Tag Archives: Cursed to be a Coward!

“They Call Me a Coward!” (1971)

Sample images

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Published: June and School Friend 3 July – 28 August 1971

Artist: Leslie Otway

Writer: Unknown

Sometimes we discuss non-Jinty serials, provided the entry is discussed within the confines of Jinty context. Such is the case here. Recently I came across this story from June and School Friend, and was immediately struck with the parallels it shares with “Waves of Fear”: a girl is bullied at school after being accused of cowardice in the wake of an accident; her enemies gang up to get her expelled; she is pushed too far and runs off in pouring rain; then comes a turn of events that puts things right. It could well be it was the same writer.

Plot

Cathy Price has a terrible fear of heights (acrophobia). So when Sue Dawson is clinging to a cliff top and in need of rescue, Cathy is too overcome by her phobia to help. Sue falls and is soon having life-or-death surgery. Following this, the girls at school call Cathy a coward and start bullying her. Leading them are Brenda Smith and her crony Marion, who are always causing trouble for somebody one way or other in any case.  Cathy’s best friend Lynn Greenway is shunning her as well – at first.

The bullies’ taunts drive Cathy back to the cliff, where she tries to prove herself by trying to climb the cliff this time. But again her fear overwhelms her. The bullies dangle her over the cliff and then leave her on the grass. When Cathy returns to school the bullies throw her in the shower with the water set to hottest because they think she is sneaking on them. Lynn rescues Cathy and almost picks a fight with the bullies until a teacher intervenes. Following this, Lynn becomes Cathy’s defender against the bullies. Lynn also cops some of the bullying as well. On a school trip Brenda and Marion push into her into the pool at the aquarium, which puts Lynn in danger from a killer whale and she can’t swim. Mr Withers rescues her, and she tells Cathy not to beat herself up for not being able to do something herself, commenting that those two bullies didn’t do any heroics either.

Cathy’s parents do not know what is going on. Cathy does not tell them because she is too ashamed, and also because they become stressed when Dad is suddenly made redundant and money gets tight. Cathy’s paper round helps make ends meet, but she loses the job because she is too upset about the trouble at school to do the job right. So Cathy takes an evening job in a café, but the extra work is soon taking its toll and interfering with homework. She loses sleep and is getting exhausted at school. Mum finds out about Cathy’s evening job and tells her to stop it because it is affecting her schoolwork. Cathy continues regardless because the family needs the money, but gets her wages docked when she accidentally breaks a stack of plates.

At school Brenda picks another fight with Cathy and they are hauled up before the headmistress. Brenda refuses to shake hands as ordered; she calls Cathy a coward and a disgrace to the school. The headmistress, who does not know what happened either, eventually gets the whole story out of Cathy. She handles it compassionately, telling Cathy that you don’t always succeed at being a hero, and how many people would be heroes when it comes to the crunch? The headmistress then has a word with Brenda, but it only makes the situation worse because afterwards Brenda tells Cathy that they are now out to really fix her.

Next day, Cathy finds out what Brenda means: the girls are now trying to get her expelled with a protest demonstration and threats of strike action. Worse, the press have gotten wind of it. The headmistress sends Cathy home while they try to sort it out. Form teacher Mr Withers assures Cathy that everything will be all right in the end.

Cathy is too ashamed to tell her parents or pass over the note from the headmistress. Then, when Cathy hears a newsflash reporting the trouble at school, she is so terrified that she runs away – in pouring rain. Her dog Spot follows and gets injured. The vet is closed, so Cathy takes Spot to the hospital. She discovers Sue has pulled through surgery and is on the mend. She goes in to see Sue and finds Sue wants to be friends with her. However, Cathy knows she will continue to be branded a coward and runs off again.

Then Cathy sees a young girl about to be attacked by a vicious guard dog. Without thinking, she jumps in to save the girl, but takes a bad mauling in the process. Now Cathy is quite the heroine and considered as having redeemed herself. The headmistress says it is safe for Cathy to return and there will be no more trouble. Indeed, all the girls cheer Cathy when she returns, including Brenda. The girl’s father is so grateful for the rescue that he gives Cathy’s father a job.

Thoughts

As stated before, this story shares a number of parallels with Jinty’s “Waves of Fear”. There are differences, of course. First, it is a phobia that stops Cathy from rescuing Sue and consequently being branded a coward, not an outright medical condition as it was in “Waves of Fear”. It is akin to how Marnie’s hydrophobia prevented her from going to the rescue of a drowning child in part one of “Cursed to be a Coward!”. This means Cathy has to redeem herself for her initial failure a whole lot more than Clare does if she is to shake off the “coward” label and the bullying is to stop. Not to mention assuaging the dreadful feelings of shame and guilt she is suffering in the wake of the accident.

Second is the focus of the bullying. It is confined exclusively to the classmates, which seems a bit unbelievable. One would think the story would filter through to other quarters of the town, as it does in “Waves of Fear”. And it is a bit strange that Cathy’s parents remain ignorant of the whole affair, even if Cathy is too ashamed to tell them. One would expect them to hear rumours or gossip of some sort.

The vendettas to get the protagonists expelled is motivated by revenge, but it differs in whose idea it is. In “Waves of Fear” the accident girl’s aggrieved parents demand the expulsion, which the headmistress refuses. Word leaks out and the chief bully takes up the task because of a personal grudge. In Cathy’s case the drive to get her expelled is motivated by pure spite from the ringleaders Brenda and Marion. Sue’s parents don’t compound the trouble at all.

Third is how the school tries to deal with the bullying. In “Waves of Fear” the school staff know about Clare being bullied. But they don’t do a thing about it and show no regard for Clare’s welfare or the bullying getting out of hand. In Cathy’s case the headmistress and teachers show deep concern for Cathy. They are extremely worried about the trouble and  what could happen if it does not blow over, though they could have taken much sterner action against it. The headmistress actually takes a non-judgemental approach with Cathy over the matter that is most impressive. The headmistress in “Waves of Fear” does not sound that wise or kind; in fact we hear it is unlike her to even pay compliments! And Lynn must be praised for her courage and empathy coming over to defending Cathy because she feels the bullying is going too far. Clare never had anyone like that at school to help her against the bullies.

Fourth is the trouble at home that both Clare and Cathy have to contend with on top of the trauma and guilt over the accidents and the bullying they are suffering at school. In Clare’s case it is because her parents have become a pair of ogres and turned against her because they also think she’s a coward. In Cathy’s case the parents don’t even know about the matter. It is the emotional and financial stress over the father’s redundancy and Cathy exhausting herself to help make ends meet that creates the domestic problems on top of her bullying problem. At least Cathy has someone to support her at home – her dog Spot. Clare doesn’t even have a pet to lean on during her troubled time.

