Tag Archives: Princess Tina

John Richardson: Comics Bibliography

Goof from the Comics UK Forum has kindly supplied a list of the comics work done by John Richardson over the years.


Misty
Serials:
End Of The Line… 12/08/78 – 18/11/78

Short Stories:
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
Miranda 22/4/1978
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
Framed 14/7/1979
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
Smile 5/1/1980
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

Tammy
Serials:
The Duchess of Dead-End Drive 2/03/74 – 16/03/74

Short Stories:
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?

Strange Stories:
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
Quicksilver 16/9/1981
Down to Earth 10/10/1981
Safe as Houses 17/10/1981
Unmasked 20/12/1981
Star Born 26/12/1981
The Burry Man 20/3/1982
All the Fright of the Fair ?
(?) The Pharaoh’s Daughter’s Stand-In (?) ?

Monster Tales:
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

Text Stories:
…Through Rose-Coloured Glasses Annual 1982
Star of Wonder Annual 1982

Comic Covers:
The Cover Girls 20/08/1973 – 04/10/1980
Annuals 1979 – 1982, 1984
Holiday Specials 1979 & 1980

Filler Artist:
Eva’s Evil Eye 31/8/74(?) – 07/09/74

Jinty
Series: Could It Be You? (or Is This Your Story?)
(Reprints from the June series) 1976 – 1977

Gypsy Rose Stories:
The White Blackbird (reprinted Strange Story) Holiday Special 1980
The Yellow Dress (reprinted Strange Story) Holiday Special 1980

Bunty
Serials:
Phantom of the Fells 348 (12/09/64) – 358 (21/11/64)

Judy
Picture Story Libraries:
Green for Danger No 237 (January 1983)
Dora’s Dragon No 254 (June 1984)

Mandy
Serials:
The Girl with the Black Umbrella 300 (14/10/72) – 313 (13/01/73)

Other:
Stella Starr – Policewoman from Space Annual 1974
Stella Starr – Policewoman from Space Annual 1975

June
Series: Could It Be You?
Some of the weekly episodes Early 1970’s?
1 story June Book 1973

Series: Lucky’s Living Doll
Filler artist for the weekly series 30/09/1972 – March(?) 1973
2 stories (reprints) June Book 1982

Princess Tina
Filler Artist:
Clueless – The Blunderdog 22/4/72, 29/4/72, 27/5/72, 15/7/72

School Friend
Short Stories:
The Misfit (possibly reprint from longer story) Annual 1973
Elfrida of the Forest Annual 1975

Scream!
Serials:
Terror of the Cats 24/03/1984 – 28/04/1984
The Nightcomers 05/05/1984 – 30/06/1984

Short Stories:
A Ghastly Tale! – Green Fingers 7/4/1984

Pink
Short Stories:
Miss Get-What-She-Wants Annual 1975

Mirabelle
Serials:
A Song for Andrella ? 1977 – ? 1977
Later episodes, following Horacio Lalia (serial started 19/02/77)

Buster
Filler Artist:
The Leopard from Lime Street ? – ?

Guest post: John Richardson

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):

John Richardson artwork from Misty

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):
John Richardson artwork from Mandy

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):

John Richardson artwork from MistyBlack Sunday

John Richardson artwork from MistyOld Ethna

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:

John Richardson artwork from Judy PSLDora’s Dragon

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:

Mario Capaldi/John Richardson artwork from Tammy

John Richardson artwork from Tammy
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):

John Richardson artwork from Tammy

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.

John Wagner: Interview

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.

Esther Y Su Mundo, vols 1 & 15

I have recently been to Madrid and saw two relevant comics items when I was out there. One was a free item, sponsored by Telefonica, about Paralympic swimmer Teresa Perales. (Digital version available via this link.) It’s a very interesting and well-done comic overall, although as an anthology there are abrupt transitions in style from the serious to the humorous to the positively silly. The overall tone is pretty serious in that it recounts Perales’ achievements and tribulations as a Paralympic athlete, but it also has plenty of time for humorous and revelatory asides on on the difficulties as a wheelchair user of making one’s way through a world designed for able-bodied people.

