Linda’s Fox (1981)

Sample Images

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Published: Tammy 30 May 1981 to 1 August 1981

Episodes: 10

Artist: Ron Tiner

Writer: Updated to add: Ron Tiner, with input from Marian Blanchett

Translations/reprints: None.  Groot Tina Winterboek in 1982 as “Linda’s vos” [Linda’s Fox].


Linda Barnes’ policeman father, Charlie Barnes, is wrongly imprisoned for stealing the money some criminals left behind. He was convicted solely on the (perjured) testimony of “Splinter” Mallory. More likely it was Mallory himself who stole the money or is covering up for whoever did; as Linda is about to discover, he is a criminal who commits regular crime sprees in the Exchester area where he lives.

Linda and her mother lose the house that came with Dad’s job. They have to move to a rundown house with little income to live on…in Exchester. Linda finds this so depressing, but she cheers up when she finds what is in the derelict house next door: a mother fox and her cubs. She starts making friends with the foxes, and she names her favourite fox cub Ross. Mrs Barnes does not approve of Linda’s visits to the foxes because the house is derelict and dangerous. But Linda continues to feed the foxes and make friends with them.

At school Linda makes a good friend with Julie, who is constantly annoyed by the school troublemaker, Kevin Mallory. Mallory? Yes, you guessed it – Splinter Mallory’s son! Kevin is a bully and delinquent, and he leads a gang who are always causing trouble for everyone. He likes to pick on Linda and Julie in particular. Pugnacious Julie says if she were Kevin’s mother she would give him a good hiding every day to mend his ways. If only Julie knew that Kevin’s bad behaviour is because this is the way Splinter and his wife have brought him up – to be a good criminal and do a “job” (crime) right.

When Kevin and his gang try to block the staff exit to a cinema after being banned for causing trouble there once too often, the girls spot them and call the police in. The police march Kevin straight home to his parents, where the only telling off they give is that Kevin needs to be more clever so as not to get caught. It is at this point that Splinter learns that the Barnes family are in the neighbourhood and tells Kevin to stay away from them. Too bad for Splinter that Kevin couldn’t tell him where the Barneses actually lived, though…but more on that later.

Meanwhile, the cubs are growing. As they do, they naturally start to venture into the world outside, where they encounter clashes with city life, and bigger, unfriendly animals – including Kevin and his gang. These adventures and misadventures progressively break up the litter until Ross is the only fox left in the derelict house.

It is at this point that Ross begins to cross paths with Splinter himself, which will prove to be Splinter’s undoing. It begins one night when Splinter tries to steal takings from the zoo. But he is foiled when Ross disturbs a lion, which rouses the zookeeper and he spots Splinter. Splinter has to run for it.

Then Splinter sees a house with an open window and proceeds to burgle it. Too bad for him he does not know it is the Barneses’ house. Or that Ross breaks the Barneses’ milk bottle, which wakes Mrs Barnes and alerts her to the burglary. Moreover, while Splinter makes his getaway, he cuts his feet on the broken milk bottle, and Mrs Barnes catches his licence plate number as well.

When the police trace the number back to Splinter, he goes into hiding – in the derelict house next door to the Barneses. He chases Ross off, who digs his own lair under the house. As Splinter is now next door to the Barneses, he soon finds out the joke fate played on him that night: “Damn bad luck I picked their house to burgle out of all the houses in town!”

Linda learns from Kevin that it was Splinter who burgled them. But Mum says that even if he were caught it would not help Dad. A confession to the frameup is the only thing that would. Linda has also guessed the hand, um, paw that Ross played in foiling the burglary.

A heavy downpour sets in; this, combined with the foundations that were weakened by Ross’s digging, causes the derelict house to collapse. It takes Linda’s bedroom wall with it, so that house is no longer fit to live in. Linda and her mother safely evacuate from the house. Linda is anxious about Ross, but Ross managed to escape as well. However, Splinter is not so lucky; they find him trapped, injured and calling for help under the debris of the collapsed house. Linda says she will only do so if he makes the confession to clear her father. Desperate and terrified, Splinter agrees to do so.

Dad is freed by Mallory’s confession, reinstated to the police force, and given a huge amount of compensation. They use the money to buy a house in the country. Linda, still wondering what happened to Ross, says Ross would feel quite at home here too. Little does she know Ross has in fact made his own way to the same place and is settling in very happily.


