Goof from the Comics UK Forum has kindly supplied a list of the comics work done by John Richardson over the years.
End Of The Line… 12/08/78 – 18/11/78
Red Knee – White Terror! (Beasts Story) 4/2/1978
Green Grow The Riches – O! 18/2/1978
The Dummy (Nightmare Story) 25/2/1978
The Secret Of Lan-Shi… (Beasts Story) 11/3/1978
The Haunting (Nightmare Story) 18/3/1978
Napoleon Comes Home… (Beasts Story) 25/2/1978
Stone Cold Revenge 6/5/1978
Sticks And Stones 20/5/1978
A Spell Of Trouble (Nightmare Story) 15/7/1978
Titch’s Tale… (Beasts Story) 29/7/1978
Dance Of Death 5/8/1978
Yet Another Teacher For Molly! (Nightmare Story) 16/12/1978
Examination Nerves 23/12/1978
A Girl’s Best Friend 30/12/1978
The Sad Eyes Of Sorrow 13/1/1979
Happy Birthday, Spooky Sue! 20/1/1979
Pot Luck 10/3/1979
The Curse Of The Wolf 31/3/1979
The Choice Of Silence 14/4/1978
The Uglies 14/4/1978
One Hour In Time 12/5/1979
The Disembodied 26/5/1979
A Stain On Her Character 23/6/1979
The Writing On The Wall 21/7/1979
Time To Spare 18/8/1979
Inside Story 25/8/1979
Mrs Grundy’s Guest House 29/9/1979
The Pig People 1/12/1979
Black Sunday Summer Special 1978
Old Ethna’s House Holiday Special 1979
The Pipe Dream of Marty Scuttle Holiday Special 1979
The Swarm Annual 1979
The Duchess of Dead-End Drive 2/03/74 – 16/03/74
Moonlight Prowler 17/7/1982
Shock Treatment 20/11/1982
Carla’s Best Friend 15/1/1983
(Reprint from Misty “A Girl’s Best Friend”)
The Turning Point 12/3/1983
Donkey’s Years 17/9/1983
Fair Shares 24/12/1983?
This is Your Life 14/6/1980
The Beauty Contest 6/3/1981
Monster Movie 28/3/1981
Lost for Words 11/4/1981
The House of Leopards 9/5/1981
Water Under the Bridge 13/6/1981
The Carrier Bag 22/8/1981
Down to Earth 10/10/1981
Safe as Houses 17/10/1981
Star Born 26/12/1981
The Burry Man 20/3/1982
All the Fright of the Fair ?
(?) The Pharaoh’s Daughter’s Stand-In (?) ?
The Gargoyle 16/1/1982
The Guardian 27/2/1982
Old Bug’s Last Trip 15/5/1982
Series: Wee Sue:
Weekly episodes 14/09/74? – 1982?
(Main artist from September 1974 to March 1977?)
1 story Annual 1977
1 story Annual 1979
3 stories Annual 1982
1 story Annual 1984
1 story Summer Special 1975
1 story Summer Special 1976
3 stories Holiday Special 1982
1 story Holiday Special 1983
…Through Rose-Coloured Glasses Annual 1982
Star of Wonder Annual 1982
Comics UK Forum poster Goof has kindly contributed the following appreciation of artist John Richardson, along with a detailed comics bibliography. Many thanks indeed, Goof!
John Richardson, who died earlier this year, was not a Jinty artist. He drew no serial stories for Jinty – in fact, he did few full serials of any kind – and is represented only by a few reprints. Yet for other girls’ comics, especially Tammy and Misty, he produced a body of brilliant and original work across a wide range of stories from the darkest horror to the craziest knockabout comedy.
Like nearly all artists who worked for girls’ comics, he was largely anonymous to his many readers, and information about his life isn’t easy to find. Born in 1943 in the North Yorkshire mining town of Eston, he started working as a commercial artist after studying at Art College. Before this, he once assured an interviewer, he had tried his hand at farm work and professional wrestling.
His earliest work includes what seems to have been his first foray into girls’ comics, the 1964 Bunty serial “Phantom of the Fells”. During the 1970’s, he worked on several IPC girls’ comics such as June and Princess Tina, and did a serial and some smaller items for D C Thomson’s Mandy. He also did a couple of series for Cheeky Weekly comic, and the cartoon strip “Amanda” for the Sun newspaper.
Around this time he also began his long run of work for Tammy, which over the years made a significant contribution to the character of the comic, especially his series of “Cover Girl” covers which did so much to define to look of the comic between 1973 and 1980, and his period as the main artist for the “Wee Sue” series. He continued to produce stories and covers for Tammy until the end of 1983.
He contributed short complete stories to Misty throughout its two year run, as well as the serial “End of the Line“, and took full advantage of the extra space which Misty offered to artists to create some of his most spectacular work.
During the 1980’s, he drew for 2000AD, especially “The Mean Arena”, a science fiction serial that he also wrote, and contributed to the serials “Ro-Jaws’ Robo Tales” and “The V.C.s”. He also drew two serials and a short story for Scream! He drew and wrote the cartoon strip “Flatmates” for the Sunday People newspaper, and strips for specialist car and bike magazines. Most memorably perhaps out of his cartoon work, he created the Goonish comedy science fiction strip “Jetman” for a computer magazine called Crash.
Unlike a number of artists who worked on IPC’s girls’ comics, it seems that he didn’t move over to D C Thomson after the last IPC picture story girls’ comics ceased publication in the mid-1980s, although he did produce two Judy Picture Story Libraries in 1983 and 1984. I have not been able to find any further girls’ comic work after the demise of Tammy, and it looks as if he may have stopped working for comics altogether around this time. The latest comics work that I have been able to trace was in two issues of the Enid Blyton’s Adventure Magazine, published in July and December 1986.