The first story in the comic was by Purita Campos, the very popular artist on Patty’s World. This caught my attention and got me to look twice at the free comic in the first place, but it also meant that I had Campos and her popular creation in mind when I went into a bookshop a day or two later, at which point I asked if there was a collected edition of the Spanish edition of Patty’s World – “Esther Y Su Mundo”. Indeed there was – a handsome reissue of at least 15 volumes of the story, advertised as “One of the great classics of Spanish comics in a new re-coloured edition”. I bought volumes 1 and 15, so as to be able to get a sense of how the comic has developed over the years since its first pages were published in 1971. I am not sure what year of original publication Vol 15 relates to, ie how long a time-span is represented in my two selected volumes; certainly a number of years, but I suspect not the full original publication span of 1971 – 1988.

esther-y-su-mundo-vol-1 esther-y-su-mundo-vol-15

They are solid, substantial-feeling editions: 96 pages long, which is slightly less than the 114 pages of the Rebellion Misty reprint (and substantially less than the 192 page whopper reprint of Monster), but the hardback binding, handsome red cloth covering of the spine, and the full colour cover and insides, make for a very enticing package. The price is pretty comparable to the UK reprints I mention above – around £15 – £16, with fluctuations depending on the exchange rate with the Euro. The end papers are a greyscale montage of images from the various years covered in the volumes, and showcase Purita Campos’ beautiful art very nicely.

“Patty’s World” is not something I knew anything at all about until quite recently, and I hadn’t ever read any of it either in the original version or in translation. The first volume starts with Patty Lucas (or Esther Lucas as I will now think of her, having only read the Spanish version!) just turning thirteen. Lots happens to her in the pages of the comic – the pace is quite different from the 14 – 18 episodes of what I think of as a typical girls comic story. This story doesn’t build up and up to a dramatic finale – in this first volume, Esther fights with her family and her best friend and then makes up again, gets into trouble when someone thinks she is shoplifting, worries about her mother getting remarried, pines after a boy from her school, and has a mutual hate society going on with nasty Doreen. It’s all down to earth and (more or less) realistic, apart from the frenetic pace that it all goes at.

It’s not the sort of story that I normally go for very much; and for me the first volume was more of a curiosity item than something that hooked me. However, Volume 15 felt like it would do more for me – it develop story arcs a little more slowly and gives them more time to breathe. I think the stories are also actually better, too: the first arc in the book is genuinely amusing (Esther and her friend Rita swop lives for a day and it gets very silly). It also clearly has more of an edge, though this is really an extension of what we saw right at the beginning. One of the things going on in Esther’s life at thirteen is that her father died some years previously and her mother is considering remarrying, with all the adjustment that this brings. And in Volume 15 Rita’s mother is shown to have died in a previous volume, and her father has since remarried – the stepmother role is shown in a positive light even though tempers can flare. It’s all very human and warm. I think the focus on boy-chasing would put me off if I was embarking on a prolonged read, but overall I can certainly see how readers could end up living in this world and greatly enjoying the characters and the stories.

Of course for many people the draw will also be the art. Purita Campos is great at fluid, expressive characters of all ages, but her protagonists as they move from being girls to young women are her particular focus of course – and she imbues everyone with their own distinctive looks and ways of being, from flirty Rita and annoying Doreen to girl-next-door Esther. The girls are sassy and sexy without crossing a line, the boys are rather cute, and it’s all fun.