Fifth is the ways in which the protagonists confront their fears. They both return to the scene of the accident to try to do so – only to be attacked by the bullies. This particular parallel does suggest the same writer for both stories. However, the ways in which they finally handle their fears is quite different. In Clare’s case she has to fight her fear (claustrophobia, which has intensified into a mental illness) all the way to rescuing her friend from the cave she is trapped in. This is regarded as the first step in recovering from her illness. In the case of Cathy, saving a child from a dangerous dog has nothing to do with her acrophobia. It was a matter of not giving in to fear itself. In fact, Cathy didn’t think about fear – she just jumped in without thinking. There is no indication of Cathy overcoming her fear of heights. The story goes for something less clichéd; Cathy just accepts that she’ll always be scared of some things. After all, she is only human.

There is a nice touch in having Cathy tell the story herself. This gives the story a more personal perspective, for it is told in the protagonist’s own words and gives insights into how the protagonist is thinking and feeling throughout the story. Having a serial being told in the first person is not unknown in girls’ comics though it was not used much. The only two Jinty stories that had the protagonist narrate her own story were “Wenna the Witch” and “Pam of Pond Hill“.

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Jinty 29 October 1977

Jinty cover 29 October 1977.

 

  • Destiny Brown (artist Rodrigo Comos)
  • Sue’s Fantastic Fun-Bag! (artist Hugh Thornton-Jones)
  • Guardian of White Horse Hill (artist Julian Vivas, writer Pat Mills)
  • Alley Cat
  • The Goose Girl (artist Keith Robson, writer Alison Christie)
  • Rinty ‘n’ Jinty
  • Stage Fright! (artist Phil Townsend)
  • The Kids Fly High! – feature
  • A Window on the Past – Gypsy Rose story (artist Hugo D’Adderio)
  • Make Your Own Mini-Monster! (feature)
  • Fran’ll Fix It! (artist Jim Baikie)
  • Cursed to be a Coward! – final episode (artist Mario Capaldi, writer Alison Christie)

 

This issue came out about Halloween time, but there is nothing to commemorate Halloween in the issue. The nearest to it is the mini-monster feature. However, the issue promises that the Guy Fawkes issue next week will be a sparkler, and in more ways than one – because that is when the Jinty classic, “Land of No Tears”, starts.

 

The story that gives way to “Land of No Tears” is “Cursed to be a Coward!”. The prophecy is fulfilled, but the twist is that it does not come true in the way Marnie expected – it had a completely different meaning altogether. And that is exactly how a prophecy is supposed to work. Once it is fulfilled, the crazed fortune-teller who had been trying to kill Marnie has one more desperate go at it – but there is something she apparently did not foresee, for all her powers to see in the future…

 

Alison Christie’s other story, “The Goose Girl”, is now on its penultimate episode. Glenda wants to go for an interview to get the career she wants. Unfortunately, her impossible mother messes everything up by sending her off to another interview because she is still pushing her into fashion design.

 

“Destiny Brown” also messes things up because she misinterpreted what her second sight was telling her – again. This time it screws up the chance that she and her father had of escaping the criminals who kidnapped them.

 

Fran and Co are off on a camping trip. But the outfits Fran picks show how ignorant she is about camping or country life, and it’s causing some embarrassment.

 

The mystery of the frightened girl deepens in “Stage Fright!” when Linda tries to reach out to her, but gets rebuffed. Linda turns to the mystery of the acting trophy instead and finds a clue there. And in “Guardian of White Horse Hill”, Janey’s emotional state gets so bad that her foster parents decide to send her back for expert help. Janey gets even worse when she overhears this; what will it drive her to do next week?

 

In the Gypsy Rose story, Tracy Gray discovers a window that can show her the past and the story of a stern father who is coming between his son and the girl he loves. But the story gets altered for the worse when a replacement pane from an evil house is fitted. Can the story be put right before the girl gets murdered?

 

Henrietta takes exception to Sue’s nail polish and her showing it off at school (um, isn’t nail polish banned in school?), and casts a spell in response. However, things rebound a bit on Henrietta when the spell has unexpected results that have her giving up in the end.

 

Girl Picture Library

Girls’ picture libraries. The monthly Commando-style digests where girls could read a complete 64-page story every month as a supplement to their regular weekly comic. Thrillers, humour, drama, horror, supernatural, heart-breakers, fantasy or science fiction stories were told in a once-a-month, one-volume complete story.

The picture libraries also provided stories about favourite regulars such as The Four Marys, Wee Slavey and The Comp. Occasionally there were variations in the formula, such as a story being told over two picture libraries, or a picture library featuring several short stories instead of one complete one. One example was “Scream!”, which told five scarey stories that made you scream.

Picture libraries were a long-running staple of four of DCT’s titles: Bunty, Judy, Mandy and Debbie. The Bunty picture libraries lasted 455 issues. This is not surprising as Bunty herself is the longest-running girls’ title in history. The Mandy books finished at the same time as the Bunty ones, but at 277 books. Judy produced 375 books and Debbie 197 books. Towards the end of the run reprints appeared although original stories continued.

In IPC the girls’ picture library had a more unusual and uneven history. June and Princess Tina were the only titles to produce any long-running ones. In fact, the June picture library eventually recycled the old Princess logo to become the wordy title, “June and School Friend and Princess Library Picture Library“. Maybe this was why “Picture Library” was dropped on the cover at some point after #458, though the spine continued to say “June and School Friend and Princess Picture Library” to the end of its run.

Tammy and Jinty were never given any picture libraries although they lasted the longest after June. Yet the photo-story comic, Girl (series 2) was given her own picture library. This lasted for just 30 books. Miniscule compared with the rich histories of the June picture library and its counterparts from DCT. But what gives Girl Picture Library its place on this blog is that although some of the libraries were original material, many of them also reprinted material from Jinty and Tammy.

Most of the reprints appeared under revised titles, some of which were awful and showed little thinking. For example, “Vision of Vanity Fayre” from Tammy was reprinted in Girl Picture Library #2 under the the extremely lame title of “Dear Diary”. Strangely, the last three Girl picture libraries reprinted Tammy stories under their original titles.

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There were some oddities and even downright sloppiness in the run, which may indicate what sort of budget or editorship that the series was running to. For example, the cover of #16 (reprint of “My Heart Belongs to Buttons”) changes the appearance of the heroine. Readers must have been surprised or irritated when they opened the issue and found the brunette heroine inside bearing no resemblance to the girl on the cover. And the girl who appears on the cover of #25 (reprint of “Shadow on the Fen”, above) has the wrong hair colour – she is blond on the cover but is a brunette in the story. The witchfinder too looks different – he looks younger and has a fuller face than the craggly gaunt face rendered by Douglas Perry. Still, it is a beautiful, haunting cover.

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A more striking oddity was “Sue’s Daily Dozen” being reprinted over two volumes: “Spellbound” and “Bewitched”. But there was no indication in “Spellbound” to say “to be continued”. Readers must have wondered why the story suddenly stopped abruptly. The remaining pages are devoted to “Tiny Tina”, which is Wee Sue under a revised title. “Cathy’s Casebook” also appears in two volumes: “Cathy’s Crusade” and “Dr Cathy”. But the reprint is even odder in that “Dr Cathy” does not come immediately after “Cathy’s Crusade” – “The Old Mill” is in between them.

