cavalier manner in which IPC handled original artwork.

Princess stories were not particularly memorable or well remembered, and some only lasted a few episodes. One, “The Incredible Shrinking Girl!”, looks like it is on its penultimate episode, and it is only #4.

Other Princess stories were a bit unconventional, such as the photo story “Mr Evans the Talking Rabbit”. Mr Evans has turned himself into a rabbit after messing around with a magic book. Unfortunately the change has not improved his disagreeable character and he is still the “miserable old so-and-so” that his wife does not miss one bit. Nonetheless, Jenny Andrews continues to help him find the book and change back – trouble is, the book has been sold and they need to track it down. This is the colour photo story, which makes it stand out more.

The black-and-white photo story, “Stairway to the Stars”, is a bit of a mix between a soap opera and a serial at a stage school. Right now, the school is now being threatened with closure, just because one mother (who unfortunately has influence with the council) thinks it is not doing anything for her daughter and would rather close the school down than have people think her daughter is a failure. She does not realise her daughter was doing badly on purpose because she wanted to be taken away.

“Their Darling Daughter” comes from the long line of stories where a spiteful schemer tries to get rid of a foster girl/cousin. In this case it is a housekeeper in an aristocratic household, who idolises the parents’ late daughter and does not want foster-girl Sylvie taking her place. Unusually for this type of serial the victim has an ally – her dog!

“Ring of Feathers” is the abusive guardian story, except that heroine Cheryl Gibson does not fully realise how cruel her Uncle John is. Her mother does, though – Uncle John makes her work like a slave for hardly any money and now he has started hitting her. Meanwhile, Cheryl is given a ring that gives her strange powers with birds. We eagerly wait to see how that is going to work against nasty Uncle John.

In “Miranda’s Magic Dragon”, Merlin’s granddaughter Miranda has travelled in time to 1983 to escape the evil sorcerer Mordac. There she makes friends, and also an enemy out of greedy Paula, who has stolen her magic pendant. This could get Paula into an awful lot of trouble with Mordac, who is after it too. But where’s the dragon? It’s the emblem on the magic pendant.

“Sadie-in-Waiting” is the resident cartoon strip and would carry on in the merger, replacing Tammy’s Joe Collins strip “The Crayzees”. As with Molly Mills, it is a maid vs. a devious butler, but played for weekly laughs.

 

Sandie 25 March 1972

Sandie 25 March 1972.png

  • No-one Cheers for Norah (artist John Armstrong)
  • Odd Mann Out (artist A.E. Allen)
  • Brenda’s Brownies – cartoon strip (artist unknown)
  • Anna’s Forbidden Friend (artist Miguel Quesada)
  • The School of No Escape (unknown artist – Merry)
  • Our Big Secret (artist Jim Baikie)
  • Not So Lady-like Lucy (artist unknown)
  • Wee Sue (artist unknown)
  • Wendy the Witch – cartoon strip (artist unknown)
  • Sandra Must Dance (artist Douglas Perry)
  • Bonnie’s Butler (artist Richard Neillands)
  • Silver is a Star (artist Eduardo Feito)

Sandie ran from 12th February 1972 to 10th October 1973 and was edited by John Wagner. She then merged with Tammy, bringing “Jeannie and Her Uncle Meanie” and, more importantly, “Wee Sue”, who would last in Tammy until 1982.

I do not have the first issue of Sandie, so the seventh is presented to represent some Sandie context in Jinty’s family tree. The content of Sandie feels closer to that of the early Jinty than the early Tammy, which was more into dark tales of cruelty, abuse, exploitation and slavery. Sandie did have her share of such tales, but there was more of a blend with other types of serials. She did not have the heavy emphasis on science fiction and fantasy that Sally had either.