Will we ever see a UK reprint edition? The title that it originally appeared in, Princess Tina, started to be published before the 1971 cutoff date that places it outside of Rebellion’s ownership, but the story and the character was published after 1 January 1971. The fact that the Spanish edition has gone through numerous reprintings and new editions clearly indicates that those rights must be clearly established by someone, even if the UK rights have historically been somewhat tangled. The Spanish readership seem to have an ongoing love for this character: the back cover blurb acclaims the comic as a ‘great classic of Spanish comics’ which has been loved by ‘three generations of readers both male and female’. The UK doesn’t have anything like as strong a memory or feeling about this story, though there will certainly be many with fond memories of it in this country. But if this story and this character – which after all is actually set in the UK, with right-hand drive cars, British bobbies, and double-decker buses! – is so popular in Spain with a general audience, it has perhaps the strongest chance to break into that teen market than any of the other Rebellion content acquisition. That is, so long as this is even part of that purchase…

Esther Y Su Mundo volume 1 and volume 15. 96 pp, 17.95 EUR (around the £15 – £16 mark at current exchange rates). Story by Phillip Douglas, art by Purita Campos

José Casanovas

Catalan artist José Casanovas (1934 – 2009) was well-known and well-loved by lots of readers, appearing as he did in many British comics over a number of decades. His detailed, stylish, and above all fun art was distinctive and he was credited in various publications, so it is easy to pull together quite a long list of his work (though no doubt still incomplete). Many British readers think of him as a 2000AD artist – that is how I first came across his name myself – and therefore perhaps as an SF artist primarily. If you count up the stories he drew and the titles he appeared in, though, by far the majority of his work seems to be for the girls’ comics market.

The list below has been pulled together with much reference to the Catawiki database in order to fill out the non-Jinty stories, so many thanks to the contributors to that site. (I have included the numbers of episodes listed for each story as per Catawiki, to emphasize how prolific he was. I am fairly sure the records on that site are not complete but it gives a good impression of his work. Of course, please do send in further information if you have it!)

  • Tammy
    • Cinderella Spiteful (1971-72) – 20 episodes
    • Two-Faced Teesha (1973-74) – 10 episodes
    • Ella on Easy Street (1974) – 8 episodes
    • The Town Without Telly (1974) – 12 episodes
    • Wars of the Roses (1975-76) – 11 episodes
    • Babe at St Woods (1976-77) – 39 episodes (you can see some sample pages here)
    • Down To Earth Blairs (1977-78) – 25 episodes
    • Running Rosie Lee (1980) – 10 episodes
    • Tomorrow Town (1982) – 10 episodes
  • Sandie
    • The Nine Lives of Nat the Cat (1972-73) – 38 episodes
  • Princess Tina & Penelope
    • Have-A-Go Jo (1970) – 25 episodes
  • Jinty
  • Lindy
    • Sophie’s Secret Squeezy (1975) – 7 episodes
  • Penny
    • Pickle, Where Are You? (1979) – 10 episodes

Mistyfan has recently done a post about “Sue’s Daily Dozen” in which she made the point that Casanovas is known for science fiction. There is one science fiction story done by him in a girls’ comic, namely Tammy‘s “Tomorrow Town”, which I take the opportunity to reprint here as being a piece of art that would otherwise not be likely to get a showing on this Jinty-specific blog.

Tomorrow Town pg 1

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Following Casanovas’ death in 2009, Steve Holland wrote an obituary Bear Alley post here, drawing also on the Spanish-language blog Tebeosfera’s post here. (Do follow this last link to see some lovely artwork from an adaptation of Pollyanna done for the local market.) There was also an interesting comment on 2000AD fan blog the Prog Slog about Casanovas’ work in the boys’ science fiction comics market. He drew well-liked characters Max Normal (some Max Normal art by Casanovas can be seen here) and Sam Slade Robo-Hunter (after Ian Gibson had stopped drawing this latter character). He also drew a number of one-off stories in 2000AD, and a story in Starlord, and people characterise him as a 2000AD artist therefore. The Prog Slog comment here clarifies that: “Casanovas early work for 2000AD, Starlord etc. was sporadic. First appearance was a ‘Future Shock’ in Prog 70 (24 June 1978) a 1.5 pager called ‘Many Hands’. “Good morning Sheldon, I love you” was his next, a six page future shock style one-off written by John Wagner in Starlord 11 (22 July 1978). He drew another one-off Wagner [story] in Starlord 16. There’s a gap then until Progs 148 & 149 (January 1980) where he does a 2-part Ro-Jaws Robo-Tale. He then draws the 11 page Mugger’s Mile by Alan Grant, the first ever Max Normal strip (“The Pinstripe Freak (He’s Dredd’s informer)”) in the first Judge Dredd annual (1981). He goes on to draw more Future Shocks in Prog 220, 241 and 245, another Max Normal in the 1982 JD annual, and again in JD 1983 annual. In the 1982 Sci-Fi Special he draws his first Dredd proper, a 10 pager by Wagner – The Tower of Babel. His first Dredd in the weekly is the excellent “Game Show Show” 2 parter in 278/279, August 1982, Wagner again. He did the second ever ‘Time Twister’ in Prog 295, a 4 pager called Ultimate Video. And that’s as far as my data goes for now, by Prog 300 he’d done 77.5 pages: 32.5 in the weeklies, 10 in specials, 23 in annuals and 12 in Starlord. According to ‘Barney’ online (http://www.2000ad.org) his last work was in Prog 822 (Feb 1993), Robo-Hunter”. The tally of his pages for 2000AD and the like must therefore surely be far outnumbered by the 90+ episodes of his run on Dora Dogsbody in Jinty alone!

