Tag Archives: Bound for Botany Bay

Roy Newby (1912-2011)

Roy Newby is thought to have drawn only only a few stories in Jinty, but he was certainly a long-running artist in other girls’ comics titles, particularly Girl, where he drew “Robbie of Red Hall” for many years. I do not yet have a fuller comic bibliography to list in this post, but on the UK Comics Forum, mention is also made of a story in the second Girl Annual which is specifically credited to him as artist: “Late For Dancing”, written by George Beardmore. Additionally, comics newssite Down The Tubes states that Newby worked on stories that appeared in other titles such as Tammy, Poppet, Judy, and Valentine.

Newby died relatively recently, having lived to the age of 98; the obituary in the Guardian, written by his son Mike, can be seen here. Mike Newby has likewise created a dedicated site showing his work (though not including many examples of comics, unfortunately for us). Finally, the Lambiek Comiclopedia has a little more on him here.

List of stories attributable to Roy Newby in Jinty:

Stories in Tammy:

  • The Secret Ballerina (1971-72)
  • Tina on a Tightrope (1972)
  • Minions of the Mine (1972)

Stories in Lindy attributable to him:

  • Nina Nimble Fingers (1975)
  • Poor Law Polly (1975)

Stories in Girl: many, including:

  • Robbie of Red Hall
  • Late for Dancing

When researching this post, I got in contact with Mike Newby and his sister Clare, who shared some memories with me. Mike told me that “…Dad’s original artwork for his comics was destroyed by the publishers as soon as they’d done the necessary for a print-run. (What a shame!) But Dad kept pretty much everything in printed form. He’d go and buy that week’s edition of whatever comic he’d drawn and stick it in a scrapbook.”.

Clare told me more details of her father’s time as a comics creator and her time as a reader of comics: “Through the late 50s and 60s, Friday afternoon was comic day! After school, I got School Friend, Girl’s Crystal and one other; Jackie/Tammy/or whatever.  I saw Dad’s stuff free! Whenever I was ill in bed, I used to look at the scrapbooks of mostly Girl. Dad said he preferred girls papers as they didn’t have as many technical, fiddly buttons and switches (spaceships) as boys. Also, he used to get any scripts set in dancing schools as he could use me for reference (I studied ballet which I went on to do professionally). He particularly liked historical costume stories.  As I got older, he worked on Valentine and Roxy. I was about 13 and wasn’t allowed to read them, so I would sneak into his studio when he was out and read about teen life. I put everything back and thought I’d got away with it, but he told me years later, he always knew!”

Courtesy of Clare Newby, here are two images of her father’s work – a photograph of some of the scrapbook pages, and a beautiful little sketch of herself reading them in bed, when ill at one time. Many thanks indeed to her for sending those in!

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Jinty Titles in Latin Part 3

Here is my third volume of Jinty titles translated into Latin, with some brief commentary.

  1. In loco Mariae (In Place of Mary i.e. I’ll Make up for Mary)

A simple matter of taking the phrase in loco parentis [in place of parent] and adapting it to what Ann is trying to do – take the place of Mary.

  1. Qui est mater Rosae? (Who is Rose’s Mother? i.e. Wild Rose)

At first I thought of “Who is the woman with the moon scar?”, but it was too wordy. I settled on a much simpler title that summed up the mystery of the story and the question Rose is trying to answer.

  1. Hoc robotum lacrimare potest (This Robot Can Cry i.e. The Robot Who Cried)

Similar to the English title, but it is more reflective of how this particular robot was capable of human emotion.

  1. Effugium ex exilio (Escape from Banishment i.e. Bound for Botany Bay)

A working translation for another title gave me the idea of starting with a title that had the Latin for “escape” in it. The end result had alliteration all the way through the title.

  1. Petrus curandus est! (Peter Must Be Cured! i.e. For Peter’s Sake!)

The grammar in Cato’s famous tagline, Carthago delenda est [Carthage must be destroyed] was the inspiration for this one.

  1. Pascendum appetitum aeternum (Feeding the eternal appetite i.e. Food for Fagin)

Straight off I decided not to use the name of the dog in the title, and I never could stand those Oliver Twist references in the story anyway (would a mum seriously name her daughter Olivia Twist?). Instead, I worked on a title that commented on the increasingly difficult task of trying to keep up with that mountainous appetite of Fagin’s on the family’s limited income.