It’s not clear why he did comparatively few full serials during his 20 years drawing for comics. I have seen it suggested that he had no great liking for drawing stories written by other people, and this may have discouraged him from working on long serials, where the artist would normally work more or less under instructions from the writer. It may be no accident that some of his best and most inventive comedy is in the Tammy series of Cover Girl covers, where he was free to interpret the joke in his own way because the jokes were purely visual. Many brilliant examples of this series are illustrated in Mistyfan’s History of Tammy Covers on this website.
He had the kind of style which once seen, was instantly recognisable, and yet this didn’t seem to limit his ability to adapt to almost any kind of story. He once said in interview that his work as a last-minute substitute for other artists had helped him to “learn from other people and gradually evolve something unique”. It’s an interesting thought that imitating the styles of other people can help you develop an original style of your own, but certainly his frequent work as a filler artist didn’t stop him developing a highly individual and spontaneous style, with a good feel for human anatomy and convincingly realistic facial expression.
Although he could turn his hand to almost any type of story, his best work in girls’ comic stories was in horror and farcical comedy. He had a tremendous flair for the grotesque, and he was able to turn this to account equally in horror and comedy. There’s nothing unusual about extravagantly hideous creatures in horror tales, but John Richardson’s had an exuberance which was all his own, like this example from “The Uglies” (Misty 14 April 1978):
He could handle bizarre comedy with the same panache, even when the subject was something as humdrum as a parking meter (“Stella Starr – Policewoman from Outer Space” from Mandy Annual 1975):
But the impact of his work didn’t depend solely on his command of the grotesque and fantastic. He could convey the same chill in a horror story by the power of suggestion, through his flair for facial expression, and ability to compose a powerful page layout. From “Black Sunday” (Misty Summer Special 1978) and “Old Ethna’s House” (Misty Holiday Special 1979):
He was also able to draw on his cartooning experience to enliven slapstick comedy stories, as in the Judy Picture Story Library “Dora’s Dragon”, where a dragon costume brought to life by a witch becomes a boisterous mini-Godzilla enthusiastically devouring anything that moves:
Although his style was so distinctive, he was well able to adapt it when taking over an established series from another artist. The Tammy series “Wee Sue” is an interesting example of this. He succeeded to the original Tammy series artist Mario Capaldi in the issue of 14 September 1974, but unusually, he did so in mid-episode. Here are the first two pages of the episode:
Page one is clearly in Capaldi’s style, and I would say that the end of page two is clearly by
Richardson, although he has toned down the normal character of his work to harmonise with Capaldi’s. But at what point did he take over? I personally think that Capaldi drew the first three panels of the second page, and Richardson did the rest. The point is debatable, but it certainly shows how well Richardson was able to adapt his style to conform to the very different style of another artist. By way of contrast, here’s a later episode where he has remodelled Sue’s enemy Miss Bigger from the severe and tight-lipped martinet created by Capaldi into a crazed hobgoblin in his own distinctive style (issue of 26 February 1977):
I strongly feel that this art should be known and celebrated far more than it is, but as so often with girls’ comics, the first stumbling-block to recognition is simply a lack of reliable information about what work the artist did. Contributors to the Comics UK Forum have compiled a list of the work he is known to have done for girls’ comics, and this will be posted next. Inevitably, it’s not complete, and we would be grateful to hear from anybody who can offer further additions, or spot any mistakes. If you can give us any help with this, please let us know.
The Journey Story or Quest was a popular story theme at certain points in Jinty and in other titles. Indeed, at some points in 1976, it would have been possible to be reading an issue of Jinty which included three or even arguably four journey stories in the same week’s comic (see 24 April 1976 for an example). It’s a story framework which allows the creators to vary the setting and characters as much as they like, and to experiment with a range of local touches if desired (Scottish kilts, Welsh mountains, or European stereotypes could be brought in depending on the story). Within a Quest theme the dramatic tension is kept up, too – the protagonist is always thinking of the thing that keeps them on the journey – the danger they are avoiding or the goal they are trying to reach.
The journey story is of course focused around a lengthy journey, but it is also something of a quest, as the protagonist has someone she needs to find or something she needs to do before she can stop journeying. She does not just head out for the fun of it or to see the sights; there is some motivating reason for her to keep moving. Apart from the journey element, the other themes of the story can be fairly varied: there are journey stories in Jinty which are rooted in science fiction, humour, love of aninals, and more.
“Song of the Fir Tree” (1975-76). This story has siblings Solveig and Per traveling across Europe after they are released from the concentration camp they were held in during WWII. They travel from Germany to Norway under their own steam, constantly having to keep one step ahead of their enemy Grendelsen (though at the same time, unknown to them, their father is chasing after them also).
This was the first journey story printed in Jinty. Clear precursors outside of British girls comics are “I Am David” and “The Silver Sword”, both of which feature long journeys and have child protagonists dealing with the aftermath of WWII.
“Fran of the Floods” (1976). After her home town is overwhelmed in flooding, Fran Scott travels the length of an apocalyptic Britain to see if her sister is alive and well in Scotland. This popular and well-remembered journey story is one of survival against the odds and courage in the face of barbaric behaviour on the part of other survivors.
“Bound for Botany Bay” (1976). Betsy Tanner is transported to Australia; in addition to the lengthy sea journey, once she gets to Botany Bay she runs off and travels across dangerous countryside, eventually finding her father who was sentenced to transportation earlier on.
“For Peter’s Sake!” (1976). Set in the 1930s, Carrie Lomax has a brother who is seriously ill. Her grandmother’s pram has rocked many babies back to good health in a seemingly miraculous way and she hopes that it will do the same for little Peter. However, Carrie and the pram are in Scotland and the rest of her family is in London, and she needs to push the pram all the way back to him on foot.
“The Darkening Journey” (1977). Thumper has been separated from his owner Julie, who is moving house with her family, across Britain to the west country. To add to the pathos, both of them are going slowly blind: Julie because she needs an operation to cure her, and Thumper because of an accident at the time they were separated. Together with his friend Beaky, a clever talking rook, he travels towards the setting sun to see if he can be reunited with his beloved owner.