Katy

$_57-2828419356_tp

Katy. This is a title that is so obscure that I cannot find any piece on it or jpegs on the Internet (save at a recent eBay auction, which are reproduced here). The only source on Katy so far is this thread from Comics UK forum http://comicsuk.co.uk/forum/viewtopic.php?f=140&t=6484

Katy lasted ten issues. She appeared fortnightly, from #1, 31 October 1986 to #10, 6 March 1987. She then merged with Barbie.

What gives Katy her place on this blog is that she reprinted some stories from Jinty. Other reprints came from Tammy, Misty, Whizzer & Chips, Sandie, and other sources that have not yet been identified. The beauty is that Katy reprinted the stories in full colour!

If anyone can supply further information on Katy it would be most appreciated.

Stories in Katy

Creepy Crawley – Jinty

Combing Her Golden Hair – Jinty. Retitled “Comb of Mystery”

Alone in London – original comic unknown

The Upper Crust – Tammy

Witch Hazel – Tammy

Guitar Girl – Tammy

Claws (cat cartoon) – Whoopee!

The Cats of Carey St – Misty

Sister to a Star – Sandie

Minnie’s Mixer (cartoon) – Whizzer & Chips

The Petticoat Pirate – original comic unknown

Dora Dogsbody – Jinty

828419387_tp828419379_tp828419372_tp828419367_tp

Update: Further scans are now available. They have established that most of the Katy covers were reproduced from Princess Tina, such as this one. All the covers were also used for the Dutch Tina.23ubw2a

And the following scans of the contents have been added. “Comb of Mystery” is “Combing her Golden Hair” under a new title.

14wfwud 9ppatc

What sort of stories did Jinty not cover?

Any comic has to have a focus, a remit of what will be covered and therefore inevitably what will not be covered. The choices made, however, may be revealing in themselves, or may raise further questions as to why one thing was included and another skipped over.

Non-fiction

UK girls comics did not generally include non-fictional comics stories such as biographies. They did include some text items that were non-fictional in nature – snippets of information about sports, history, the origin of names, current pop stars – but not done as ongoing comics stories. Other classic British titles had done this – The Eagle included some biographical strips, for instance; and other children’s magazines had covered non-fiction rather more thoroughly (for instance Look and Learn’s whole raison d’etre was to be educational). Why not cover non-fiction? I imagine that the editors at the time wanted to very firmly steer away from the diactic, ‘good-for-you’ image of The Eagle and Look and Learn, both of which were the sorts of titles that tended to be bought for you by well-meaning parents. [Edited to add: Girl did print some non-fiction stories, such as one in 1959 about Marie Curie, subsequently reprinted in Princess Tina. See this comment on the UK Comics Forum for further details.]