  1. Daemonium, quod intro est (The Demon that is Within i.e. The Mystery of Martine)

I decided against a title that used “Martine”. Instead, I went for translating the name of the play in the story “The Demon Within”, as its title summed up what was going on.

  1. Neglecti et superbi sumus (We are Neglected but Proud i.e. A Boy Like Bobby)

Two boys who were neglected and living in a squalid flat. But they still had their pride, which made it difficult for our heroine to reach out to them. So this was the basis for the Latin translation. Originally I thought of “Two neglected boys”, but that did not sound very interesting. I decided that a title that reflected their pride showing through their neglect made it more interesting. The endings of the adjectives also gave it alliteration.

Storytelling in Girls’ Comics: Cliffhanger vs Non-cliffhanger Episodes

In this post I will discuss two opposing points of view in regard to how the endings of episodes in serials were structured. I will also discuss the effects these had on story structure and resolutions.

Pat Mills advises that each episode of a serial should end on a cliffhanger or dramatic high point (personal email). So his stories, such as “Land of No Tears”, have episodes that end on cliffhangers or dramatic high points. For example, in part two of “Land of No Tears”, Perfecta hauls Cassy off for punishment at the end of the episode. The cliffhanger leaves readers particularly anxious because the episode had built up to Cassy expecting a cruel and merciless punishment. But they do not see what it is until part three. A multitude of stories at IPC were structured this way, with each episode ending either on a cliffhanger or being a self-contained episode that ends on a high dramatic point.

There were some IPC stories, such as Jinty’s “Bound for Botany Bay” and Tammy’s “No Haven for Hayley”, that had a blend of cliffhanger and non-cliffhanger episodes. For example, in Botany Bay, Betsy’s story has episodes that end mostly on cliffhangers, but some, such as the ones that depict her transportation voyage, are self-contained ones.

However, the Mandy editors took a completely different view to Mills in this respect. In an interview with former DCT writer Maureen Hartley, she reveals that their rule was “no cliffhangers”:

“I learned that in every instalment the heroine must take some form of executive action. That may seem highly obvious, but it is easy to be distracted from the heroine by other facets of the plot or more interesting characters. Also there must be no cliffhangers. The editors felt strongly that the readers should get value for the money they had paid for the comic and should be given a full self-contained story in each instalment, interesting enough to make them want to read more but not blackmailing them with a cliffhanging ending into buying the next issue”.

http://girlscomicsofyesterday.com/2016/06/maureen-hartley-writing-for-dct-girls-comics/

So in Mandy stories, each episode is a self-contained one, containing action that advances the story in some way. But with some exceptions, such as Mandy’s “The Posy Princess”, there are no cliffhanger endings for the episodes in the development of the story. The only real exception to this rule would be the penultimate episode, which often ended on a cliffhanger. This would be a signal to the readers that it is the penultimate episode, because its cliffhanger ending breaks the pattern of how the episodes are structured. The cliffhanger would be part of resolving the story in the final episode.

A good example is “The Truth About Wendy” from Mandy. In each episode we have a protagonist who tells us, in flashback, how they found out the hard way that Wendy Ware is a scheming girl who plays dirty to get whatever she wants and destroys anyone who stands in her way. They all think at the end of the episode that only they know the truth about Wendy; everyone else thinks she is a sweet girl. But in the penultimate episode, Wendy’s latest victim does not think this way. Instead, she resolves to expose Wendy and get back the friend that Wendy stole off her. This tells us that this is the penultimate episode and not a regular one. So we are all extra eager to buy next week’s Mandy to find out how the truth about Wendy will be revealed at last.

Bad Luck Barbara 5
Non-cliffhanger ending to penultimate episode of “Bad Luck Barbara”, Mandy #985, 30 November 1985.

Not all penultimate episodes in Mandy serials were structured this way. One example is “Bad Luck Barbara”. The penultimate episode is a regular one, with no cliffhanger ending at all. The next episode could also have been a regular one. But instead it is the final episode, and it is entirely self-contained instead of resolving a cliffhanger from the penultimate episode.