Tammy readers would be surprised to see how Wee Sue looked when she first began in Sandie, for her strip bears little resemblance to its premise in Tammy. Here it was not played for light relief and did not use a “story of the week” format where Sue’s famous big brains would come up with ways to get out of various scrapes, being the bane of the bullying Miss Bigger, or sort out someone’s problem. She does not attend Milltown Comprehensive and there is no Miss Bigger at all. Instead, her strip looks more like a serial, and she is a scholarship girl at exclusive Backhurst Academy, which has emphasis on sport. But it is facing closure, so Sue is trying to come up with a way to save it.

“No-one Cheers for Norah” has such a similar premise to Jinty’s “Toni on Trial” that there has been speculation that it was the same writer. Similar to Toni, Norah Day’s father was accused of theft at a sports event years ago; the scandal just refuses to go away and the stigma is now threatening Norah’s own career in the same sport. And both girls have to contend with a scheming, jealous rival as well. But Norah’s story has a tighter plotting than Toni’s; it is resolved in 12 episodes as compared to Toni’s 21, and the resolution is far more action-packed. It may also be the same writer as Jinty’s “Tricia’s Tragedy” as both serials climax with a do-or-die swimming race against a spiteful cousin, who gets roundly booed off for her conduct afterwards.

In “Odd Mann Out”, Susie Mann leads the resistance against the tyrannical administration at her school. The tyranny is not as over the top as in some stories with a dictatorial school (say “The Four Friends at Spartan School” from Tammy), which is quite refreshing. “The School of No Escape” has a school falling under a more mysterious form of oppressive administration – pupils mysteriously disappearing and then turning up in hooded robes and looking like they’ve been brainwashed or hypnotised.

“Anna’s Forbidden Friend” is a poor girl befriends rich girl story. But the threat is not so much from the rich father but his manager, who is conducting unscrupulous evictions. In “Our Big Secret”, the threat to a friendship comes from a Mum who won’t allow dogs, so Poppy Mason has to keep her new dog Pedro secret. This leads to hijinks, such as Pedro unwittingly starting a ghost hunt in this issue.

Aristocracy also features in a few strips. In “Not So Lady-like Lucy” it’s hijinks My Fair Lady style. In “Little Lady Nobody” it’s an evil squire out to cheat his niece out of her inheritance and even – shades of “Slaves of ‘War Orphan Farm’” – make her work in a quarry! It’s even the same artist. Is that coincidence or what? And in “Bonnie’s Butler”, life gets more interesting for Bonnie Belthorp when she inherits a butler called Greston.

There just has to be a ballet story, and in this case it is “Sandra Must Dance”. Sandra can only dance through a psychic bond with her twin sister. Not the best way to be assured of a secure career, as the twins begin to discover in this episode. And now a jealous rival has worked out the secret too.

Eduardo Feito was a popular choice for drawing horse stories, especially ones that feature show jumping. “Silver is a Star” here is no exception.

And of course there are regular cartoon strips. In the case of Sandie it’s “Brenda’s Brownies” and “Wendy the Witch”.

 

Sally 21 June 1969

Sally 21 June 1961

  • Farm Boss Fanny (artist unknown)
  • The Cat Girl (artist Giorgio Giorgetti)
  • Little Lulu – cartoon strip
  • Legion of Super-Slaves (artist unknown)
  • The Castle Kids and the Very Important Cow (artist unknown)
  • The Girl from Tomorrow (artist unknown)
  • Des and Dink – cartoon strip
  • Tiny Tania in Space (artist Rodrigo Comos?)
  • Daddy Come Home (artist unknown)
  • Maisie’s Magic Eye (artist unknown, but later drawn by Robert MacGillivray)
  • The Justice of Justine (artist unknown, but later drawn by Mike Noble)
  • Thunk – cartoon strip
  • Four on the Road (artist unknown)

Sally began on 14 June 1969. She started off with a strong emphasis on adventure, fantasy, SF and super-heroine stories. Later some of these elements gave way to more traditional stories on orphans and ballet. Memorable strips included “Maisie’s Magic Eye” and “Cat Girl”, both of which would be absorbed into Tammy. Sally merged with Tammy on 2 April 1971, making her the first of six titles that would be absorbed by Tammy during her 13-year run.