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Naturally, some material and panels had to be cut or modified to make the reprints fit into 64-page pocket size volumes. For example, “Moments of Terror”, which reprints “Waves of Fear”, deletes Priscilla Heath and the orienteering club sequences. Both of these played a key role in the resolution of the story in its original run – realising that the panic Clare Harvey had while her friend was drowning in a cave was a claustrophobia attack and not the cowardice that has made her the most hated girl in town. The revelation is now made by Clare’s mother after Rachel tells her about the trick Jean pulled – playing on Clare’s claustrophobia – to get her expelled.

On the other hand, the editing also mercifully reduces some of Clare’s ordeal; for example, the hostility Clare receives from the townsfolk has been removed completely. Some of the bullying at school and the harsh treatment Clare gets from her parents has been deleted as well. The editing is pretty seamless, but there is one glitch: when Clare is pushed to the brink of suicide, she thinks the business at the club was the last straw. With the orienteering club deleted, readers must immediately have wondered “what club?” or “what’s missing here?”. They would know it’s been reprinted from somewhere else because there was always a caption saying “previously published” for the reprint material.

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Cutting out material also had the unfortunate effect of removing key turning points in some plots. For example, the reprint of “Thursday’s Child” removes the scene where an evil flag forces a man to nearly saw his own hand off. Yes, it’s gruesome. But in the original run it was what made the villainess, Julie, who had been using the flag’s power to conduct a revenge campaign against her future mother, Thursday, come to her senses and realise the flag had to be destroyed.

Below is a list of the Girl Picture Libraries, along with their original titles and appearances. The only one that has not been identified is “Penny’s Best Friend” in #8. It could be that this was an original story as not all the Girl Picture Libraries carried reprints, but I need to confirm this.

  1. Patty’s World – original
  2. Dear Diary – Vision of Vanity Fayre from Tammy
  3. Patty’s World – original
  4. The Dolphin Mystery – The Disappearing Dolphin from Jinty
  5. Cathy’s Crusade – Part 1 of Cathy’s Casebook from Jinty
  6. The Old Mill – original
  7. Dr Cathy – Part 2 of Cathy’s Casebook from Jinty
  8. Penny’s Best Friend – ?
  9. Circus Waif – Wild Rose from Jinty
  10. Stormy Seas – original
  11. Moments of Terror – Waves of Fear from Jinty
  12. The Shadow – Mike and Terry from Jinty
  13. Princess Wanted! – The Perfect Princess from Jinty
  14. The Black Sheep – Black Sheep of the Bartons from Jinty
  15. I’ll Never Sing Again! – Nothing to Sing About from Jinty
  16. A Second Chance – My Heart Belongs to Buttons from Jinty
  17. Winner-Loser! – No Medals for Marie from Jinty
  18. Spellbound! – Part 1 of Sue’s Daily Dozen from Jinty, plus A Wee Sue story from Tammy reprinted as Tiny Tina
  19. Bewitched! – Part 2 of Sue’s Daily Dozen from Jinty, plus a Strange Story, “A Monumental Detective” reprinted as “The Crook Catchers”
  20. The Inheritance – Race for a Fortune from Jinty
  21. The Fortune-Teller – Cursed to be a Coward! Jinty
  22. Tina’s Temper – Temper, Temper, Tina! Tammy
  23. Fame and Fortune – Make the Headlines, Hannah! Tammy
  24. Wonder Girl – Betta to Lose from Tammy
  25. The Witchfinder – Shadow on the Fen from Jinty
  26. Sweet and Sour – The Sweet and Sour Rivals from Jinty
  27. Carol in Camelot – Carol in Camelot St from Tammy
  28. The Happiest Days – Tammy
  29. Thursday’s Child – Tammy
  30. A Girl Called Midnight – Tammy

What makes a story work, pt 3?

Following on from my earlier posts, more about what makes a story work. The discussion points in this post are more focused on the work of the artist, whereas the ones in the previous post were more around what the writer does.