In more recent years, The Phoenix’s “Corpse Talk” has gone back and mined this vein very effectively, showing that biographies can be done in comics form amusingly, interestingly, and well. (Creator Adam Murphy also does some strips about science using a similar format.) Even at the time, it would have been quite possible to do at least some non-fiction without it being boringly didactic, had the will or interest been there. I have just been reading some biographical material about Caroline Herschel, and her story would fit amazingly well in a ‘slave’ story: she was cabined, cribb’d, confined by her mother and her eldest brother, made to work long and hard hours on tasks as the equivalent of a maid, not allowed to stay in bed when ill, and so forth – to be subsequently rescued by her kindly older brother William Herschel, and eventually to triumph as William’s scientific assistant and indeed as a discoverer of comets in her own right! Similar tales could no doubt have been spun about the obvious eminent women such as Florence Nightingale and Boadicea, but also about the less obvious ones such as Aphra Behn and Mary Seacole (though as a black woman it would have been particularly unlikely for the latter to have been written about, sadly).

So, Jinty and similar comics weren’t ones that you read in order to learn; and nor were they ones where factual content was sneaked in under the radar, either. Sneaking it in could have happened: in boys’ war comics of the time, accuracy on details like uniforms, badges, battles, and weapons was prized by the readers and striven for by the creators. (More recently, my two young kids are getting a kick out of “Andy’s Dinosaur Adventures” on the telly: plenty of learning-through-fun there.) History, geography, science, maths, languages were prized in Jinty mainly as set-dressing when a story called for it, if at all; and the level of research and accuracy was not high, as has been noted previously.

There were some small, local exceptions to this – some areas that Jinty covered that it did care about getting right, and which you could have a reasonable expectation of learning from as a reader.

  • Sports: at one point there was a dedicated sport section, teaching you finer points of passing the ball in netball, using the parallel bars in gymnastics, and covering aspects of more exotic sports like water polo. Even aside from that dedicated sports section, there were a lot of stories featuring sporty protagonists who were given or gave tips on table tennis (“Ping-Pong Paula”), competitive cycling (“Curtain of Silence”), or netball (“Life’s A Ball For Nadine”).
  • Crafts and cookery: each issue had a page or two on how to make a little present from odds and ends, how to revitalise an old skirt, or how to prepare some easy recipe.
  • Trivia: origins of names, the story of mince pies, snippets of amusing anecdotes about, yes, Boadicea or Queen Anne.

Overt political and social issues

As a publication intended for an age range of around 8 – 12 years, you wouldn’t expect much in the way of political discussion unless there was a specific radical intention (as with the creation of Shocking Pink magazine slightly later). There is however in Jinty an utter absence not only of political comment or explanation, but even of reference: no cheeky images of the current prime minister or mention of recent or current events such as the Three Day Week or the IRA bombs. The monarchy does get a look-in with a patriotic celebration of the Jubilee and the Royal Wedding (but then, to do otherwise would be to make a republican statement in itself).

There is also very little overt coverage of wider social issues, such as feminism, racism, colonialism. Without wishing to say that we are now in some paradise, the Britain of that time was clearly a more discriminatory society; Jinty was not in the business of providing substantive challenges to this. Very overt acts of racism would no doubt have been opposed, if they had ever come up – but for instance the paki-bashing that some readers’ families might well have condoned was invisible in these pages and hence never in fact challenged. Related issues do get the occasional airing, though: for instance “Bound For Botany Bay” has some statements about the evils of slavery in a setting that is comfortably far-off in time.

It is not exactly surprising that Jinty was not proactively anti-racist or anti-colonialist; it would have taken a radical mindset to challenge these social issues, and this was a mainstream publication. What about feminism – as a comic published with girls in mind, did any women’s rights issues sneak in under the radar? Not very overtly, I’d say; there were some stories that touched on girls not being treated fairly or being laughed at by boys as incapable of X or Y, but these were mostly treated as individual problems rather than systemic ones. In “Two Mothers For Maggie”, the protagonist complains of being expected to do housework and baby-sitting when she has her homework to do and the stepfather has finished his work for the day; but the issue there is framed as one of poverty not primarily of sexism. In “Black Sheep of the Bartons”, protagonist Bev wants to do boyish sports like judo, but this again is painted as a personality quirk, especially in contrast with her gentle and delicate younger sister who is far more ‘girly’. It might also be played for laughs: there was an early “Jinx of St Jonah’s” story where Katie Jinks  and her friends had a bet on with the nearby boys’ school where they each had three gender-swapped stereotypical tasks to do (making shelves for the girls, making dresses for the boys); they all failed fairly equally and we are supposed to laugh at them for stepping out of the gender roles.