And this type of story structuring can be seen in plenty of serials in other DCT titles as well. For example, Bunty’s “Witch!” has self-contained episodes until the penultimate episode while the similarly-themed “Mark of the Witch!” in Jinty has a lot of episodes ending on cliffhangers. And some Bunty stories, such as “Captain Carol”, have self-contained episodes all the way through.

This non-cliffhanger episode structure at DCT meant that their serials tended to be episodic. This did have the advantage of spinning the story out for as long as needed – or cutting it short if necessary. When the editor gave the word, the writer could just end the story in an episode or two because the episodic structure made it easy to end without tying up a lot of plot threads that had been spun along the way. There were some exceptions, where DCT serials were tied up in several episodes that were structured as a story arc. One example is Bunty’s “The Guilt of Glendora”, which is tied up in a span of three episodes.

One disadvantage of stories with non-cliffhanger episodes is that the structure could get boring, annoying and tedious. Sometimes the ending of each episode would end up pretty much the same, such as episodes that invariably end up with the protagonist being disgraced through no fault of her own. Using some variety with episodes ending on cliffhangers would make it more interesting. In this respect “The Posy Princess” was less boring because it often had cliffhangers.

The cliffhanger episodes favoured by Mills enabled the development of story arcs; for example, a conclusion that needed several episodes for it to develop properly. If the story was popular, more threads could be developed to spin it out more rather than just putting in more episodes for padding. But in some cases there could also be more tying-off that would have to be done before the story could end. And if the editor gave a sudden order to end the story, this could result in an unsatisfactory ending. One example is Jinty’s “Worlds Apart”. One gets the impression that towards the end, the story was meant to run for more episodes to really develop the final dream world and the lessons its protagonist learns from it. But instead the ending gives the impression that the story was cut short because of Jinty’s upcoming merger into Tammy. So the conclusion came too soon and left the final dream world nowhere near as developed as it should have been. It all cries out to be reworked.

Witch 7
Cliffhanger ending to penultimate episode of “Witch!”, Bunty #1754, 24 August 1991.

Mandy’s rule non-cliffhanger endings for episodes apparently did not stop readers from buying the next issue. The editors counted on making the self-contained episodes interesting enough to encourage readers to keep buying. And it did work – readers kept buying Mandy and she became one of the longest-running titles at DCT. But the cliffhanger structure at IPC also worked well. And stories that combined cliffhangers and non-cliffhangers certainly added variety to the storytelling structure. They must also have been easier on the writers, who must have found it difficult at times to keep episodes self-contained or end them on cliffhangers.

Jinty and Lindy 7 February 1976

Jinty and Lindy 7 February 1976

Stories in this issue:

  • Miss No-Name (artist Jim Baikie)
  • The Jinx From St Jonah’s (artist Mario Capaldi)
  • Friends of the Forest (unknown artist ‘Merry’)
  • Fran of the Floods (artist Phil Gascoine, writer Alan Davidson)
  • Dora Dogsbody (artist José Casanovas)
  • Too Old To Cry! (artist Trini Tinturé)
  • Wanda Whiter Than White (artist Ana Rodriguez)
  • Bound For Botany Bay (artist Roy Newby)
  • Save Old Smokey! (artist Phil Townsend, writer Alison Christie) – first episode

I have some slightly random issues out at present which I dug out for other reasons but which haven’t yet been posted about, so I am seizing the day.

This run of Jinty is slightly middle-of-the-range: the fact that the covers have images from a variety of stories gives a diverse feel to them, but the square design layouts used are rather lifeless in comparison with the issues just a bit later on. Likewise, there are some good stories in this issue, but it is not as strong as subsequent issues, by a long chalk.

“Miss No-Name” has an amnesiac slave gymnast – nuff said, really. It is rather a mish-mash of tropes! Jim Baikie makes the slave-keepers look suitably evil but it is all rather over the top, and not in that good way. “Friends of the Forest” is beautifully drawn, though not outstanding in terms of story – at this point there is a mystery around the gypsy girl Maya, and some evil cousins to deal with.

“Fran of the Floods”, as in other issues, shines out as the strongest story – no wonder it ran for such a long time. This episode has the rain keeping on coming down, and life changing around everyone’s heads, even in staid suburban England. Fran is facing local flooding, stockpiling of food, and serious danger from the neighbours.