  • Art quality. Is the art convincing and solid, with movement and vigour where required? Can the artist actually follow-through on technical requirements such as drawing ballet steps, gymnastics, and horses? Or is it inaccurate, stiff, or lifeless?
    • Of course this is primarily the artist’s responsibility, but there is some input from editorial departments. They may ensure, for instance, that art drawn by Spanish artists matches the British location that most stories are supposed to take place in by adding in pillar boxes and the like. Few artists in Jinty and other comics of this era are anything other than good to extremely good, so overall art quality is normally not a factor in the story not working. However, the artist may have specific gaps in what they can and can’t draw convincingly.
    • Stronger: There are so many strong artists that it is difficult to pick out one over the other except on the basis of personal preference. Mario Capaldi can draw faces, action sequences, and solidly convincing backgrounds, and is almost universally loved, but you could also say the same of my personal favourites Trini Tinturé, Phil Gascoine, and Phil Townsend. I think perhaps my favourite art on all the stories might however be Terry Aspin’s work on “Alice In A Strange Land”, in which he brings a strange jungle-wrapped lost city to life, alongside the British schoolgirls who have strayed into it.
    • Weaker: I find the Ken Houghton art on “Tansy of Jubilee Street” to be adequate but unexciting. It can be stiff at times when the artist has intended an action sequence, which is bad news. But even excellent artists can have off-days, too: Jim Baikie’s art is normally top-notch, but in parts of “Miss No-Name” some faces and sequences are very patchy, and possibly even filled-in by another hand. Finally, even if the artist is generally good, a specific failure to draw ballet well will condemn the story in the eyes of those who can spot that, as Mistyfan commented on a previous post.
  • Art style. The style of the artist needs to be matched to the story requirements. A light-hearted comedy story typically uses a more exaggerated style, and a sentimental or sad story might need something more restrained.
    • This might be an editorial decision in commissioning the right artist for the job, but it might also involve the artist deciding to use a variation on their usual style. Mario Capaldi and Jim Baikie are examples of artists who had humorous and serious styles that can be readily distinguished not because they look radically different but by the exaggeration of the character’s actions and expressions.
    • Stronger: This was generally a close match in any case. In other titles you could cite the use of John Armstrong to illustrate gymnastics in the Bella stories; in Jinty a close parallel would be the usage of Mario Capaldi for any sports story – for instance his superb depiction of the dramatic moments and of the swimming action in “Cursed To Be A Coward!
    • Weaker: I think I would choose the selection of Trini Tinturé in “Prisoners of Paradise Island”. Trini is an excellent artist for showing scheming and plotting elegant ‘bad girls’ rather than hockey-playing schoolgirls. Similarly, José Casanovas in “The Darkening Journey” is always a slight mis-match for me as his animal characters are beautifully drawn but a tad too intrinsically cheeky-looking for such a sad and dramatic story. Finally, although I like Keith Robson’s art on “The Goose Girl” a lot, the Dutch publishers of Tina clearly felt that they wanted an art style that matched the continental expectations (such as a clear, clean line) as the same fundamental story was re-drawn in a Tina Topstrip.
  • Consistency of art. If the artist or the quality of the art changes visibly during the run of the storyline then this will be noticed by readers and is likely to have a negative impact on how well the story works overall.
    • If the artist is unwell or over-committed there might be a requirement for the editorial team to get another artist to fill in some or all of the remaining episodes of a story. Alternatively, another artist might perhaps collaborate to help finish the work in time (for instance by inking the original artist’s pencilled drawings). Presumably this might be an informal arrangement between artists if they were able to do this (for instance if they shared the same studio), but as there will have been people’s salaries at stake too I am assuming this was more likely to be an editorial decision to ensure that the story could be completed rather than abandoned.
    • Stronger: I am not aware of any examples where an inconsistency in the artwork actually benefitted the story (for instance if a mediocre artist was replaced by a better one). Even if the art changed for the better, the change itself would be jarring and intrusive. Ongoing humorous strips such as “The Jinx from St Jonah’s” did tend to have a few different artists working on it over the years and this was workable as there tended not to be a single story that would be badly affected by this change.
    • Weaker: This didn’t actually happen very often in Jinty‘s run. The obvious example is “Champion in Hiding” which started off with Mario Capaldi’s beautiful work and moved on to being drawn by Hugh Thornton-Jones, better known for his art on humour stories such as “Sue’s Fantastic Fun-Bag!”.
  • Character design. Making the characters in a story look and behave distinctively on the page is partly visual and partly about their dialogue and actions. Is the result a solid, convincing character or can you hardly tell them apart from other characters in girls’ comics? Worse, can you hardly even tell who’s who in the same story?
    • There is a lot of responsibility on the artist to bring a clear and distinctive visual identity to the character; at a minimum the inhabitants of the story should have different hairstyles, shapes, clothes that separate everyone out and make sure the reader is not confused. Ideally they should also have distinctive body shapes, body language and so forth too. The writer will have an impact too, in giving the protagonists an individual drive that will make them separate from others via distinctive dialogue and so forth.
    • Stronger: Jim Baikie was a very long-running Jinty artist, illustrating many continued stories and one-off Gypsy Roses. He certainly reused hairstyles (Fran of “Fran’ll Fix It!” shared a hairstyle with the protagonist of this Gypsy Rose story) but nevertheless each of his characters is visually distinctive in multiple ways – body shape, body language, freckles, and so on. No danger of mistaking his characters even when they do have some features in common.
    • Weaker: Comos’ schoolgirls across various stories illustrated by him have a bit too much similarity, I feel: I’d pick out the characters in “Destiny Brown” and the protagonists of “The Haunting of Form 2B” as being particularly visually similar.
  • Layout. There is a lot of thought that goes into getting an effective layout at the level of the individual panel and at the level of the whole page. Wally Wood’s 22 Panels That Always Work gives an idea of the sort of panel layouts that a US mainstream comics artist might use to vary the visual interest on a page; the conventions and standards for British weekly comics may differ a bit but will share a lot of requirements for varying the focus in each panel. Page layouts likewise can be pedestrian or innovative, with varying sizes of panel within and artwork that breaks out of the constraints of the panel border.
    • Again much of the responsibility of this lies with the artist, but the editorial team may also have input – for instance there may be a general instruction that pages should use a layout based on a nine-panel grid or on a six-panel grid to allow for larger panels. Pat Mills talks interestingly about working with the artist to create a dymanic page layout and strong panel layouts too. I don’t think that writers in this kind of comic usually would script down to this level (though in US mainstream comics they often will) but of course Pat was also an editor.
    • Stronger: There are a lot of really good and interesting layouts in Jinty, Misty, and Tammy, perhaps more so than in other titles from the time. “Concrete Surfer” has some very dynamic and interesting layouts depicting the protagonist’s skateboarding tricks; “Land of No Tears” is slightly more conventional but often breaks the borders or uses irregular panels for a dramatic effect.
    • Weaker: no immediate examples come to mind.
  • Incidentals. I am using this to refer to little background details in the artwork or the story.
    • This could be down to ideas from artist or from writer. Perhaps the artist will particularly need to fill the background somehow and may therefore put in extra detail either humorous or nostalgic.
    • Stronger: For instance Jim Baikie includes little jokes in the background of “Fran’ll Fix It”: they may be joky signs or funny things happening behind the protagonist’s back. There may also be little touches of colour that the writer may also include; I have always remembered a bit of dialogue in “Merry at Misery House” where Merry says she’s “not as green as [she’s] cabbage-looking!’ This is not in fact anything invented by writer Terry Magee but it’s a nice touch of appropriate vernacular and always lived on in my memory.
    • Weaker: It would be possible for the background detail to be over-egged and too intrusive. I can’t think of an immediate example that comes to mind however.
  • Design / font / lettering. The lettering of the dialogue in Jinty and similar comics are all typed in a standardised font, without any big distinction between strong emotion and ordinary ones (there can be a slightly bolder effect used but with the low print quality on newsprint this is not very easy to distinguish). However, the logo for the story title itself is more distinctively rendered to match the story it heads up. There are also lettering elements in the artwork that can be done well or less well – shop-fronts, newspapers within the story, and so on. Unlike in other comics genres, sound effects (another possible element to be done well or less well) are not greatly used.
    • I assume the story logo would have been done in-house editorially but this would need confirmation; I could also imagine it as supplied by the artist. The lettering would certainly be done by someone other than the artist as we can see by the consistency of the font used.
    • Stronger: A number of the story logos have a fairly simple design just using a natty font, so anything more than this can be quite striking. I like the design of the “Fran of the Floods” logo, with plain lettering but the addition of rain and a pool of water.
    • Weaker: Sometimes the logo font has no obvious sympathy with the title and just seems to have been chosen because it hadn’t been used particularly recently. “The Four-Footed Friends” is an example; nothing wrong with the story logo, but it doesn’t add anything extra.
  • Format / edition / pagination. The Jinty stories were only reprinted by British publishers in annuals rather than in albums collecting the whole story together, but of course translated editions did exist that brought the whole of a story under the same covers. This could potentially mean that a story either feels stronger in reading it as a cohesive whole, or perhaps that weaknesses of pacing are more clearly felt and so the whole story works less well when read as a single edition. Alternatively, a story may even be entirely too long for some formats. Finally, the format also includes the page size and other publishing decisions – how many pages will be in that week’s issue? Which pages will be printed on the double-page spread at the centre, or on the front or back where you can only see a single page at a time? These decisions are all very specific to the individual printing of a story and don’t necessarily impact how a story reads over its lifetime over more than one printing.
    • These format decisions are all editorial and would be unlikely to be down to anything decided by artist or writer (though a popular artist or writer could be ‘rewarded’ by being given a plum location in the weekly edition of a title, of course). I would assume that  in these cases, the writer and artist will not typically have known in advance whether their story was to be printed on a double-page spread or on the right-hand page (meaning that the reader needed to turn over to reveal the next page) and would not have specifically tailored the story as a result. (In other kinds of comics publications this kind of fine-tuning is possible and even normal.)
    • Stronger/ weaker: I have not got good examples of stories that could make a stronger or weaker impact depending on the editorial choices of edition and pagination, but perhaps a reader of one of the translated albums may have views based on that experience.