“Race For A Fortune” (1977-78). This is a humourous take on the journey story: Katie McNabb must race her snobby cousins in a journey to inherit her skinflint great-uncle Ebeneezer’s money. The one who reaches Ebeneezer’s home village of Yuckiemuckle first, starting out from the south of England with no money to help them, will win the race and the terms of the will. Katie and her cousins battle it out, each overtaking the other at various points on their travels.
“Somewhere Over The Rainbow” (1978-79). This is the longest, most epic of all the journey stories in Jinty (indeed so long is it, at 36 episodes, that to date I have quailed before the mighty task of writing a story post for it!). Dorothy and Max are an orphaned brother-sister pair who run away from the state care they are put into when their mother is killed. Inspired by the Wizard of Oz song, they travel from the south of England all the way to Scotland, hoping to find happiness at a care home called Rainbow’s End.
Edge cases and uncertainties
The core stories listed above all feature epic, dangerous, and long journeys as a central aspect of the story. There are other stories in Jinty which feature travelling on the part of the protagonists, but without it being such a central part of the plot.
“Then There Were 3…” (1976). This is more of a mystery story: ten girls hire a narrowboat and travel on the water for some time, but the plot primarily focuses on the mystery of what is behind the occurrences that spook the girls. Is it something supernatural in origin, or is it down to a purely human villainy?
“The Big Cat” (1976-77) When her grandmother dies and she is evicted from the gypsy camp she lives in, Ruth travels with the big cat Ayesha that the story is named after. We do not currently have a story post about this to confirm if this is more of a journey story, or a fugitive story where the protagonist runs away and spends time in hiding rather than in travelling towards a clear goal.
Not to be confused with…
There are plenty of stories that include an element of journeying or travelling, such as those ones where the main character runs away: for instance Jinty‘s first issue includes the story “A Dream for Yvonne“, where Yvonne runs away from the circus to become a ballerina. She does not travel throughout the story unceasingly until she reaches her goal, though: she runs away multiple times, loses her memory, is threatened by jealous rivals, and is eventually accepted by both her family and the ballet school. The journeying is not the main point of the story, but rather her challenge lies in how to be accepted by family and friends.
Likewise in many stories there is a dramatic finale where the protagonist runs away either to elicit sympathy or to enact some specific deed: Gail in “Gail’s Indian Necklace” and Lee in “Daddy’s Darling” are two such examples from Jinty‘s early days. I am not counting these either, as the main focus of the story is again not on the journey itself, which is pretty limited in the span of story time that it takes up.
Fugitive stories may overlap considerably with the journey story, but again the key question in my mind is whether the fugitive keeps running, or mostly hides away somewhere. “Always Together…” (1974-75) has an orphaned family (well, almost – read the story summary for more detail) who run away from the welfare state mechanisms which are threatening to split them up. They do not keep running continuously, but instead camp out in a few locations and fend for themselves throughout the bulk of the story.
There are a few stories with castaways (“Desert Island Daisy“, “Girl The World Forgot“): if you are going to be cast away on a desert island you can hardly avoid having travelled, somewhere along the lines! But the focus is then on the predicament of the main character, not on a prolonged journey. The same goes for “Alice In A Strange Land” which has a transatlantic plane journey at beginning and end of the story, and a dramatic crash landing in an early episode, but which does not focus on those elements in the core plot.
Journey-themed stories were of course not confined to the pages of Jinty, though the April 1976 spike in popularity of these stories is perhaps only seen in this title. The following stories are not meant to be a complete list of journey stories, but just to give a flavour of the prevalence and the variety of them across both IPC and DC Thomson. (Many thanks to Mistyfan for providing scans of the below and other stories, and also to Lorrbot and the Girls Comics of Yesterday site, which I checked for mention of journey stories.)
Glen, A Dog on a Lonely Quest (Tammy, 1971)
Janet and her Travellin’ Javelin (Debbie, 1974)
Towne in the Country (Tammy, 1976-77)
The Ride-Away Randalls (Debbie, 1978)
The Wandering Starrs (Bunty, 1978-79)
One Girl and Her Dog (Tammy, 1978-79)
Jumbo and Jet (Tracy, 1981)
Jet’s Incredible Journey (Suzy, 1986)
This post is already rather long, but I have more thoughts about the theme. Another post will follow, discussing aspects of how journey stories actually worked in more detail, looking at some of the stories mentioned above.
With many thanks to Christine Ellingham for sending through such detailed and interesting answers to the interview questions below – and of course also thanks to her for getting in contact in the first place!
Question 1 – Can you please give a bit of background context to your time in comics – when did you start doing work for picture strips / comics titles, and what got you into them in the first place? You say that your time as a strip artist was short – what led you to cut it short, if there was anything specific?
As with a lot of the jobs I have done over the years, I arrived at IPC, then Fleetway Publications, purely by accident and good luck.
I had been a staff layout artist plus fashion illustrator on a girls’ teenage magazine called, Go Girl! (This is where I first met Malcolm Shaw.) Go Girl! was part of City Magazines, the magazine division of The News of the World. This was in 1968.
Unfortunately, Go Girl! folded after a very short life and it was suggested that I approach Leonard Matthews, the then Director of Juvenile Publications, not sure of his correct title, at Fleetway. I did, and was offered a job there. In those days it was relatively easy to move around from one job to another.
Initially, I was placed in a department with several other people, not a specific title, where we did odd jobs for different papers, i.e. illustration, lettering, pasteup and, in the case of Alf Saporito, cartoons. I remember John Fernley being one of us, possibly Tony Hunt, though I’m not sure.
After a short period I was moved to the Nursery group, under the managing editor, Stuart Pride, and there I worked on a new publication called Bobo Bunny. This had come from Holland and needed adjusting size wise and certain content adaptation making it suitable for the UK market.