“Too Old To Cry!” is a story I have a soft spot for, perhaps due to the lovely Trini Tinturé artwork. Nell is trying to find her birth certificate, which she is sure has been hidden by Miss Grace, but inadvertently sets the place on fire!

“Wanda Whiter Than White” is also over the top, god love it. Wanda is high and mighty and dishing out black marks, and by twisting the situation nearly gets protagonist Susie expelled from the school (the punishment is commuted to a caning instead!). Luckily for Susie, the good relationship between her and her mother is strong enough to stand up to Wanda’s interfering ways when she tries to make trouble – though who knows what she will do in the next episode.

In “Bound for Botany Bay”, Betsy Tanner is almost looking forward to transportation to Australia, as it may mean she will see her father again. In the meantime she has been drawing portraits while she is in prison awaiting transportation – but will she be able to escape before she is tried?

This is the first episode of “Save Old Smokey!”. Drawn by Phil Townsend, it is mostly interesting to me nowadays for the social change it shows: the story is about a steam engine threatened with closure by local officials who are either heartless bureaucrats or out to make some money for themselves.

Jinty & Lindy 10 April 1976

Jinty 10 April 1976

  • Miss No-Name (artist Jim Baikie)
  • The Jinx from St Jonah’s (artist Mario Capaldi)
  • For Peter’s Sake! (artist Ana Rodriguez, writer Alison Christie)
  • Fran of the Floods (artist Phil Gascoine)
  • Dora Dogsbody (artist José Casanovas)
  • The Slave of Form 3B (artist Trini Tinturé)
  • Friends of the Forest (unknown artist – Merry) – last episode
  • Bound for Botany Bay (artist Roy Newby)
  • Save Old Smokey! (artist Phil Townsend, writer Alison Christie)
  • Alley Cat

Covers from this period seemed to be very fond of showing off the athletic prowess of “Miss No-Name”. This one demonstrates how hurdling enables Lori to make a fast getaway. But she still can’t get away from those nasty Crabbes. She thinks she has found a safe haven but bumps into them again – hence the fast getaway on the cover.

Ironically, hurdling enables Katie the Jinx to make a fast getaway too in this issue – from an angry Mum – after she was daydreaming too much and flooded the kitchen. She had been daydreaming on how she would have fared in previous times. She decides she would have been just the same – except that she wouldn’t be able to get away so quickly in the clothes of the period and is thankful for modern skirt lengths.

The days of Penny Crayon and Do-It-Yourself Dot seem to be over. We are now in the era of Alley Cat.

“For Peter’s Sake” is fully established in this episode. Gran has died, leaving Corrie with a note to push Old Peg to Peter in the full confidence that the pram will cure her sick brother. But Corrie has to push Old Peg all the way from Scotland to London, so we’re in for a lengthy story full of adventures.

And the same still goes for “Fran of the Floods”. Fran and her friend Jill have now fallen foul of a cult movement that whips them into ploughing fields in the never-ending rain. They don’t see any way to escape, but we know they will.

Meanwhile, Miss Wortley has put the best tracker in the district on the trail of Betsy and Mary. But the tracker does not like the cruel Miss Wortley either and ends up helping the girls to fake their deaths and taking the heat off. But it looks like there is another cruel woman coming along to ill-treat Betsy and Mary….

Save Old Smokey is now on its penultimate episode. Gresby looked set to win, but now an emergency has forced him to seek the help of the very people he was trying to destroy!

Friends of the Forest ends with Maya revealed to be the offspring of an elopement in Colonel Weatherby’s family due to his snobbishness. He is now remorseful and this becomes instrumental in giving Sally and Maya the happy ending. Next week is “Then There were 3…”. This story is drawn by Phil Townsend, who is also drawing “Save Old Smokey”, so it’s going to be another overlap of artwork next issue.

Stacey thinks she has got everything sewn up with her hypnotic powers over Tania, including planting suggestions to cut her off from avenues of help. But the blurb for next week tells us that Stacey has overlooked something. Unfortunately, it does not sound like it is going to provide the rescue.

Ma Siddons has been commissioned to improve the IQ of a dimwitted bulldog. Dora Dogsbody is of course lumbered with the hard draft. There is an unexpected twist at the end that saves the day. We can’t help wondering if it was fixed as it is a bit hard to swallow. But it does put Ma Siddons well and truly in her place – until the next issue anyway.