There have been hundreds of girls’ serials dealing with frameups. But it’s a very nasty twist to make a policeman the victim of a frameup. And it’s all on the word of one man against a police officer who clearly has an unblemished record and a sound reputation. In fact, one policeman expresses disbelief that Charlie Barnes is guilty because he does not seem the type to him. And PO Barnes is that while Mallory is…what? A police informer? A jailhouse snitch? An accomplice turning Queen’s evidence? What? It is presumably something to do with his nickname, but we are never told why he’s called “Splinter”.

And from the sound of it, there is not one shred of corroboratory evidence; PO Barnes goes down solely on Mallory’s evidence and nothing else. It sounds outrageous, but in fact that is how it really is in the English legal system and in many other Western legal systems (Scotland is one exception) that are modelled on it: a person can be charged, tried, and even convicted on the testimony of a single witness, without any corroboration whatsoever. Even a questionable witness, such as a jailhouse informer, can bring a person to trial. Not surprisingly, there have been many cases that illustrate how dangerous it can be for a criminal case to depend on a single witness without corroboration. The writer may or may not have been aware of this flaw in the English legal system, but either way they deserve a pat on the back for such realism.

When the foxes and Julie are first introduced, they are set up as pillars of support and comfort for Linda as she goes through her ordeal of her father’s false imprisonment and the downturn of her home life in the wake of it. Julie is a real standout. It’s not only because she’s strident, pugnacious, does not hesitate to stand up to Kevin and his gang, and is a really good friend who helps Linda cope with her ordeal. It’s also because she’s one of the few black protagonists we see in girls’ comics, and this makes the story stand out even more. The foxes add light relief and emotional appeal against the angst. They even dashes of humour to the story. For example, Ross accidentally gets into one of the boxes Kevin’s gang are using to block the cinema exit. They get a surprise when Ross bursts out of the box and helps to foil their trick!

Once it’s established that the Barneses have moved into the same neighbourhood as Mallory and that he’s committing regular crime sprees there, the stage is clearly set for exposing Mallory and clearing Dad. The question is how it is all going to fit together. Maybe Linda will expose Mallory, perhaps with Julie’s help?

It’s a real surprise twist when Mallory is the one to destroy himself, with some unknowing help from Ross: first by picking the wrong house to burgle, and then picking the wrong place to hide. In addition, he injures his feet on the Barneses’ broken milk bottle during his botched burglary. Wow, the karma is really biting there! We can imagine the police must have turned up something in the Mallory house with their search warrant that would link Mallory to other crimes as well.

It must have been both a surprise and a shock to readers when Linda tells Mallory that she will not get help for him unless he makes the confession to clear her father (below). Readers are more used to heroines being too nice to be downright mean to the villain, regardless of what the villain has done to them. But then, it was pressure that was required to make Mallory confess, and Linda was seizing upon what looked like her only chance to get that confession. After all, she could not depend on Mallory to make the confession out of gratitude for saving him (trite) or remorse (not bloody likely!). Besides, we know Linda wouldn’t really have refused to get help for Mallory.

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It’s another delightful twist when Ross ends up in the same place as the Barneses in the country and it rounds off the story completely. Readers smile at the last panel where Linda wishes Ross was there, not knowing that he is and sharing the same panel with her. Let us hope they find each other again in their new home.

29 thoughts on “Linda’s Fox (1981)

  1. This story was reprinted in Groot Tina Winterboek in 1982 als ‘Linda’s vos’.
    I very much like the art of Ron Tiner, but before I read this new blog entry, he was one of the ‘unknow artists’ to me. There was another story by him, about two sisters, twins I believe. A good and an evil one.

    1. Ron Tiner also drew The Revenge of Roxanne in Suzy and was the last artist on the Battle of the Planets strip in TV Comic.