By now John Sanders was the overall editor of the juveniles. I have a feeling I wasn’t the first to be offered the position of art editor of a new girls’ paper called Tammy but I accepted it nevertheless and moved from juvenile to teenage. John Purdie was the editor and Gerry Finley-Day and Iain MacDonald made up the editorial team.
Under John, we gathered writers and artists and the aim was to compete with D.C. Thomson’s Bunty and maybe other titles of that type. I remember John and I made a trip to Rome to talk to the Giorgetti stable of artists and we were wined and dined by Giorgio Giorgetti and his American wife. We also attracted all the relevant artist’s agents, Danny Kelleher and his son Pat of Temple Arts, Linden Artists and Bardon Art for example, and collected together a group of strip artists, writers and balloon letterers.
Eventually, Tammy was launched and did very well. I was able to contribute a small amount of artwork, the back cover of the first edition is mine, but really my job was to get it all together, see the agents and in one case, the artists themselves (I remember Roy Newby used to deliver his own work) but usually the agents would deliver the artwork.
I have to admit, I was not entirely happy in the role of art editor. I had studied illustration at Hornsey College of Art and that was what I wanted to do. I left Fleetway 1971/72. Barry Coker and Keith Davis of Bardon Art represented mainly Spanish strip artists. I thought that maybe I could ‘have a go’ at doing this as a freelance and doing it from Spain. Barry and Keith took me on and my then partner and I moved to Spain. Just like that! This was 1972. Amazing really.
First of all my work was for D.C. Thomson; they waited for a whole series to be complete before publishing so as I was a novice and slow, this suited me. Fleetway needed an episode completed in a week, too much for me then. I am hazy about the titles, there may have been something called, “Warning Wind Bells” and another with an Egyptian theme with a character or a cat called Nofret, or these could have been later for IPC. I have a few old diaries of that time and one story I worked on I have only the initials of the title, S.O.S. I wonder what that stood for! 1972. There was “Topsy of the Pops”, “Vet on the Hill” and “Lindy Under the Lake”, all for Thomson’s circa 1973. (This is the date that I drew them, not necessarily of publication.)
As agents, Barry and Keith were superb. They made sure I was never without work, one story followed immediately after another, that I was paid promptly and they gave me such good advice regarding page layout, technique and story interpretation.
While I was still working on Tammy I started to have problems with my right hand (I am right handed), it not functioning properly. This continued to get worse when we were in Spain and instead of speeding up and refining my style the opposite was happening, my work deteriorated. Bardon Art kept me going but eventually we had to return to England in 1974, where I continued to struggle depressingly.
During the Spanish time I illustrated at least two Annual covers, Tammy 1972, including the front endpapers depicting National Costumes and Sandie Annual 1973, plus various spot illustrations. I still have these annuals. Or I could have done these before Spain.
After inconclusive tests that found nothing terribly wrong with my hand or me generally, the GP at the time suggested I learn to use my left hand. After thinking initially, he doesn’t know what he’s talking about, I realised this was my only option. I remember one ten-part story for Thomson’s started with me using my right hand and gradually with training, ended using my left hand. I can’t remember which story that was.
From then on things got better. I speeded up and developed my style. Bardon got me the first IPC job. I’m not one hundred percent sure but it could have been, Cove of Secrets or Secret Cove, something like that, for the Jinty Annual possibly 1974. Also The Whittington’s Cat Princess, DCT, around the same time. To this day, I draw, paint and write using my left hand.
“Concrete Surfer” came later. That particular story stands out for me because it was such fun to do. It was all action with hardly any background, it was very modern and I love doing figure work. I remember we bought a skate board so that I could see what it looked like from all angles, a helmet too, still got them!
I cannot remember how many strip stories I worked on after “Concrete Surfer” but at some point I felt the need to move on, that I wasn’t being stretched any more. Bardon Art were no longer able to represent me, as strip was their speciality, and sadly, we parted company. I started contributing illustrations to Oh Boy, Loving and other IPC papers for older teens.
After a few years I moved on again and, as an illustrator, contributed to national newspapers, women’s magazines, house magazines, mail order publications, coin design, greetings cards and so on.
The work was still there after my retirement but the need to move on again got the better of me and now I paint, back in Spain.
Question 2 – On the blog we are always very keen to try to establish any creator credits for artists and writers, as these are otherwise very likely to get lost in the mists of time. As far as we can tell from the art style, it looks like you drew three stories for Jinty (“Race for a Fortune” (1977-78), “Concrete Surfer” (1978), and “Dance Into Darkness” (1978) plus some covers and spot illustrations, as well as a story in the Lindy Summer Special (1975) and in the Jinty Annual 1978. It may be asking too much at this distance in time, but what other work do you recall doing and in which publications?
I would have to look at these stories that you mention to verify that I actually drew them! As I have said, Concrete Surfer stands out because for me it was a joy to do. The others, some I have managed to see on line and they do look vaguely familiar. At the time I used my partner as a model. I found men more difficult to draw than women and girls and I have noticed him in certain frames even though I tried hard to make them not look like him! When I see him I know that I did that one!
Question 3 – At the time it was very usual for artists and writers to work quite separately from each other, particularly freelance creators. Was this the case with you, or did you know others working in the same area? I ask partly in case there are any interesting stories or anecdotes that you can relate at this distance in time, but also in case you remember any names of people on the creative or publishing side that can feed in to our information of who did what.
Yes, this was the case for me. Artists do lead a solitary life and being freelance meant I would be at my desk not wanting to be interrupted. The deadlines, especially for IPC, were pretty tight. In my case the work would be delivered to Bardon Art and they would take it to the publication in the case of Fleetway, a few minutes walk away. Though in Spain I posted it directly to DCT. Nevertheless, Barry and Keith were very much involved and would add their comments sometimes.