The merger was unusual in that Sally was older than Tammy, which had barely been out two months before swallowing Sally. Tammy hadn’t even finished all the stories from her first issue yet! This is a complete reversal of the usual pattern in which the older comic absorbs the newer one, very often a fledgling that has not proven profitable enough to last. It is thought that Sally had taken a bad hit in her sales due to a long absence from a 10-week strike, whereas the new Tammy was booming. Ironically, Sally is now enjoying a whole new status as a collector’s item and her issues command high prices.

I do not have the first issue of Sally, so I present the second (nice budgies, anyway!) to represent some Sally context in Jinty’s family tree at IPC.

Sally has two stories where kids go up against grasping schemers, and the antics have comical overtones. The first is “Farm Boss Fanny”, where Fanny locks horns with Gerald Garlick, who is out to buy her farm. The other is “The Castle Kids and the Very Important Cow”. Susan Porter and friends – which include a cow they rescued – help Mr and Mrs Lemington from being unfairly evicted from the castle by barricading it. But what’s so important about the cow? Ask the two men who are out to get their hands on it.

SF strips are both serious and comic. On the humour side is “Thunk”, a dog-like alien who has made friends with Penny Jones. “The Girl from Tomorrow” is more serious: a 23rd century girl has landed in 1969 after messing about with her uncle’s time machine, and is now on the run with a reformed pickpocket. Another is “Tiny Tania in Space”, who has permitted herself to be miniaturised and taken to an alien planet in order to escape an abusive guardian – only to find the alien is putting her on show at a science conference! But others howl in protest and one is out to rescue Tania. We are told that Tania will return to normal proportions next week, so should the title really have included the “tiny” bit if Tania was only to be miniaturised for three episodes? Finally, there is “Legion of Super-Slaves”. Sounds like some sort of super-hero thing gone wrong? Something is definitely wrong with the mind of “The Grand Termite” if he kidnaps girls to be used in a slave colony called “The Ants”, and they are only allowed to join if they survive his deadly tests!

The super-heroine theme is high as well. The most memorable is “The Cat Girl”, where Cathy gains cat-like super-powers after donning a magic cat suit and sets out to help her PI father, who is currently running up against his arch-enemy, The Eagle. Cat Girl would be one of two Sally strips to go into the merger. The other super-heroine, “The Justice of Justine”, proved less durable and was eventually dropped. Justine is given magic items that turn her into a super-heroine, including a magic mirror that tells her where she is needed each week.

The other Sally story to go into Tammy was “Maisie’s Magic Eye”. Maisie Macrae has acquired a magic brooch fashioned from a piece of meteorite. At this stage the brooch has hypnotic powers; whenever it glows, it makes people do whatever Maisie tells them. Trouble is, the brooch doesn’t glow all the time and its power tends to cut out at the worst possible moment. Later the brooch would have powers to make anything Maisie says come true, such as transforming two difficult teachers into Romeo and Juliet. Trouble is, it can also do the same with things Maisie says in the heat of the moment, such as calling her friend Lorna an ignoramus.

There are two non-super heroine stories as well. “Daddy Come Home” is a World War II story where evacuees find themselves put into a cruel home with Mrs Grimble, who mistreats her dog as well and the children set out to save it. The other is “Four on the Road”, where two Italian children are told to take two dogs to a rich American in Naples. It sounds like a pretty odd assignment. But there must be a reason for it, which will no doubt be revealed in due course. This story, by the way, was reprinted in Jinty annual 1975.

And of course there are cartoon strips. Thunk has already been mentioned. The other two were “Des and Dink” and “Little Lulu”. Lulu made it to Tammy, and would make an appearance in an annual.