      1. There are a number of stories I supplied the art for in several girls’ comics – I’m sorry to say that I can’t recall Roxanne’s Revenge, though. Was that the story I didn’t actually complete and was passed to another artist about halfway through? The reason for that was that I had begun to get some tasty offers of work in book illustration (which pays better and you nearly always get your name on it – thus making you eligible for Public Lending Rights payments of a few pence per ‘borrow’ from libraries) Is there some way that I could post up a few photocopies of artwork pages and ask if anyone can identify for me the story titles and the name of the publication? One didn’t get sent copies of the mag one’s work appeared in, so we very often did not see our work in print – nor were the pages of art returned to us, so making a list of the work I did has proven a bit difficult. I remember “Battle of the Planets” of course – I took that one over from Dan Dare artist Keith Watson I remember… Other stories I recall were “?Somebody? at Superschool”, “The Fifth Swan Child”, “Face of Evil” — and another called (I think) “When Time Runs out” (possibly in “Suzy” — for whom I also drew “The House on Witch Hill”, and I drew several digest-size 48-page booklets about nurses and horses… But “Revenge of Roxanne”… Nope! Can’t recall that one. Could you post a page here I wonder? I’m sure that would jog my memory

        1. I remember you didn’t finish Roxanne and it was completed by another artist. Sorry, I can’t provide scans.

          1. I have come across some photocopies of the artwork pages for the “Superschool” story, `”Roxanne’s Revenge” and others, but there doesn’t appear to be any means by which I can post them. Is there?

    2. Thank you for the information about the Dutch translation. It’s interesting they did not make it an alliterative title e.g. Fiona’s Fox. Makes it a bit different. I would like to know who the writer was.

      1. I prefer titles without alliteration or, like also happened in British girl’s comics, (a variation on) the title of a famous song.
        In the girl’s comics in the Netherlands, alliteration was used sometimes for funny stories, but never for serials with a dramatic theme. It allows the writer or editor more freedom to think of an appropriate title, I think.

      2. A couple of things I should mention
        1) I told you I wrote the Linda’s Fox” story with some feminine input from my girlfriend at the time. I noticed recently that we credited her as writer to dodge tax, so the writer, as far as the publisher was concerned would be recorded as Marian Blanchett.
        2) There were three things that annoyed her about girls; comics which she felt should change: they were
        alliterative titles
        stories rarely featured any boy characters
        never a character of a different race unless it was made an issue of

        1. Thank you, Ron. I see why “Linda’s Fox” had a boy as one of the main antagonists and Linda had a non-white friend at her new home. I was pleased to see the latter when I first read the story.

          1. Is there any way I can post a page or two of artwork in response to the other comment on there? I couldn’t work out how to do that.

            1. Ron, I don’t think that you can post images direct to this page. One way that I’ve used before is to download the picture to an image hosting website, then copy/paste a link from that to this page. I use Imgur, which is free and doesn’t require registration.

              Alternatively, if the artwork is on your website, could you perhaps post a link to that here?

  2. Linda’s Fox was one of my favourites when it came out. It replaced another of my favourites, The Black and White World of Shirley Grey.

  3. Mistyfan, can you confirm how you know that Ron Tiner is the artist of this strip? Did David Roach tell you? I ask because I know that there are two artists with very similar names – Ron Tiner and Ron Turner. I mostly know Tiner’s work from US comics – Hellblazer and the like – and on looking just now I couldn’t immediately spot any definite info elsewhere that shows that Tiner also drew British comics. But absence of evidence is not the same as evidence of absence of course!

  4. Ron Tiner is on facebook – I have him on my friend’s list. He posts a lot of his artwork on there.

  5. The artwork for this one has attracted a lot of comment. Any thoughts about the story, though?

    1. I hardly remember it. I’ve read it just once in the 80’s. Usually, stories with animals and/or sports were not among my favourites. With some exeptions, of course.

  6. Thank you for your kind comments about my art work on this story. I was trying to adopt a lighter touch and a more decorative line style – having previously worked mainly on boys’ comics such as Hotspur and on war and SF stories for IPC – which, of course required a more rugged finish. In fact, I actually wrote “Linda’s Fox” too (with some useful input from my girlfriend of the time) and included a comment about it in my book “Figure Drawing Without a Model” (published by David & Charles). I have recently attempted to compile a list of the comics I drew (there were quite a lot), but I’ve forgotten the titles of some of them and I wonder if I could post a couple of pages (which I photocopied from the artwork) and ask if anyone here could help me to identify them, please?

    1. Wow, you wrote Linda’s Fox too? Thank you for the information. I remember you were the last artist on the Battle of the Planets strip in TV Comic and drew “The Revenge of Roxanne” in Suzy (except for an episode or two), if that helps identify any of your strips.

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