The aspect of Jinty which leads most clearly to a real feminist point is, paradoxically, the fact it was part of such a separate publication stream from boys’ comics. So many of the characters are girls you could almost imagine it is set in one of the parallel worlds devoid of men, favoured by a certain strand of feminist science fiction. The outcome is that there is a great multiplicity of female roles available as models for readers: villains who are misguided, evil, powerful, petty, misunderstood, or plain off their head; protagonists who are vain, strong, smart, brave, clumsy, deft, sporty, bullied, powerless, and sometimes even clever (the latter not so often, sad to say); friends who are loyal, fickle, blind, shallow, and sometimes smarter than they seem. This is in stark contrast to today’s media world in which girls are assumed to read stories with male protagonists but not vice-versa, women are expected to watch films with male characters but not vice-versa, and the story-telling that we’re supposed to accept as progressive is one where the female character is ‘strong’ or ‘kick-ass’ but still far from actually being rounded and fully-developed.

There are some other social issues that sneak in slightly surprisingly. Environmentalism gets a look-in in various stories: there are a couple of anti-motorway or anti-car stories (“The Green People” and “Guardian of White Horse Hill” feature local protests against the building of motorways through sensitive areas, “Save Old Smokey” is anti-car). More drastically, “The Forbidden Garden” is set in a dystopia where the earth is poisoned and nothing can grow naturally. Animal Rights, too, get a look-in: “The Human Zoo” and “Worlds Apart” both feature sections where animal rights protestors are seen as rightly protesting terrible treatment of animals (even if the protesters are also shown as causing as much harm to the animals as they cause good).

However, the big social issue covered that might be surprising to modern readers is inequality. Lots and lots of stories had fat-cat villains, wealthy uncaring capitalists, rich  family members who were greedy or miserly, cruel and heartless. Stories like “Bound for Botany Bay” made much greater play of the evils of class distinctions than they did of the evils of racism and slavery; and stories like “Ping-Pong Paula” and Tammy’s “Ella on Easy Street” were pretty clear that it was better to be poor with a loving family than rich with a distant one. Maybe this is part of a ‘poor little rich girl’ trope prevalent in children’s stories? Maybe it resulted from the core market of readers who were less well-off than was the case for some of the earlier, more middle-class comics? But also, the Britain of that time was actually a less unequal society than it is nowadays. WWII didn’t feel that long ago, which had also driven some reduction in inequalities. Did this mean that it was more possible to have villains who were fat-cats, capitalists, because inequality itself was less acceptable?

Growing up, sex, and romance

Again not surprising as an omission given the age range, but boyfriends are pretty much completely missing in Jinty. Older girls or young women may have boyfriends or even fiancés – sisters, young teachers – but the protagonist herself does not. In one near-exception, “Pam of Pond Hill”, Pam’s friend Goofy is someone she is teased about, and the word boyfriend is used in that teasing, but there is no kissing or cuddling involved in that relationship. So although the protagonists are depicted looking as if they are some years older than most of the readers, the concerns addressed are much more focused on intense friendships and rivalries than on romantic or sexual relationships.

The characters are often drawn with enough of a developing body to require a bikini top or bra and pants rather than the more demure vest and slip of more traditional times, but this is not addressed explicitly in the story. No Judy Blumes to be found in these pages! The letters pages sporadically included an agony aunt element, but even then this focused more on interpersonal relationships with other girls than it did puberty, periods, bodily hair, and boyfriends. Girls moved onto older magazines such as Jackie and Just Seventeen (these may or may not have had a comics element) and it was in those pages that they learned some of the subjects now taught in British schools under acronyms such as PSHE.