Jinty & Lindy 20 March 1976

Jinty 20 March 1976

Fran is in danger of drowning while diving for food in a submerged village – and all for nothing because the food has already been taken. And as the cover says, Miss No-Name’s only friend is a donkey, but Ma Crabb is using it to ensnare Lori even more by threatening the donkey with nasty things if Lori does not do as she says – which includes a dangerous climb on a ruinous tower!

Miss Wortley goes too far with her cruelty to Betsy and Betsy collapses from sunstroke. And now Miss Wortley has turned on Mary with a terrible punishment that could cause Mary to die from fright. Next week Betsy resorts to desperate measures to save her, and we have a strong suspicion this will mean doing a runner together. It had to happen.

It’s part 2 of the Slave of Form 3B. Stacey is still at the testing stage of her hypnotic powers over Tania. But now she’s satisfied and is out for bigger things with her new power.

Nobody is signing the petition to save old Smokey – until they see Gresby bullying Billie! Next moment they’re flocking to sign, so that’s one mean trick that’s backfired on Gresby. But he’s back with another trick – setting Old Smokey on fire!

Carrie Lomax is on her way to Scotland to stay with gran, because Mum has too many problems over poor sick Peter to give her the attention she needs.

Katie the Jinx and her friends are taking the bus to see a horror movie. But their attempts to get in the mood for it end up jinxing the driver. He is full of dread when he hears them talking about how they are going to get into the mood for the cowboy movie next week.

The nasty Walkers and their ally Miss Knight are finding that the Friends of the Forest are very adept at hiding and can’t flush them out.

It’s high fashion in Dora Dogsbody as Ma Siddons has them dressing up in smart clothes for a fashion parade. She says it’s all for charity, but when Dora finds that Ma Siddons’ charity is herself (surprise, surprise!), it’s all hilarity as Dora puts things right.

Jinty & Lindy 28 February 1976

Jinty 28 February 1976

  • Miss No-Name (artist Jim Baikie)
  • The Jinx from St Jonah’s (artist Mario Capaldi)
  • Friends of the Forest (unknown artist – Merry)
  • Fran of the Floods (artist Phil Gascoine, writer Alan Davidson)
  • Dora Dogsbody (artist José Casanovas)
  • Too Old to Cry! (artist Trini Tinturé)
  • Wanda Whiter than White (artist Ana Rodriguez)
  • Bound for Botany Bay (artist Roy Newby)
  • Save Old Smokey! (artist Phil Townsend, writer Alison Christie)
  • Penny Crayon

This issue is high on people being wrongly accused of stealing. Lori, aka Miss No-Name thinks she has outsmarted Ma Crabb this time, including walking upside-down on a plank with her feet tied! But she soon finds everything was a setup and she has been branded a thief. Ma Crabb thinks she has finally broken Lori, but instead it just makes Lori more determined.

In “Bound for Botany Bay”, Betsy and then Judy have also been branded thieves. The real thief turns out to be a maid, but it’s Judy who’s left carrying the can and throws herself overboard rather than be hanged. The callous Captain leaves Judy for dead, but the second ship sailing not far behind the convict ship has us wonder….

In “Wanda Whiter than White” Susie and her mother have been wrongly accused of shoplifting thanks to telltale Wanda jumping to conclusions. But it is because of this that Susie discovers what has made Wanda what she is – and it is also connected to stealing!

It’s the penultimate episode of “Too Old to Cry!” Nell and Sara want to rescue Mr Flicker the horse from Mrs Arbuthnott, but they have to do it without being caught by her incredible talent for lying her way out of anything.

The radio says the floods have caused the country to break down completely, and then underlines the point by going dead. But the panel for Fran of the Floods on the cover is jumping ahead a bit – it does not appear in the story until next week!

The Friends of the Forest are getting stronger with their friendship, but the danger is mounting. The Walkers’ latest ploy to get to the deer is to pretend to be nice to Sally. Sally soon finds what they’re up to, but not before they have a posse set against her friend Maya.

Grandad’s plan to save old Smokey has Gresby going as far as to pay off children to bully Billie. And then he bribes villagers with treats to stop them signing her petition.