While we were in Spain the work was rolled into a tube and posted. The tubes had to be open at both ends, some string threaded through and tied and a description of the contents had to be stuck to the outside, or left with an official at the post office.
I did meet one artist in Spain, Miguel Quesada. It was he who told me how to send artwork to England. He and some of his very large family, (a lot of mouths to feed), visited us unexpectedly. He was one of Bardon’s and a contributor to Tammy. I never met any of the other artists apart from Roy Newby, but that was before I was a contributor myself.
I did meet John Jackson when he was the art editor of Jinty and of course, Mavis Miller.
Question 4 – I am keen to understand more about the creative and publishing processes of the time. Presumably the writer supplied a script, and the editor chose the artist, but I don’t know how everything interacted. Did you get any guidance (say as part of the written script) or conversely any interference from the editor or art editor, or was the published page pretty much under your design control including the composition of the page?
Yes, the editor would choose the artist, art editors didn’t have much say in the matter, (Though this is just from my experience of working on Tammy.) And I think the editorial team would have suggested an idea for a story to the writer, again, this is how it happened on Tammy.
The artists were given a lot of guidance. Before even starting, we would be briefed on the content and theme of the story, to get to know the main characters. In the case of IPC the scripts would come one at a time, having only just been written, probably. The artist would receive a document containing the dialogue for each balloon and the positioning of the balloons had to be in that same order in the frame, also, there would be instructions on the action and mood in the frame, i.e. the heroine to look sad, the bad girl to look vindictive; a closeup and so on. The composition of each frame would be influenced by the order and size of the balloons and the overall design of the page would have had input from the editor. Quite a lot to work out, now I come to think of it! [An example of a script has been previously sent in by Pat Davidson, wife of Jinty story writer Alan Davidson: see link here.]
I always had to submit pencil roughs that would be shown to the editor for his/her comments. In Spain there were many visits to the post office, pencils going off to Stan Stamper in Dundee, coming back with comments, a finished, inked episode flying off, the two passing each other on the way. Also, we artists had to work ‘half up’ so there was a lot of ground to cover. [‘Half up’ means using a larger piece of art paper – half as much again as the finished size, so that for instance if the finished publication is 10 inches by 12 inches, half up would be 15 inches by 18 inches – with the artwork being photographically reduced in size during the production process.]
Question 5 – A slightly self-indulgent question but with a point to it – how did you come across the Jinty blog? Was it a case of happening to suddenly remember something you worked on years ago and searching for it, or being sent to it? (I ask because I would love to hear from other creators from the time, and if there is anything I can do to increase the chances of someone posting a comment saying that they wrote or drew a story from the time, I will certainly consider it.)
I’m trying to think. How did I find it? I get carried away on the internet sometimes. I think I was looking up an old friend of my now husband’s, the two of them used to work together on Eagle, Swift, Robin and Girl papers, as balloon letterers and layout artists. I started looking at Girl artwork as I do have a couple of Girl Annuals, No.3 and No.5. I noticed that the writers and artists all got a credit; one name I recognised was the artist Dudley Pout, I wonder if he contributed to any of the Jinty stories? Though he was probably of another generation.
The friend of my husband had died but in reading his obituary I found links to other sites and by then I was interested to see if any of my work was featured anywhere, the only title I could think of was, “Concrete Surfer”!
This entry presents the very first episode of The Four Marys. The original appeared in Bunty #1 on 18 January 1958, and this is the reprint from Golden Age Classic Stories Bunty for Girls 2009. Artwork is by Bill Holroyd, who drew the first 15 episodes of The Four Marys.
The first episode establishes the elements that will continue all the way to the last episode in Bunty #2249, 17 February 2001: the four girls who have to go by their last names because they all share the same Christian name; they share the same study and a long-standing friendship through thick and thin; the snobs (not yet named) who will always look down on Mary Simpson because she is ‘common’; and the characterisation that helped to make The Four Marys so popular. In the early stories The Four Marys also had more individual looks than they did by the 1990s, especially Mary Cotter.
There is a distinctive Enid Blyton feel about the first episode to modern eyes, both in terms of its tone and its artwork. But The Four Marys were willing to adapt to changes in trends, tastes, and in the education system itself. For example, the formidable Dr Gull in the first episode was eventually replaced by the modern-thinking Miss Mitchell in the 1980s. There was even one story where Dr Gull returned to the modern St Elmo’s, but was too old-fashioned and strict to accept how things had changed. She tried to force the school into her mould, and of course there was bad reaction to it.
An in-depth discussion of The Four Marys, which includes pictorial comparisons of how they and their supporting cast changed over the years, can be found here at Girls Comics of Yesterday.
This is a post covering more than one celebration. It is the 600th post on this blog, posted on the 11th May, the day that Jinty was first published 43 years ago. And while we normally don’t make much of the anniversary of the blog itself, it has been a little over three years since it first started, back on 15 April 2014.
Jinty likewise also didn’t make much of its anniversaries. There is a celebration cover for its 200th issue but that mostly consists of an Easter picture and some text stating that it is a celebration issue. And while the cover of its 5th anniversary, above, is at least specially-drawn for the occasion, there is nothing much more inside to remind readers of the exciting times from the previous years. We can do more than that, in this blog post!
Well of course on this blog you can go back and read posts on individual issues, either in the order in which they were originally posted or (rather more conveniently) as an index, in date order. This also shows you how far we’ve got through the list of all 383 issues of Jinty ever published. For much of the run, we have now got long unbroken streaks of consecutive issues. There are gaps here and there of two or three issues together where we still have to fill in issues not-yet-blogged, but these are much fewer than used to be the case. (To give you context of the publishing of the time, there is also a much shorter list of issues of other titles which we have written about. It’s an area we focus on less, of course, but we will continue to add to nevertheless.)