Stories translated into Dutch

Following up on the previous post on European Translations, Sleuth from Catawiki has kindly sent me a list she has prepared of Jinty stories which were translated into Dutch. (See also some comments from her in that post, about Dutch translations.) They were mostly published in the weekly comic Tina and/or in the reprint album format Tina Topstrip. The list below shows the original title, followed by the title in the Dutch translation, with a literal translation in [square brackets] where appropriate, and then the details of the publication that the translation appeared in. It is ordered by date of original publication.

  • Gwen’s Stolen Glory (1974): De droom van een ander [Someone else’s dream] (in: Tina Club 1975-2)
  • Dora Dogsbody (1974-76): Hilda Hondemoppie (in: Tina 1974)
  • Gail’s Indian Necklace (1974): Anak-Har-Li [the name of the Indian deity on the necklace] (in: Tina Club 1975-01)
  • Always Together (1974): Voor altijd samen (in: Tina 1985/86)
  • Wild Horse Summer (1974): De zomer van het witte paard [White Horse Summer] (in: Tina 1976, Tina Topstrip 15 (1980))
  • Left-Out Linda (1974): Linda (in: Tina 1975/76)
  • Wenna the Witch (1974): Wenna de heks (in: Tina 1976, Tina Topstrip 34, 1981)
  • Slave of the Mirror (1975): De spiegel met de slangen [The Snakes Mirror] (in: Tina 1976)
  • The Kat and Mouse Game (1975): Als kat en muis [Like cat and mouse] (in: Tina 1985)
  • Tricia’s Tragedy (1975): Tineke – Strijd om de Lankman-trofee [Tineke – Fighting for the Lankman Trophy] (in: Tina 1975/76, Tina Topstrip 18 (1980)).
  • The Valley of the Shining Mist (1975): Het dal van de glanzende nevel (in: Tina 1977)
  • Barracuda Bay (1975): Susan Stevens – Barracudabaai (in: Tina 1971); reprint from June & School Friend 1970.
  • The Haunting of Hazel: Hazel en haar berggeest [Hazel and her Mountain Ghost] (in: Tina 1976/77, Tina Topstrip 27 (1981))
  • For Peter’s Sake! (1976): De opdracht van Josefien [Josephine’s Assignment] (in: Tina Boelboek 5 (1985))
  • The Slave of Form 3B (1976): In de ban van Isabel [Under Isabel’s Spell] (in: Groot Tina Zomerboek 1984-2)
  • Then there were 3 … (1976): Toen waren er nog maar drie (in: Groot Tina Lenteboek 1982-1
  • Horse from the Sea (1976): De legende van het witte paard [The Legend of the White Horse] (in: Tina 1985)
  • Snobby Shirl the Shoeshine Girl! (1976): Freule Frederique [Lady Frederique] (in: Tina 1979)
  • Stefa’s Heart of Stone (1976): Steffie’s hart van steen (in: Tina 1986). Reprint in Tammy 1984
  • Girl in a Bubble (1976): Gevangen in een luchtbel [Prisoner in a Bubble] (in: Tina 1977, Tina Topstrip 29, 1981).
  • Sceptre of the Toltecs (1977): De scepter van de Tolteken (in: Tina 1978; Tina Topstrip 44, 1982)
  • The Mystery of Martine (1976-77): De dubbelrol van Martine [Martine’s Double Role] (in: Tina 1978).
  • Mark of the Witch! (1977): Het teken van de heks (in: Tina 1982/83)
  • Freda, False Friend (1977): Frieda, de valse vriendin (in: Tina 1978/79)
  • Spell of the Spinning Wheel (1977): De betovering van het spinnewiel (in: Tina 1978; Tina Topstrip 42, 1982)
  • The Darkening Journey (1977): Samen door het duister [Through the Darkness Together] (in: Tina 1981/82)
  • Creepy Crawley (1977): In de macht/ban van een broche [Under the Spell of a Brooch] (In: Tina 1979; Tina Topstrip 60, 1984)
  • Kerry in the Clouds (1977): Klaartje in de wolken (in: Tina 1978)
  • The Robot Who Cried (1977): Robot L4A ontsnapt! [Robot Elvira Gets Away] (in: Tina 1985/86).
  • Curtain of Silence (1977): Achter het stille gordijn [Behind the Silent Curtain] (in: Tina 1978/79, Tina Topstrip 52, 1983)
  • Fran’ll Fix it! (1977; 1978-79): short story 3/4; Annabel versiert ‘t wel [Annabel will fix it]; episodes in Tina from 1983 till 1994; there were also “Dutch” episodes written by Bas van der Horst and drawn by Comos, and there is an episode in 1994 written by Ian Mennell and drawn by Comos.
  • Who’s That in My Mirror? (1977): Het spookbeeld in de spiegel [The Ghost in the Mirror] (in: Tina 1980)
  • Cursed to be a Coward! (1977): Zoals de waarzegster voorspelde [Like the Fortune-Teller Predicted] (in: Tina 1979, Tina Topstrip 49, 1983)
  • Destiny Brown (1977): De vreemde visioenen van Seventa Smit [Seventa Smit’s Strange Visions] (in: Tina 1980)
  • The Goose Girl (1977): not translated directly but the storyline was probably used for Maartje, het ganzenmeisje [Marge, the Goose Girl] in Tina 1979, art by Piet Wijn; Tina Topstrip 40, 1982).
  • Stage Fright! (1977): De gevangene van Valckensteyn [Prisoner of Valckensteyn/Falconstone] (in: Tina 1981)
  • Guardian of White Horse Hill (1977): Epona, wachter van de paardenvallei [Epona, Guardian of the Horse Valley] (in: Tina 1978; Tina Topstrip 37, 1982)
  • Land of No Tears (1977-78): Wereld zonder tranen [World of No Tears] (in: Groot Tina Lenteboek 1983-1)
  • Come into My Parlour (1977-78): Kom maar in mijn web [Just Come into My Web] (in: Groot Tina Boek 1981-3)
  • Race for a Fortune (1977-78): Om het fortuin van oom Archibald [Race for Uncle Archibald’s Fortune] (in: Tina 1980)
  • Concrete Surfer (1977-78): Ik heb altijd m’n skateboard nog! [At least I’ve still got my skateboard] (in: Tina 1980)
  • Paula’s Puppets (1978): De poppen van Petra [Petra’s Puppets] (in: Tina 1979, Tina Topstrip 54, 1983). Perhaps they changed the name because there was a Stewardess Paula strip in Tina at the time.
  • Slave of the Swan (1978): De wraak van de Zwaan [Revenge of the Swan] (in: Tina 1980)
  • The Birds (1978): De vogels (in: Groot Tina Boek 1978 winter).
  • Clancy on Trial (1978): Nancy op proef [Nancy on Trial – the name Clancy is highly unusual in the Netherlands] (in: Tina 1979)
  • Wild Rose (1978): Waar hoor ik thuis? [Where do I belong?] (in: Tina 1980)
  • 7 Steps to the Sisterhood (1978): Gevaar loert op Lansdael [Danger at Lansdael] (in: Tina 1980)
  • The Human Zoo (1978): Als beesten in een kooi [Like Animals in a Cage] (in: Tina 1986). Reprint in Tammy 1982.
  • No Cheers for Cherry (1978): Geen applaus voor Sandra [No Applause for Sandra] (in: Groot Tina Zomerboek 1983-2)
  • The Girl Who Never Was (1979): De verbanning van Irma Ijsinga [Irma Ijsinga’s Banishment] (in: Tina 1981)
  • Sea-Sister (1979): Gevangene van de zee [Prisoner of the Sea] (in: Tina 1989)
  • The Forbidden Garden (1979): De verboden tuin (in: Tina 1982/83). Reprint in Tammy 1984
  • Bizzie Bet and the Easies (1979): Dina Doe douwt door [Dinah Do Pushes Through] (just one episode, in: Groot Tina Lenteboek 1982-1).
  • Almost Human (1979): De verloren planeet [The Lost Planet] (in: Tina 1984)
  • Village of Fame (1979): Het dorp waar nooit ‘ns iets gebeurde [The Village Where Nothing Ever Happened] (in: Tina 1982)
  • Combing Her Golden Hair (1979): Kirsten, kam je gouden lokken [Kirsten, Comb Your Golden Locks] (in: Tina 1981, Tina Topstrip 64, 1985: Kam je gouden lokken)
  • Waves of Fear (1979): In een golf van angst [In a Wave of Fear] (in: Tina 1983)
  • White Water (1979-80): Wild Water [Wild Water] (in: Tina 1984)
  • When Statues Walk… (1979-80): De wachters van Thor [Thor’s Guardians] (in: Tina 1981/82, Tina Topstrip 71, 1985)
  • The Venetian Looking Glass (1980): Het gezicht in de spiegel [The Face in the Mirror] (in: Tina 1983)
  • Seulah the Seal (1979-80): Sjoela de zeehond (in: Tina 1980/81, little booklets in black and white that came as a free gift, stapled in the middle of a Tina).
  • A Spell of Trouble (1980): Anne Tanne Toverheks [Anne Tanne Sorceress, a sort of nursery rhyme name] (in: Tina 1984/85)
  • Girl the World Forgot (1980): Door iedereen vergeten [Forgotten by everyone] (in: Tina 1987)
  • The Ghost Dancer (1981): Dansen in het maanlicht [Dancing in the Moonlight] (in: Tina 1983)
  • Holiday Hideaway (1981): Wie niet weg is, is gezien [If you’re not gone, you’re seen – a sentence children use in hide-and-seek] (in: Tina 1982)
  • Freda’s Fortune (1981): Could be: Fortuin voor Floortje [A Fortune for Florrie] (in: Groot Tina Herfstboek 1983-3)
  • Airgirl Emma’s Adventure (reprint from June 1969, in Jinty Holiday Special 1975): Short story 16; Emma zoekt het hogerop [Emma takes it higher up] (in: Tina 1970)