 

Carlos Freixas

Slave of the Mirror 1aSlave of the Mirror 1bSlave of the Mirror 1c

Carlos Freixas Baleito (31 October 1923 – 26 February 2003) was a Spanish artist. Freixas had a long career in girls’ comics in a wide range of titles. At IPC his artwork appeared in Valentina, Marilyn, June, Misty, Tammy and Jinty. At DCT, he drew for Bunty, Mandy, Tracy, Nikki, Judy, Emma, M&J and Spellbound. He had a fluid style that lent itself to a diverse range of stories, including supernatural, horror, period, adventure and school. An incomplete list of Carlos Freixas stories for DCT can be found at http://girlscomicsofyesterday.com/?s=carlos+freixas

Freixas started out as an illustrator at the age of 14, guided by his father Emilio Freixas. He studied at the Academy of Fine Arts and, as his father’s assistant, published his first work in Lecciondes. Freixas and his father then began an association with the publishing house Molino. This collaboration eventually resulted in the publishing project Mosquito, which they started with the aid of Angel Puigmiquel in 1944. At this time, Freixas created his first character, ‘Pistol Jim’, who appeared in Gran Chicos and later Plaza El Coyote.

In 1947, Molino asked Freixas to join the Argentine division of their publishing house, so Freixas moved to Buenos Aires, where he established himself as a well-known and respected artist. His first Argentine work was for Patoruzito, where he created the boxing ‘Tucho, de Canilla a Campeón’ and several detective (‘Elmer King’) and motor comics (‘Juan Manuel Fangio’). He often collaborated with Alberto Ongaro, who wrote ‘Drake el Aventurero’ for him and with whom he illustrated Hector German Oesterheld’s scripts for ‘El Indio Suarez’. Freixas was also the author of ‘Darío Malbrán Psicoanalista’ for Aventuras.

In 1956, Freixas returned to Spain because of homesickness, and resumed his collaboration with his father and cooperated on most of his father’s illustration work. He also took on agency work for the British market through Creaciones Editoriales, where he broke into IPC and DCT titles.

Back in Spain, Freixas contributed to Juan Martí Pavón’s magazine Chito in 1975, made a comics adaptation of Joseph Conrad’s ‘Gaspar Ruiz’, and some horror stories for Bruguera. In the last years of his career, Freixas worked for US comics, which included Marvel’s Monsters Unleashed. He also worked for Swedish comics (‘Joe Dakota’ stories for Semic’s Colt) and Dutch comics, where he was a regular artist on stories like ‘Marleen’ for the Dutch girls’ magazine Tina.

Source: https://www.lambiek.net/artists/f/freixas_carlos.htm

Carlos Freixas stories in Jinty

  • Wenna the Witch (1974)
  • Slave of the Mirror (1974–75)
  • The Valley of Shining Mist (1975)

 

 

 

 

June 18 March 1961

June cover 18 March 1961

June cover 18 March 1961.

  • Diana’s Diary – first episode
  • Jenny – first episode
  • Against All Odds – first episode
  • Make a Pally-Pup – Feature
  • Bambi’s Children – Felix Salten book adaptation
  • The Black Pearls of Taboo Island – first episode
  • When Did You Last See Your Father? – first episode
  • Kathy at Marvin Grange School – first episode
  • Cloris and Claire the Sporting Pair – first episode (artist Roy Wilson)

We continue expanding the context of Jinty’s predecessors and family tree by taking a look at the first issue of June, published 18 March 1961. June would enjoy a 13-year run before merging with Tammy on 22 June 1974. Coincidentally, Tammy’s own run would go to the same length. Over the years June had many well-remembered characters and strips, including Kathy at Marvin Grange, Bessie Bunter, Vanessa from Venus, The Strangest Stories Ever Told, Lucky’s Living Doll, Cherry and the Children and Oh, Tinker!. Two of them, Bessie Bunter and the Storyteller, went on for a long run in Tammy after the merger.