Jinty & Lindy 10 January 1976

JInty 10 January 1976

  • Slaves of the Candle
  • The Jinx from St Jonah’s (artist Mario Capaldi)
  • Friends of the Forest (unknown artist – Merry)
  • Golden Dolly, Death Dust! (artist Phil Gascoine) – last episode
  • Ping-Pong Paula (artist Jim Baikie)
  • Too Old to Cry! (artist Trini Tinturé)
  • Wanda Whiter than White (artist Ana Rodriguez)
  • The Haunting of Hazel (artist Santiago Hernandez)
  • Song of the Fir Tree (artist Phil Townsend)
  • Penny Crayon

This is the last episode of “Golden Dolly, Death Dust”, so it is fitting that it should have a final appearance on the cover too. Next issue Phil Gascoine starts his new story, and the longest he ever drew for Jinty – “Fran of the Floods”. And although Nell’s story says she’s “Too Old to Cry”, the cover definitely shows her crying in this episode. I have always felt the title of this story was a bad one. Couldn’t they have chosen something more descriptive?

Elsewhere, Ping-Pong Paula has achieved her latest victory. But Mum spoils it with her pride and turns away because she was obliged to share Paula’s victory photograph for the paper with her estranged husband. We are told that it’s the climax for this story next week. Oh good – it’s about time those quarrelling parents were sorted out.

“Slaves of the Candle” is also approaching its climax, with Mrs Tallow threatening to burn down the House of Candles – with all Lyndy’s friends in it – if Lyndy tries to stop her stealing the Crown Jewels. At this, the long-fighting Lyndy finally gives in. But the blurb for next week tells us fate has a surprise in store. The artist has also changed for this story; Roy Newby has been replaced by a filler artist, whose name is not known. But Newby will be back to draw the story that replaces this one – “Bound for Botany Bay“.

In “Friends of the Forest” a new friend, Maya, emerges to help Sally against the nasty Walkers who treat her like a slave and want to sell her beloved deer to a circus. But it turns out that Maya is on the run, which is sure to cause even more problems.

Wanda, the biggest tattletale in the school, makes herself even more unpopular, and poor Sue cops some of the blame as well. And now Wanda’s been appointed a prefect, which means it’s bound to get worse. And it starts with Wanda accusing Sue of stealing!

Hazel’s beginning to understand why she’s being haunted, and she is defying orders to go home so she can investigate some more. And it looks like she’s going to get some help from Marnie, the old woman of the mountain.

And in “Song of the Fir Tree”, Solveig and Per have escaped Grendelsen’s latest attempt to kill them. Unfortunately their father thinks Grendelsen succeeded and is giving up the search for his children and heading home.

WFTometer V

Comixminx has devised the WFTometer, the idea of which “was to give a framework for looking at how bonkers (or not) a story’s plot was, by comparing the story to an assumed ‘average reader’s situation’. This gives a structured way of comparing stories, including the possibility of finding patterns of oddity in seemingly different stories which are perhaps odd in similar ways”. In WFTometer V, three historical stories from Jinty are put through the WFTometer. They are Bridey Below the Breadline, Slaves of the Candle and Bound for Botany Bay. The three stories also have a common thread of the heroines being victims of injustice. In the first, Bridey Brown and her father are wrongly accused of starting the Great Fire of London. In the second, Lyndy Lagtree is framed for the crime that her captor, Mrs Tallow committed. In the third, Betsy Tanner and her father fall foul of the harsh 19th century law that gets them transported. In this case they are actually guilty of the crimes that got them transported, but their crimes were of desperation and circumstance, not the black-hearted villainy that the judiciary calls it. The ratings for all three stories are very similar as the current times category has been rated “extreme”; all three heroines are in danger of physical death, so emotional, mental and physical security all have the same ratings; and current time period has been rated “big diff”. Their agencies are also very similar because of their backgrounds (class status etc). The differences in ratings mainly lie in family structure, school structure, talents, and in one case, physical location. Screen Shot 2015-06-20 at 7.45.59 pm In Bridey Below the Breadline, Bridey still has her father but no immediate family or school. She and her father came to London in search of bakery work but ended up being accused of starting the Great Fire of London. As a result, Bridey has to hide her father, who was injured in the fire, while keeping ahead of the authorities, lynch mobs and using her own talent at baking to survive. And she also falls foul of unscrupulous people who take advantage of her “wanted” status to force her to work for them in a plot to assassinate Charles II. It scores a 38 on the WFTometer. Screen Shot 2015-06-20 at 3.24.46 pm Slaves of the Candle scores slightly higher at 40. The main difference here is that while Bridey still has her father, Lyndy has no family or parents in sight, so it can be safely assumed she is an orphan with no family. Lyndy starts off as a maidservant who witnesses a crime committed by Mrs Tallow. To silence her, Mrs Tallow kidnaps her and brings her to her candle-making slave racket, where she holds girls prisoner in a basement and forces them to make candles. To make doubly sure of neutralising Lyndy, Mrs Tallow frames her for the crime, confident that the substantial price that is now on Lyndy’s head will deter her from escaping. However, Lyndy is determined to escape, shut down the racket and prove her innocence, but spends a lot of time being constantly recaptured from failed escape attempts. The escape attempt that does succeed leads Lyndy to discover that Mrs Tallow is out to steal the Crown Jewels. Screen Shot 2015-06-20 at 7.47.51 pm Bound for Botany Bay scores the highest at 48. Family-wise, Botany Bay scores lower than Slaves of the Candle because Betsy still has her father while Lyndy appears to be an orphan. And unlike the first two girls, Betsy goes to school – at least, before she is transported. The main difference is the shift in location from England to Australia when Betsy and her father are transported. This scores a “big diff”. A small difference also comes in agency in local laws. While the first two heroines had standard ratings there (despite their being on the run), Betsy’s is rated “small diff” because she not only speaks out against the harshness of the penal system during her trial but her case becomes a focal point for prison reformers. But it is not rated “big diff” because in normal circumstances Betsy is an honest girl and law-abiding citizen who would never have dreamed of the things she did to get arrested.