We are still plugging gaps in the list of stories, too, but there again the gaps are narrowing. If you look at the list of Stories by Publication Date you can easily see which stories are yet to be posted about. Most of the key stories have already been covered, but there are still some crackers to come. Mistyfan is promising us “Tears of a Clown”, and on my own list I need to get to “Somewhere Over The Rainbow”, the popular and extremely long wartime tear-jerker from Alison Christie and Phil Townsend.
In terms of other sorts of blog achievements, of course 600 posts is itself a really good number to have got to, in as little as three years. I would have been happy to manage about one post a week, but thanks to Mistyfan’s energy and our combined bright ideas on new things to tackle over that time, we have managed three or four times that rate. (I must give due credit to Mistyfan, who writes about one and half as many posts as I do!) The readers of this blog will be glad to know that even though we are closing the gaps on individual issues to write about, we still have many creators to cover as well as the story gaps mentioned. And although issues of other titles have featured previously as context for Jinty‘s family tree, I can see that we might need to cover more of these so as to continue to trace the path of different creators, story types, and themes throughout the years.
Jinty never had a chance to continue even as far as its 8th birthday issue, alas. I wonder what it would have been like if it had lasted longer? There would certainly have been a lot more great stories and excellent art to read and enjoy, but would it have stayed as inventive and energetic as 2000AD has done in its 40th year? Bunty lasted from 1958 to 2001 and had strong stories even to the end, but I think it would be hard to class the latter-day content of the title as ranking with its heyday. A longer-lasting Jinty would have had to reinvent itself more widely: I’m not sure how that would be possible in the constraints of the British comics market, especially with comics marked out as being more and more ‘for boys’. Esther, the Spanish “Patty’s World”, managed it, with stories being written specifically for the Spanish market and grown-up readers still seeking out the title of their childhood and sharing it with the next generation. Perhaps not a coincidence that it succeeded so well: Esther was always down-to-earth and realistic, compared to stories about boarding schools or ballet, so it stood more of a chance to tap into the mainstream urge for everyday stories that lies behind the popularity of soap operas. Not that soaps are the only way to produce popular entertainment, of course: Jinty and the like could perhaps have tapped into the science fiction or fantastical elements that worked so well in their pages. For sure, something different would have been needed. Wouldn’t it have been great to have seen the publishers give it a go!
Rhoda Miller was a subeditor at DC Thomson and at IPC, working on girls comics and magazines between 1966 and 2008. In answer to my questions, she wrote the biographical piece below, which I am very happy to be able to publish. Many thanks, Rhoda!
I began work in August 1966 on Diana magazine in Dundee. Editor was George Moonie, Chief sub Ken Gordon. There were two other men subs and about four girls. From day one I was expected to write features and was sent out, (untrained!) to interview people such as The Walker Brothers, Amen Corner, Davy Dee, Dozy, Beaky Mick and Titch (?). Story ideas were discussed at “story sessions” and ideas sent out to script writers. The subs’ job was to prepare them for publication. Sometime, this meant a complete re-write! In 1970, I was in a one-way love affair and decided to move to London. A bit drastic, but there you go!
When I applied to IPC they had just paid off a lot of people and the unions wouldn’t let them take anyone new on. But John Purdie was keen to have someone from Thomsons, he took me on as a free lancer, but I was to work in the office full time, and if anyone asked, I was to tell them I was a “visiting free lancer”.
I was put in Desmond Pride’s old office with Annie Deam, who had recently been removed from her post of School Friend editor, and like me, was working on projects. Eventually I went onto Sandie and worked as a sub. My days of working there are very hazy, and I wasn’t there very long before personal circumstances propelled me back to Dundee. I do remember the art editor, though. His name was John Jackson, and he had come from Eagle, and I remember the artists agent, Jack Wall, and his best mate, an artist whose surname was MacGillivray (can’t recall his first name) [Robert MacGillivray] but MacGillivray’s nephew was the legendary Ali McKay who also worked for IPC for quite a few years.
Back in Dundee, I rejoined DC Thomsons, and went to The Bunty, where Harold Moon was editor, Ian Munro chief sub. These were amongst the happiest days of my working life. I was there for several years, writing scripts for “The Four Marys” among others. At this time, the company still employed several long-standing script writers. One of the most prolific was a lady called Olive K Griffiths. Her scripts needed a lot of re-writing, as I recall. In the weekly comic we didn’t have features, but we did in the annuals, and these the staff were required to write.
After that, it was Spellbound with Ken Gordon editing, and David Donaldson chief sub. By this time, some of the subs were writing more and more of the scripts, and the company was employing fewer outside script writers. Spellbound, a spooky magazine, only ran a few years before it ran out of steam. I remember we had a lot of interference from Norman Fowler, who was one of our managing editors. He was keen to have horse racing stories in all the magazines!
After Spellbound, it was Mandy under Alan Halley, but when I objected to him wanting to run a horrible story about a wealthy couple planning to kidnap a poor girl and use her as a blood donor for their ill daughter, we fell out and I went to Nikki, where I wrote “The Comp”. As I say, my memory is not great for dates, or how long I was on each magazine, but in 1997, I was chief sub editor on Animals and You. Frances O’Brien was editor.
“Luv, Lisa” was my idea, and was quite an innovative idea, as it was a “dear diary” photo story rather than an illustrated one. Richard Palmer was the photographer (he also worked for IPC). After Animals and You, Frances and I moved to work on a new project, of which nothing came, but we did come up with the concept of The Goodie Bag Mag, and I worked on that with her, until I took early voluntary severance in 2008.
The artists who worked for us (that I remember ) were Claude Berridge, George Martin, David Matysiak, and Norman Lee. Spellbound had an amazing Spanish artist drawing one of our stories, but again the name escapes me! [I assume this may have been Romero who drew Supercats; if Rhoda is able to confirm then I will update.]
[Edited to add the following further additions from Rhoda, below. I had asked why she felt that the publishing industry moved from story-heavy titles to ones that were more focused on features or freebies, and about credits for artists and writers.]