June started off with a cover girl on her cover. In later years June covers would feature panels from picture stories, as the Jinty covers would do 1977-mid 1980 and Tammy from mid 1982 to 1984. It is interesting that the free gifts that come with any new comic go for four weeks instead of three, as was seen in the 1970s-1980s. The first issue of June had no celebratory contests or a message from the editor welcoming the new readers. But she did have a crafts page, and also a book adaptation, “Bambi’s Children”.

The first picture story is “Diana’s Diary”. It is a day-to-day diary (and the first entry even has its own date, which isn’t the same as the issue), a bit like “Luv Lisa” but has is a bit more serious. It starts off with Diana facing the prospect of missing out on being chosen for her ballet class’s presentation at the County Festival because of an accident with a bicycle tyre that her brother carelessly left in the hall. Looks like Diana is also the resident ballet story, which was one of the lynchpins of girls’ comics in the 1960s. The other two were horse stories and boarding school stories.

“Against All Odds” is the horse story. June (note the name!) Hurst and her mother want to continue the family horse stables. But they are facing odds in the form of increasing costs that are proving difficult to meet and the villainous Sam Fletcher who is out to buy them out. And of course Fletcher is pulling dirty tricks to get what he wants.

“Kathy at Marvin Grange School” (later just “Kathy at Marvin Grange”) is the boarding school story, and it would run in June for four years. Kathy Summers has grown up in a orphanage and wonders what her origins and parentage were. But instead of embarking on a quest to find out, she is sent off to Marvin Grange because the orphanage thinks she will get a better education there.

“When Did You Last See Your Father?” is a period story set in the English Civil War. Celia Vane’s father goes on the run to protect a vital document from the Roundheads. But the Roundheads are pounding at the door, asking Celia the question that establishes the title.

“The Black Pearls of Taboo Island” is an adventure story with apparent supernatural elements. It is building up to be a treasure hunt story for valuable black pearls on an island  armed with a curse that repels anyone who tries to take them. Anyone, that is, except an innocent girl, or so the legend goes. Our protagonist, Sally Grant, looks innocent enough, especially as she has a pet chimpanzee and a father who wants to open his own hospital.

Of course it wouldn’t be complete without humour strips. “Jenny” and “Cloris and Claire” are filling in the role. The first is a nice girl with a penchant for getting into/causing trouble. The second derives its humour from the long (Cloris) and the short (Claire), and bossiness (Cloris) and klutziness (Claire) that always gives her the last laugh over Cloris.

 

Jinty 30 November 1974

Jinty cover 30 November 1974
Jinty cover 30 November 1974.
  • The Jinx from St Jonah’s (artist Mike White)
  • Jackie’s Two Lives (artist Ana Rodriguez, writer Alan Davidson)
  • Merry at Misery House (writer Terry Magee)
  • The Kat and Mouse Game (artist Jim Baikie)
  • Wild Horse Summer – last episode
  • Calling All Overseas Readers! – competition
  • Dora Dogsbody (artist José Casanovas)
  • Always Together… (artist Phil Townsend, writer Alison Christie)
  • The Hostess with the Mostest
  • Slave of the Mirror (artist Carlos Freixas)
  • Do-It-Yourself Dot (artist Alf Saporito)

In this issue, Jinty addresses a common gripe from overseas readers – not being able to enter Jinty competitions (because they were several months behind British readers as Jinty was brought out by ship). Jinty has started a competition especially for overseas readers.

Katie’s still out sleuthing to clear her father’s name. But her latest suspects look like real thugs! On the other hand, maybe we should feel sorry for them with the Jinx on their tail.

It is the final episode of “Wild Horse Summer”. Jed’s hatred for the white mare has been asking for serious repercussions from the beginning, and now he gets it – he has accidentally hit Daphne while trying to shoot the mare! He is so upset that he packs his bags. But his action also has positive results that wrap up the story. Its replacement next week is Jinty’s first Trini Tinturé story, “Prisoners of Paradise Island”.