Various of the stories translated in Tina were also reprinted in the Indonesian title Nina (of course Indonesia is a former Dutch colony, making for a clear link). These will be listed on a new reference page for Translations into Indonesian.

This long list enables us to see how very popular some creators were – for instance, a large number of Jim Baikie and Phil Gascoine stories are included (though not all, by any means). Of course, these were also the most prolific of Jinty artists too.

Many stories were translated very shortly after initial publication, and then reprinted in album form some time later. There was also a ‘second round’ of translation work done after Jinty ceased publication, to go back and pick some of the earlier stories that had not been selected earlier. This was the case with “Always Together” and “The Kat and Mouse Game”, for instance.

Many but by no means all of the story titles were translated fairly literally or exactly, though the main character’s name was almost invariably exchanged for another one. Some titles ended up particularly poetical or neat in translation: “A Spell of Trouble” and “Holiday Hideaway” perhaps benefit most from their translated titles. Of course, there are also some losers: I think “The Human Zoo” and “The Girl Who Never Was” ended up with less resonant titles through the process.

A wide range of stories were translated: spooky stories, humour stories, science fiction, adventure, sports stories. There are some omissions that I’m surprised by, though of course the editors had to pick and choose from so much that was available. “Fran of the Floods” was probably too long (see Marc’s comment about the length of stories selected for translation). No Gypsy Rose stories were selected – maybe they didn’t want a storyteller, ‘grab-bag’ approach? I am however quite surprised at the omission of the excellent “Children of Edenford” (1979). Could it have been too subversive a story, with its underlying theme of adults undermining their position of trust by hypnotizing children in order to control their moral development? The similarly-themed “Prisoner of the Bell” was also not translated. Of course this is rather a guess! At the end of the day I’m sure there were just more stories to choose from than there were spaces for publication.

For reference, I also include a complete list of stories published in the album format Tina Topstrip (71 albums in total). This gives us a view of how many of the reprinted stories deemed worthy of collection came from which original title. Note that some of the stories in this album format were themselves originally written in Dutch as they are credited to a Dutch writer. (NB I will add this to the new page created for Translations into Dutch)

  1. Becky Never Saw The Ball
  2. Twinkle, Twinkle, Daisy Star
  3. Wee Sue
  4. Het geheim van oom Robert (original story in Dutch)
  5. Kimmy op de modetoer (original title unknown)
  6. Marcella het circuskind (original title unknown)
  7. Moses and Me
  8. Peggy en Jeroen (Patty’s World story)
  9. Anja – Dorp in gevaar (original title unknown)
  10. Het lied van de rivier (Patty and the Big Silver Bull Band story, original in Dutch)
  11. Sonja en de mysterieuze zwemcoach (I suspect this is a translation as no writer is given)
  12. De man in het koetshuis (original story in Dutch)
  13. Linda’s verdriet (original title unknown, from Tammy)
  14. Het circus komt (original story in Dutch)
  15. Wild Horse Summer
  16. Noortje (original story in Dutch)
  17. Ruzie om Jeroen (Patty’s World story)
  18. Tricia’s Tragedy
  19. Het lied van de angst (Patty and the Big Silver Bull Band story, original in Dutch)
  20. Silver Is A Star (from Sandie)

Jinty 24 September 1977

Jinty cover 11

A cover featuring two disturbing panels from the inside, and the colour combinations of red, black and burgundy make it even stronger.

“Battle of the Wills” reaches its penultimate episode and it contains one of the most ruthless acts ever seen in Jinty. Dr Morrison eliminates the cloned Kate in front of an audience of scientists with her reversal machine in order to prove her duplicating machine works. Everyone is horrified, but not the cold-blooded Dr Morrison, who only cares about proving her greatness.

It is also the penultimate episode of “Who’s That in My Mirror?”. The ghastly face of Magda’s own evil is getting worse and worse. Magda knows what must be done, but can’t do it, and traces of her old scheming ways still linger as well. So it is not surprising that in the final panel the evil face now threatens to do its worst.

“Destiny Brown” is in big trouble in school because she misconstrued her vision and plays truant. While doing so, she gets another vision of her runaway father. But a trip to Wales threatens her plans to search for him.