I really cannot explain why the comics became less content and more free gifts, except to suggest that research showed children were less inclined to read great screeds of type and preferred more pictorial and less copy. The free gift phenomenon was very much a case of “the opposition are doing it, so should we.”
As to naming the script writers/artists, it was certainly a DC Thomson policy not to allow anyone to be credited. But some of the Spanish artists sneaked their names on and a blind eye was turned. Mainly because they were indispensable. Indeed, it was only in the past twenty years that Thomson allowed their newspapers reporters and columnists to get bylines!
John Wagner is known to have worked on girls’ comics and written girls stories in the 1970s. I didn’t know of any previous interviews which had focused on this part of his career in particular: many thanks to him for answering the questions below in this brief interview.
1 I’d love to know how you got started in writing for girls’ comics, and what you did during that part of your comics career. What stories did you write? How did you balance writing comics alongside being an editor – or was that all part of what the editor was expected to do?
The girls’ comic side of my career started with Romeo, the DC Thomson romantic comic/mag, the poor sister of Jackie. Girls’ romance was just a step up from normal girls’ fare with the addition of boys. We never touched on lesbian love back then! Then when I left to go freelance with Pat Mills, girls’ stories was one of our target markets. We were given “School of No Escape” (was that in Sandie or Tammy? [that was in Sandie]) by the managing editor, John Purdie. The story had already been started, was running, but either the writer had quit, or been sacked. In any case editorial didn’t know quite how to handle it. It was quite a challenging first assignment but we made a pretty good fist of it. I helped Pat devise “School for Snobs” and write the first couple of episodes before we split up and I went to work in the IPC office in London. My only girls’ comic story after that was “Jeannie and Her Uncle Meanie”.
2 We’re always on the lookout for information on other creators of girls comics from the time. I have already asked you for any suggestions on the name of the artist on “Slave of the Trapeze” and “School of No Escape”, which sadly for us you weren’t able to recall. Are there stories by other people that you particularly remember from that time, which you would be able to help us to credit the creators on? For instance, anything written by any of Gerry Finley-Day, Malcolm Shaw, Charles Herring, Jay Over, Ian Mennell, Benita Brown, Maureen Spurgeon?
Malcolm Shaw was my sub on Sandie for a while, quite a good, reliable one. I’m afraid I don’t remember any particular stories any of the people you mention wrote, though Gerry would have done two or three for me. Never heard of Jay Over or Benita Brown and assume Maureen then went by another surname that I can’t remember.
3 Pat Mills has fond memories and a lot of respect for specific girls’ comics titles and the hard-hitting gritty stories that ran in them. What kind of comparisons would you draw between the world of girls’ comics and that of the boys’ titles you worked on?
They were pretty different, up until Pat and I started work on Battle Picture Weekly. I refer to the IPC boys’ stories, as DC Thomson boys’ comics had some excellent stories and were almost the equal of their girls’ titles. But IPC boys’ titles had stagnated, with stories that were formulaic, repetitive, barely credible and carried very little emotional power. They paled in comparison to the stories in Judy, Mandy and especially Bunty – clever, meaty, affecting.
4 You started your comics career working for DC Thomson before moving south to IPC/Fleetway. Were there things about creating comics that you learned at DC Thomson which you were keen to bring with you to IPC, or perhaps keen to move away from? Or other memories of differences between the two publishers?
I was keen to move away from poverty! The key lesson I learned there was self-criticism. Nothing you write can’t be better. Always question yourself – am I getting the best out of that scene, those characters, is there a better way of doing things?
5 Finally, anything you can tell us about your time at Sandie would be good to know. It was a fairly short-lived title, only lasting for 89 issues. What do you think that was down to? Did you leave it as it finished, or earlier? Who else worked on it that you can recall?
My memory is that they closed it down – or merged it – on a circulation of about 180,000 (though that figure may be inflated in my mind). In any case the low cover price meant that they had to sell enormous numbers. I was told the comic was going under and that they wanted me to move on to Princess Tina (which was also dying) and revamp it in an attempt to save it. Norman Worker (I think) was brought in to see Sandie laid to rest. In turn I made an awful hash of Tina, whereupon I quit journalism to become caretaker of an estate in Scotland, never to return (I thought!).
I’ve already mentioned [in email] some of the names of Sandie staff – subs Kyra Clegg, Rhoda Miller, Malcolm Shaw. Ally McKay was assistant art man for a while, and John…John…ah, I forget, but he was art editor.
Many thanks again to John Wagner for this interview. I have a small number of issues of Sandie, which I looked at in this post. Catawiki has details on a few Sandie issues also, and the Great News for All Readers blog has posted in detail about two issues in 2016. Mistyfan also wrote a post about the advert for Sandie’s launch, and another on issue 7 of Sandie in 1972.
Publication: 28 October 1978 – 17 March 1979 (18 episodes) Artist: Ron Smith Writer: Unknown
Translations/reprints: None known
Lisa Carstairs is a talented pianist and a selfish, self-obsessed girl who cares nothing for anyone or anything except her piano. We see a glimpse of her life as a rich girl who can spend as much time as she wants just practicing her piano, waited on by maids and fawned on at school. Her father works hard at keeping his business together but to no avail: it comes to an end with a crash, when his business partner flees the country and leaves Mr Carstairs with the associated debts. Everything has to be sold to pay for it, including Lisa’s beloved piano – and her sympathy is kept all for her own losses, with none left for her parents’ difficulties.