Riches again lure Jackie to carry on with Mrs Mandell as her fake daughter, despite all the warning signs that this woman is clearly mentally unbalanced and danger is imminent. She turns her back on her own family even more now – and not even Mum’s birthday turns her around again.

A stray dog is alleviating the misery at Misery House for the girls, who have adopted him as a pet. But the prison authorities are not having that and are out to crush it. Miss Ball tries to shoot the dog, and then she and fink Adolfa try to slip him some poisoned meat.

Mouse just seems to be getting even more gullible at readily she falls for Kat’s tricks. Kat has tricked Mouse into being her nursemaid, and then she gives Mouse bad advice in order to trick her into dancing badly for an exam.

Ma Siddons wants to put a dog down because she thinks it is savage. When the previous owner from the circus tries to put her straight, she doesn’t listen, so it’s up to Dora’s quick wits to save the dog.

In “Always Together”, a bad accident with fire has given Beth a fear of it, which means the children have to find another way to keep warm in freezing weather. And then a new headmaster bans Johnny and other gypsies from the school because he hates gypsies. Jeepers, aren’t there laws against such discrimination?

“The Slave of the Mirror” has thrown the mirror over the cliff, but it pops back again to force her to cause more trouble at Scully House. Now it’s making her steal money, and she’ll be in even more hot water if she’s caught next week.

Always Together… (1974-75)

Sample images

1 March 1975 - final episode

1 March 1975 - final episode
click thru
1 March 1975 - final episode
click thru

Publication: 27 July 1974 – 1 March 1975 (29 episodes)
Artist: Phil Townsend
Writer: Alison Christie

Translations/reprints: translated into Greek and published in Manina; translated into Dutch and published in Tina.

Synopsis

The story starts with Nell Harvey burying her husband; her 12 year old daughter Jill stands alongside her at the funeral to support her in this grim time. Over the years, Nell works hard at all jobs that come her way, to fulfill her dead husband’s dream of buying a home for them all to live in together. But the constant working at all the job possibilities that comes her way is too much. She disappears, and isn’t seen again for several days – until the local news report that the body of a woman has been found in the river, a woman answering to Nell’s description! The kids have no other relatives and so Jilly, now age 15, is put in the position of primary carer – if the authorities will let her, of course.

Their life in the shadows begins once they realise that the cottage that their mum had put a deposit on is too expensive for them to keep up the payments on, given that their only income would be a paper round or similar odd jobs. Of course they want to stick together – bearing in mind their mother’s prophetic last words to Jill the morning that she disappeared. The question for the rest of the serial is whether they will be able to do this. Firstly they go back to their old lodgings as squatters (the council won’t put them on the list for a council house as they are too young) but it doesn’t take long before a local bully informs the social workers about them. And of course if they are taken into care, it means splitting them up – Jilly, Beth and Johnny all into different children’s homes…

As soon as she turns 16, Jilly is determined to leave school, get a job, and to do what she can for her little family. Presents and treats for them bought with her wages only twist the knife further in the wound when she has to go at the end of the visit. It’s not long before she chucks in her job and comes to get the kids so that they can all run away together – where at least they can be a family again. It does mean living in a cave – a cave that Jilly remembers from stories that their dad told her about, from when he stayed in it many years previously.

At first it is hard for the kids to adjust, and of course there are lots of difficulties to overcome – the weather, finding food, getting money. They find friends – an artist who gives them a meal and sympathy. But if it’s not one thing it’s another – the stream near the cave turns out to be polluted, the kids are chased away from a nearby village for being “thievin’ gypsies”, and Beth still thinks their mother is only “away” rather than drowned and never coming back.