Jinty 8 May 1976

Jinty cover.jpg 001

  • Miss No-Name (artist Jim Baikie)
  • The Jinx from St Jonah’s (artist Mario Capaldi)
  • For Peter’s Sake! (artist Ana Rodriguea)
  • Fran of the Floods (artist Phil Gascoine)
  • House of the Past (artist Ken Houghton)
  • Alley Cat
  • The Slave of Form 3B (artist Trini Tinturé)
  • Dora Dogsbody (artist José Casanovas)
  • Then There Were 3… (artist Phil Townsend)
  • Bound for Botany Bay (artist Roy Newby)

This is another cover I find very striking. It breaks away from the boxy three panel covers that started in 1976 to more dynamic layouts with the streaky lightning borders.

Lori’s dark girl disguise works for her to win the race and the trophy that could be a vital clue to her past . But Lori forgot one thing about black polish on the skin – sweat makes it come off! She’s forced back to to the nasty Crabbs and now the battle with them is worse than ever because of the trophy she won. And now Miss Crabb is on the brink of finding where Lori hid it!

In For Peter’s Sake!, Corrie runs into some unfriendly, snobby people who look down on her as a tinker. But then she gets quite a surprise when she and Peg run into some travelling folk who are far nicer. Fran of the Floods encounters a village where the people are even more unfriendly – to the point of threatening them with guns – although they have an injured girl who needs medical attention.

In The Slave of Form 3B, there is some comeuppance for Stacey as we find she has gotten a tad dependent on her hypnotic powers over Tania. She tries to use it to cheat in a test – but finds her access to Tania blocked and she ends up with rock bottom marks! Unfortunately we know that will just make her worse than ever, and sure enough, she is now planning a terrible revenge at a swimming session.

In “House of the Past”, things begin to get scary for Anna Bentley. Someone or something seems to be trying to turn her into Helen Fairley, a girl who drowned in the 1930s. Now  people in the house are wearing 1930s clothes and then Anna finds her wardrobe full of those types of clothes as well! Things get even more frightening in Then There Were 3, when the girls have a magnificent feast in a supposedly derelict inn – and when they wake up next morning, they find it truly derelict!

Meanwhile, it’s all happy in Bound for Botany Bay, where Betsy Tanner is finally reunited with the father she has been trying to find for so long. Now they’re all set to start a new life on a new farm – but then the past catches up in the form of Miss Wortley. And so they learn that as long as they remain convicts, they can never be truly free. And what can be done? After all, they did commit the crimes that got them transported. We realise that the conclusion of the story will have to sort this out somehow, or it will not be a happy one.