In “The Goose Girl”, Mum is getting really impossible with her bird-hating attitude and it is interfering with Brodie’s recovery. At the end of the episode, Mum goes too far – she locks Brodie in a shed and is going to arrange for the Colonel to dispose of him!

Linda reluctantly agrees to Lord Banbury’s condition to train as an actress under his wardship for the sake of her father. But the creepy old house she has to live in is really giving her “Stage Fright!”.

Marnie, the girl who is “Cursed to be a Coward!”, finds a swimming pool where she can train in without fear of the prophecy. And at the end of the episode she decides to tell her trainer, Miss Frame, why she has been so terrified of swimming lately. In the next episode we will see how much it helps.

Fran enlists the help of a bloodhound to find the missing school trophy, but he’s causing even more mayhem. It culminates when he has the headmistress standing on her desk in fright! The blurb for next week assures us that Fran will get herself out of this ‘fix’, so that’s a relief.

Jinty 10 September 1977

Jinty cover 4

A cover featuring two of the supernatural- themed stories running in Jinty at the time, both with foreboding overtones. The panel featuring laughs with Alley Cat is quite a contrast.

In “Destiny Brown”, people are ostracising Destiny because her father has been connected to a robbery and bullies pick on her at school. But their bullying puts a girl’s life in danger – as Destiny foresaw with her second sight. In “Who’s That in My Mirror?”, Magda smashes the mirror in the hope this will free her from that ugly face that is a reflection of her own devil heart. But she is puzzled as to why the mirror is putting up no resistance to being smashed after resisting her attempts to get rid of it. Perhaps she should have taken the hint and put the rock down. But instead the drama of the story is going to accelerate towards its climax.

“The Goose Girl” learns why her mother hates birds. And now all readers must be more annoyed with the mother than ever. Hating all birds because her husband was shot while defending them from hunters? And now she’s helping those very same hunters who killed her husband? That woman really needs to get her head examined! Unfortunately that’s not going to happen, and her attitude is going to cause even more problems.

Marnie tries to get the curse lifted in “Cursed to be a Coward”. But instead she ends up with Madam Leo terrorising her over it and scaring the living daylights out of her just as she is about to do a high dive. Not a good combination, and this is just what that demented Madam Leo intends. Another Jinty character in serious need of a psychiatrist.

Fran the Fixer ropes some girls into shifting the grand piano for the Colonel. And she fixes a half holiday for the girls into the bargain!

It’s the last episode of “A Boy Like Bobby”. Next week Phil Townsend starts on his new Jinty story, “Stage Fright!”. Jinty is keeping her artists busy again.

“The Battle of the Wills” is put aside as the ballet Kate goes in search of the gymnast Kate, whom she thinks is in trouble. And she finds out how much Dr Morrison really cares about the cloned Kate; as far as the doctor is concerned, it’s “just an interesting experiment”. But little does ballet Kate know how much it is a foreshadowing of one of the most cold-blooded acts ever to be seen in girls’ comics.

Jinty 3 September 1977

Jinty cover 2

A strong cover which makes effective use of purple, orange, red and green in both panels to announce the return of Gypsy Rose and the appearance of the 1978 Jinty annual.

The theme of foretelling and prophecy-making established on the cover runs through in several of the stories. “Destiny Brown” foretells a bank robbery – but does not foretell her father will be accused of complicity in it and is now wanted by the police! The “blue water” prophecy in “Cursed to be a Coward!” is making Marnie more and more terrified of water and everyone is getting fed up with her because they don’t understand her problem and she won’t explain. At the end of the episode, Marnie resolves to fight back at the curse of drowning apparently laid on her by the sinister fortune teller who could be the antithesis to Gypsy Rose. But how do you fight a curse? And in “Who’s That in My Mirror?”, Magda finally realises the evil face in her mirror is reflecting her scheming nature and resolves to change. But she gets a sneering warning from the face that it won’t be as easy as that, and this also proves prophetic.

Elsewhere, it’s part two of the “The Goose Girl”, and now we see why the story is called that when Glenda and her mother move to their new home. Glenda takes a stand against goose hunters (little realising how history is repeating itself there) and starts nursing a goose they wounded.

For “Fran’ll Fix It!”, Fran is presented with a really challenging fix – shifting a grand piano to the music shop in town for Colonel Wellington, a school governor. And she has to do it without a truck because of a strike. But it’s that or be punished for giving him cheek and then dropping a bell on his foot. Fran is known for dropping clangers with her fixing, but that’s ridiculous….

In “Sue’s Fantastic Fun-Bag!”, Sue and Henrietta also do some fixing – on a twister who sells phoney magic plant food. Henrietta fixes him in an unusual ‘punishment fitting the crime’ way – making him think his potion really does work magic on plants!

A friendly girl finally discovers that there are two Kates in “Battle of the Wills”. It’s still not clear which Kate is the original and which is the clone. But at least the feud between the two Kates is set aside when one Kate realises the other Kate is in trouble and decides to help.

It’s the penultimate episode of “A Boy Like Bobby”. Tommy runs away and Tessa and Bobby’s hunt for him results in him putting himself in terrible danger. How will this end the story next week?

 

 

Jinty 27 August 1977

Jinty cover 10

  • Destiny Brown – first episode (artist Rodrigo Comos)
  • Sue’s Fantastic Fun-Bag! (artist Hugh Thornton-Jones)
  • Who’s That in My Mirror? (artist Tom Hurst)
  • Alley Cat
  • Kermit Presents…Prizes! (competition)
  • The Goose Girl – first episode (artist Keith Robson, writer Alison Christie)
  • Rinty ‘n’ Jinty
  • Fran’ll Fix It! (artist Jim Baikie)
  • Cursed to be a Coward! (artist Mario Capaldi, writer Alison Christie)
  • A Boy Like Bobby (artist Phil Townsend)
  • Battle of the Wills (artist Trini Tinturé)
  • Takin’ It Easy… the Stars’ Way! (feature)
  • Cut out a Cape! (feature)

The cover announces the start of one new story, “Destiny Brown”,  but there is not even a mention of the other story starting, “The Goose Girl”. Presumably its space has been taken up by the competition being announced on the cover. Just answer two Muppet questions and you go into a draw to win a copy of the first Muppet album. But why is “Who’s That in My Mirror?” taking what could easily have been the space to announce the start of “The Goose Girl”?

“Destiny Brown” is the seventh child of a seventh child, so it’s no surprise that she suddenly develops psychic powers. And we have a new ‘parent problem’ story with “The Goose Girl”. Glenda Noble and her mother have been feuding over birds for years; Glenda loves them while her mother hates them. Moreover, she is the sort of mother who won’t let Glenda be herself and keeps pushing Glenda in the wrong direction. But Glenda is a rebel and constantly defies her mother, so she’s more ballsy than most regular heroines in that she can stick up for herself and even get her own way. But not enough to make her mother see reason.