On the plus side, Jilly develops her skill at sketching and starts to sell charcoal drawings at the market, which brings in money – and they make friends with the local gypsies, which means that Johnny can go to the local school, disguised as one of them. But winter is coming and outdoor living is only going to get harder… It’s not the only danger, as Beth has one accident after another (living in a cave is hardly as safe as houses! first she falls down a quarry and later on she gets too close to the fire and is burned!). There are also close shaves with the authorities, who they are constantly afraid of being caught by. There are plenty of strokes of luck – rather implausibly on occasion (for instance the headmaster who bans all the gypsies from the local school, including Johnny of course, until Jilly accidentally knocks the headmaster over with an old pram, saving his life from a large brick that dropped down at just the right time…).

When they meet a local nosey reporter who wants to use them as a human interest story, it seems the game may be up. They manage to outsmart him, but the next challenge is Christmas – which they manage to make much more festive than is entirely likely. It’s a heartwarming sight nevertheless, to see them feasting and making merry in their “little stone palace”, still managing to stay together!

The village sees a visitor who may be positive or negative for them – it is an old friend of their father’s, come to visit his childhood haunts. The little family save him from the inclement weather and grow closer as a result. Close enough that the family friend even offers to take them home – he and his wife have never had children and have always longed to. Could this be a fairy-tale ending? In some stories, yes; but in this one, little Beth has never-ending faith that her mummy will still come home for her – and so the family must stay, for her sake.

Not long after, it comes to an even more heart-tugging ending. Beth is desperately ill and unresponsive to treatment, but a nurse recognizes Beth’s face from a sketch kept by a patient in a local convalescent home. The patient in question lives in a daze and initially doesn’t recognize them, but Jilly and Johnny recognize her – it is indeed their mother! And once she sees little Beth, all is well again.

Thoughts

This is the first Phil Townsend artwork published in Jinty, and it is likewise the first Alison Christie story in these pages too. The combination of these two creators working on heart-tugging stories was clearly popular from the start – this one ran for much longer than the other comparable serials with clear start and end points, such as “Make-Believe Mandy” and “Gwen’s Stolen Glory”. It never had the most prominent position in the story paper – first or second story or a cover spot – but then during most of this period Katie Jinx claimed the lead spot by right.

The tear-jerking element is very effective; by the end of the story even I was ready to wipe away a tear or two. The characters struggle with extreme poverty and the things that often come with it – ill-health, envy at others’ possessions, irregular schooling and even irregular heating and eating. The threat of official condemnation and sanctions is always close, with officialdom breathing down their necks. The length of the story suggests to me that it probably was spun out a little longer than it might otherwise have been, due to its popularity – I think some of the accidents towards the end are arguably a little forced and may betray a story that was getting a little over-stretched. Having said that, I think this is probably also an impression received from reading the whole story in one sitting, which is not the experience that the original readers would have had of the story on first publication. I wonder if any of the reprints or translations trimmed the length of it at all?

I quibble with the ending. Is it realistic that the mother should have been lying in a convalescent home for all that time, only to be found just at the right point to save little Beth’s life? Well, no – not that realism is the be-all and the end-all, I appreciate, but I do feel it stretches credulity a little far. The decision to turn down an adoption into the possible new life in Canada is pretty poignant though, and that could not have worked without another, happier ending just round the corner, so I can certainly see the point of the eventual ending.

There is quite a bit of overlap with “Somewhere Over The Rainbow”, which was written and drawn by the same team some years later (published in 1978-79). “Rainbow” is also very long (36 episodes, so even longer than “Always Together…”). The orphaned family in the later story is not quite as large – there are two children rather than three, and the eldest is not as old as Jilly’s sixteen – but once again their father dies off-camera and their mother is shown much more close-up (though not for long), and the children decide they must keep together come what may. There are also more adventures in the latter story, partly due to the wartime setting and partly because the children do more travelling – from England to Scotland. The scenes where the protagonists squat in a pillbox during the depths of winter are particularly reminiscent of similar wintry scenes in “Always Together…”, though. To my mind, “Rainbow” has the slight edge on “Always Together…” in terms of giving us an ending that is both neater and (slightly) more plausible. I realise however that may just be because I have more childhood memories of reading the later story, and living it as it happened.