For much of the rest of the story, all Lisa can think of is how to get access to a piano, preferably her own. She goes to the auction house and threatens to have the law on anyone who touches ‘her’ piano or dares to buy it, but of course she is onto a loser there. The family move into a little terraced house and she is sent to the local school rather than her posh private school. Her posh private school, for all their glib words about admiring her talent, want nothing to do with ‘the daughter of a bankrupt’ so there is no chance of playing their piano! There is a piano at the new school but she has already set everyone against her there by failing to listen to anyone, failing to adapt to her changed circumstances, and failing to understand that people aren’t going to fawn over her talent any more. She only barely gets to play the school piano, which she is only allowed to do once she has apologized to a teacher that she was rude to (and even then she gives one of those rubbish ‘I’m sorry if you were offended’ type apologies – actually she says ‘The Head wishes me to apologise to you’ which should have been something they would have seen through but still).
Playing the school piano isn’t enough, mostly because she is not treated with the amount of adulation she still expects (without in any way having earned it of course). The assembly music she’s given to play is not what she wants to play, so she summarily sweeps it aside in favour of some technically challenging classical music – not surprisingly this approach fails to go down well. The kids are unimpressed, Lisa is angry at them for not fawning over her (er, I mean appreciating her obvious talent when she condescends to play for them), and she calls them loud-mouthed, ignorant and stupid. So it’s war between Lisa and the whole school from now on.
Well, not quite the whole school. Tracey is a girl who likes classical music and has some sympathy for Lisa. She stands up for her even when everyone else is sick of the sight of her. Including the Carstairs parents, probably: Lisa was nearly starting to be sympathetic to their difficulties when she heard them say they’d try to make it up to her by getting a replacement musical instrument. She immediately imagines a beautiful piano taking up most of the space in their shabby small terrace – but of course all they are able to buy is a tiny electric chord organ, which from Lisa’s point of view is nothing better than a toy. Not that anything excuses her reaction, which is to kick it to pieces in a tantrum!
Another try at getting access to a piano is when she finds out that her piano was sold to the Mayor, for his spoiled daughter to plink-plonk on. Rosalind, the mayor’s daughter, takes the opportunity to bully Lisa by playing on her desperation: she has Lisa steal and beg for a chance to play. It doesn’t take Lisa that long to realise that Rosalind has no intention of actually helping, but it does take a little longer before she can bring herself to swallow her longing and walk away from her old piano.
Lisa’s quest for a piano to play nearly breaks up the family when she finds that a piano showroom is advertising for a cleaner. Lisa herself is too young to take the job but she cajoles her mother into it, despite her father’s opposition – he was made redundant just previous to that point, and his pride is injured at the idea of his wife working to bring the money in. It works well for a time, and Lisa even shows some signs of empathy – when her father strides into the house announcing he is going away, she thinks it is because of her doing, and she realises she would much rather have her father around than access to a piano to play. It turns out not to be as bad as she had feared – Mr Carstairs is not leaving his wife because of the argument about her working, phew! In fact he has been offered another job, but it is far away and he will have to travel there and be located elsewhere. Mrs Carstairs is relieved to think that she can give up the cleaning job, but an also-relieved Lisa is a newly-selfish Lisa, who pressures her mother to continue with the job for the sake of her music.
It turns out to be the final straw of stress on Mrs Carstairs though – she collapses, and it is revealed she has been in pain for a long time previously without mentioning it. Lisa needs to go and stay with her one school friend, Tracey, in her busy house: and of course the ungrateful Lisa only thinks of the bad side, in particular the fact she has to do chores which she fears could damage her artistic hands. To top it all, Mr Carstairs is not able to come to be at his wife’s hospital bedside – because he has vanished! It seems he never appeared at the new job workplace at all.
Lisa’s last fling of selfishness is to refuse to go back to Tracey’s house when her mother tells her she must – she uses the housekeeping money that her mother gives her, and goes to see her godmother in London. Little does she know that said godmother has departed for a long international voyage! So there is no home for her there, and none back at Tracey’s house – because her worn-out mother has finally snapped, and told the authorities that Lisa must be looked after in a Home. So it is welfare for her…
This final, very nasty, surprise is the making of the girl – she is quiet and not boastful in her new location, and she doesn’t go all out to find a piano to play, as she had before. She spends her time helping with the younger children and mucking in, even roughening her hands or running the risk of injury if it seems like a worthwhile activity needs her help. And when finally she does play the piano again, after a long time of refusing to even try, it is only at the earnest request of a little boy she is helping to entertain – she is doing it for his sake, not her own. The reward comes at last – her parents return, both together – Mr Carstairs has been found! He had been injured and had lost his memory and his luggage, so his identity took a long time to be established. And Lisa has come to realise that the most important thing for her right now is to be together, as a family – and that is more important even than music for her.
Lisa Carstairs is one of the more unpleasant, selfish, hard-hearted protagonists that there is in Jinty. She’s not outright evil, as is the case with Stacey in “The Slave of Form 3B“, but because she is such a hard case it takes a long road, and a lot of knocks, to redeem her. You might think that the opening episode, where she loses her family home and all their worldly wealth, would be enough to do it, but in girls comics there is definitely further to fall. In her case, she needs to plumb the absolute depths before she can come back up again – and here that means losing her whole family, and knowing it is her own fault and no-one else’s. In other stories the sense of guilt can be an illusion built up in the protagonist’s mind – for instance in the case of Ann Ridley in “I’ll Make Up For Mary”, where it drives the whole plot – but here it is not over-done and it is effective as a wake-up call.
The passage of time in this story is done quite well. For instance, the last episode (which is 4 pages long) covers the timespan from Lisa’s arrival in the Home to her final happy moments of realization. It isn’t supposed to take place in only a day or two – the text explicitly refers to several weeks having passed. Likewise, earlier on, the passage of time is made rather more visible to the reader than in most stories. This all makes the main driver of the story – Lisa’s redemption – more realistic.
This is Ron Smith‘s second and final story done for Jinty – after around this time he was found doing the bulk of his work for 2000AD, so he is often thought of as primarily an artist for that title, and on Judge Dredd specifically. His work on that is indeed fantastic, but it means that it’s easy to overlook the fact he had a long career as a girls comics artist before then, working for DC Thomson’s Bunty and Judy in particular.
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.