Meanwhile, in “Battle of the Wills”, Kate Wills, who has been constantly rebelling against the grandmother who keeps forcing her into ballet, suddenly surprises herself by enjoying ballet for the first time when her new teacher arrives. If she is the original Kate, maybe she could stay that way forever. But is she? Dr Morrison says she is, while the other Kate, who has been told she is the clone, has gone into a state of shock and wandering in a daze. But Dr Morrison has been caught out in one lie already, so is her word to be trusted?

In “A Boy Like Bobby”, Tessa is defying her mother too in order to help the boys, and manages to fool her. But new problems are not far off, of course.

In “Cursed to be a Coward!”, Marnie’s hydrophobia is intensifying to ludicrous lengths. It is increasing her unpopularity at school, and she just won’t tell anyone what the problem is.

And as the cover states, the face of evil gets worse in “Who’s That in My Mirror?” as Magda’s scheming intensifies. In fact, in this episode she deliberately gives her own mother a dose of food poisoning!

 

 

European Translations

In the couple of days since the interview with Alison Christie was published, we have had some particularly interesting information sent in. Candela, who writes about girls’ comics in Spain, tells us that Alison’s ‘story “Over the Rainbow” was very popular in Spain and reprinted in two different girl’s magazines, and of course all the stories under the Gypsy Rose head, which in Spain sometimes were reprinted under the Uncle Pete’s stories.’ Likewise, Peggy from Greece wrote in to say ‘I was really touched to discover after 40 years the writer of one of the stories (“My Name is Nobody”) that I loved in my early youth! It is such a lovely story about the power of friendship’. She was even able to send in some scans of the Greek translation of this story, shown here with many thanks to her (see below for the first and last episodes). She also says that ‘”My Name Is Nobody” was selected to be among the stories to be included in the first issues of the Greek magazine Manina (issue 9), something that shows the significance of the story itself! Just for your information, the other stories of the first issues were “The Cat Girl” (from Sally),  “Molly Mills” (from Tammy), “Lucky’s Living Doll” (from June &  Schoolfriend), “Jackie & the Wild Boys” (from Princess Tina)” and “Bessie Bunter” (from June & Schoolfriend).’

Greek translation of “Nobody Knows My Name” (originally published in June & Schoolfriend, 1971)

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Nobody Knows My Name ep 1 pg 3

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Nobody Knows My Name last ep pg 2

Nobody Knows My Name last ep pg 3

The work done by writers and artists in comics like Jinty was typically on a work-for-hire basis, with a flat fee being paid and no expectation of earning royalties on reprints or translations and so forth. The artwork was owned by the publishing company and not sent back to the artist. A lot of the communication we’d perhaps expect to be happening was just not on the cards: for instance it does not seem that Alison was very aware of the extent of her stories’ popularity, and certainly she was not aware that “Stefa’s Heart of Stone” was reprinted in Princess in 1984. (Indeed, in a reply to a reader’s 1981 letter, this story was described as one of Jinty‘s most popular stories.) Translations into another language were presumably something that creators were unaware of the existence of, except as a vague possibility.

(In a separate email, Alison says ‘I did know that DC Thomsons had a room with magazine journalists seconded to doing this, syndicating picture stories for European countries. As the payment slips freelancers like myself got always had at the foot, “All copyright for all purposes”; this meant they could do what they liked with picture stories etc, once they had paid the writer and artist a one-off payment. However, I had no idea that IPC did this as well – but I didn’t keep any payslips from them, and I can’t remember what was written on them. It must have been on these lines.’ From my own personal knowledge, I was involved with the SSI – the Society of Strip Illustrators – in the early 1990s and there was much talk at the time about work-for-hire contracts and the rather brutal agreements in place. There was little or nothing in the way of a formal contract, and instead as Alison says, your actual payment slip confirmed that this was in consideration of all your creators rights. There would have been no way round this if you wanted to be paid! At the time I was involved in these areas, there was a lot of work being done to change this situation, but at one time it was very normal and not even questioned by many.)

However, it is clear that there was a lot of this translation going on over the years, in many directions. The Dutch auction site Catawiki is an invaluable resource for many British comics but particularly so for this question; although details are not all complete in every cases it lists stories by issue, artist, writer, and original title. Many stories were reprinted in the Tina series Tina Topstrip, as albums collecting the whole story with a new cover. Usually the protagonist was also renamed to something locally suitable (so the protagonist of “Becky Never Saw The Ball” turned into “Eefje”). There was also a monthly magazine, Tina Club, which reprinted stories in an anthology format with what looks like a couple of stories in each one. For instance, “Gwen’s Stolen Glory” was translated as “De droom van een ander / The Dream of Another” in 1975.

Some of the individual Tina Topstrips I have looked at on Catawiki are listed below.

As can be seen from the above list, a number of the Jinty creators were represented in these Dutch translations – prolific artists Phil Gascoine, Jim Baikie, and Phil Townsend were all published in this series, and popular writer Alison Christie is represented too, along with Pat Mills. Nowadays the flow of material will presumably be more likely to go the other way, if at all (Trini Tinturé has recently had original Dutch material being republished in UK magazine Girls & Co).

I’m not in the best position to check, but I would love to know more about the details of these translated editions. How faithfully was the translation done? What changed, apart from names and covers – were story lines ever abridged or even amended? Were credits given to artists and writers in any cases? (I do have one or two of the Tina Topstrips and don’t believe anyone was created apart from the local artist who drew the new cover.)

I would also love to know whether this was limited to Europe or not? Once you’ve translated material into Spanish or Portuguese then Latin America becomes available as a market, but it is a lot further away for connections to be made and that may well just not have happened. I know that Brazil and Mexico have their own local comics publishing traditions, as does Argentina (I don’t know about the other Latin American countries), with quite a different feel from the British weekly comic. Certainly in Brazil and Mexico if you see a foreign translation then it is very likely to consist of American reprinted material: Disney material such as the Donald Duck stories, and the Harvey comics such as Little Lulu and Richie Rich. Marvel and DC also make a strong showing in those markets, but the sort of emotional long-running story seen in British girls comics is not very prevalent as far as I know. They would match well with the interest in telenovelas (soap operas) but perhaps this connection is one that was never made?

Further information from Sleuth of Catawiki:

I have never closely looked at the translations done in the Netherlands. My impression is that stories are usually complete and properly translated, although the names are often changed (“Patty’s World” is translated as “Peggy’s wereldje”, probably because there already was a “Patty” strip in Tina at the time). Having said that, I should compare “Gail’s Indian Necklace” to the translation: reading the story in Jinty I found an episode in London with Gail travelling the tube that might have been taken out as it seemed new to me. Perhaps too outlandish! They always tried to make it look like the stories took place in Holland. That did not work for the school stories with all the uniformed girls of course (no uniforms at school here). I read somewhere that a girl had even asked her parents to send her to boarding school because of the stories in Tina. She did not like it very much when she got there. Boarding schools here are for children whose parents are travelling or for children with behaviour problems or illnesses which cannot be taken care of at home. Another story that I should compare one of these days is “Maartje het ganzenmeisje” (Marge the goose girl). The story very much resembles the story of “The Goose Girl”, but the story takes place in Holland and is drawn by Dutch artist Piet Wijn.