Specky Hector’s History of Buster [1990]

As we are on the subject of Specky Hector aka Lew Stringer, here are the Specky Hector appearances in Buster on 26 May 1990, in honour of Buster’s 30th birthday.

Artist:  Lew Stringer

Specky Hector’s History of Comics from Buster

For something completely different but still related to the subject, I have these two instalments of “Specky Hector’s History of Comics”. They appeared in Buster 1 September and 6 October 1990. Regrettably, I do not have the subsequent instalments. If anyone does have them, please drop a line.

Artist/writer: Lew Stringer (updated to add)

Story length through Jinty’s life

I have created a new page listing the stories in Jinty by publication date. This seemed like an interesting and useful addition to the list of stories in alphabetical order that has been in place on the blog since we started. As part of the information on that new page it seemed sensible to count the number of episodes for each story, too (where possible) – luckily for me, the Catawiki data that I was using to compile this information gave me the ability to include that for almost all stories. As I put together the list, I got the impression that in the last year of Jinty‘s publication, the story length was getting shorter and shorter: so I pulled together some stats on it.

For each year below, there are some stories I excluded from the statistics, either because I didn’t have a complete count of all the episodes (for instance where a story had started in Lindy or Penny before their merger with Jinty), or because they were by their nature long-running humour strips with no specific start or end point. I’ll give a list of the excluded stories and their running lengths further down this post.

• For 1974, the mean story length is just under 16 episodes and the mode (most usual) story length is 13 episodes
• For 1975, the mean is just under 18 episodes and the mode is 16 episodes
• For 1976, the mean is just under 15 episodes and the mode is 19 episodes
• For 1977, the mean is just over 14 episodes and the mode is 11
• For 1978, the mean is just over 16 episodes and the mode is 18
• For 1979, the mean is just over 14 episodes and the mode is 12
• For 1980, the mean is 11.5 episodes and the mode is 12
• For 1981, the mean is 11 episodes and the mode is 10

We can see that the two averages do go up and down over the run of Jinty. Having said that, the drop-off in episode length in 1980 and 1981 does look like a real change, despite that context of background variation. (I’m not going to do any full-on statistical analysis with standard deviations and so on though!) Both average figures are down in those two years, because there are fewer long stories pushing up the mean as well as a general trend to the slightly shorter length of 10 – 12 episodes.

Which stories did I exclude from the analytics, and why?

• The humour strips with no specific story arc: “Dora Dogsbody” (94 episodes), “Do-it-Yourself Dot” (62 episodes), “The Jinx From St Jonah’s” (112 episodes), “The Snobs and the Scruffs” (12 episodes), “Desert Island Daisy” (9 episodes), “Bird-Girl Brenda” (27 episodes), “The Hostess with the Mostess” (19 episodes), “Bet Gets The Bird!” (11 episodes), “Alley Cat” (163 episodes), “Sue’s Fantastic Fun-Bag!” (111 episodes), “Bizzie Bet and the Easies” (27 episodes), “Gaye’s Gloomy Ghost” (96 episodes).
• “Merry at Misery House” (66 episodes) is not a humour strip but like those above, it has no specific overall story arc, no obvious beginning or end that is worked towards throughout its run. I have therefore excluded that too. The same goes for “Pam of Pond Hill” which ran to a mighty 126 episodes in Jinty and then on into Tammy of course.
• The stories that I have incomplete episode information about: “Finleg the Fox”, “Penny Crayon”, “Hettie High-and-Mighty”, “Gypsy Rose” (these stories are not catalogued on Catawiki as a group), “Rinty n Jinty”, “Seulah the Seal”, “Tansy of Jubilee Street”, and “Snoopa”. Various of those would be excluded even if I had complete episode numbers, of course.
  • Edited to add: further information has been given in the comments below. “Finleg” and “Hettie” ran for 7 episodes in Lindy, and “Tansy” ran for 45 episodes in Penny. “Seulah” ran for 11 episodes in Penny, and then started a new story in Jinty & Penny, which I hadn’t really realised. The two Seulah stories were more like separate arcs in a bigger story than self-contained stories in themselves. Many thanks to Marc for this information! I will add them into the spreadsheet and see if it makes any difference to the years in question.
  • “Snoopa” ran for 45 episodes in Penny, which Mistyfan confirms below (many thanks). As a gag strip, this would not be included in the year-on-year statistics in any case.

Longest run of an individual story? “Alley Cat” has all the others beat, at 163 episodes; runners-up are “Pam of Pond Hill” at 126 episodes, and then “The Jinx From St Jonah’s” and “Sue’s Fantastic Fun-Bag!” neck and neck at 112 and 111 episodes respectively. However, if you exclude these and look at the length of the ‘normal’ stories, then the top three are “Somewhere Over the Rainbow” (36 episodes), “Fran of the Floods” (35 episodes), and “Always Together…” (29 episodes). (Phil Townsend does particularly well for long-running stories, as “Daddy’s Darling” clocks in at 24 episodes and “Song of the Fir Tree” at 22 episodes.)

At the other end of things are some short stories. There are only two single-episode stories: “Holly and the Ivy” and “Mimi Seeks a Mistress”. “Freda’s Fortune” is the only two episode story. “Mimi” was a reprinted story, printed towards the end of 1980; possibly “Holly” and “Freda” were intended for publication in annuals or summer specials and then used as filler.

There are a few 3 or 4 episode stories: “The Birds”, “The Changeling”, “Casey, Come Back!”, and “The Tale of the Panto Cat”. This is also an odd length for a story – long enough to allow for a bit of development, but short enough to feel a bit abruptly cut off when you get to the end. Of these four, I’d say that “The Birds” is the one I find uses its length most successfully, though “Panto” works pretty well as a seasonal short. The slightly-longer “Her Guardian Angel” (5 episodes) likewise uses its length reasonably well to give us a seasonal amusement.  Some other shorter stories, such as “Badgered Belinda” (7 episodes), do read like they have probably been cut down from an originally-intended standard length of 10 – 12 episodes.

The spreadsheet with this information is available on request – please comment and I will be happy to email it to you if you want.

‘Remembered Reading’ by Mel Gibson; book review

“Remembered Reading: Memory, Comics and Post-War Constructions of British Girlhood“, by Dr Mel Gibson; ISBN 9789462700307, published by Leuven University Press, June 2015. Reviewed by Jenni Scott.

British girls’ comics are not much written-about, either within academia or within comics fandom. Even the people who read these comics as children tend to move away from then in their teenage years and forget about them as adults, until a deep well of memory is probed and an undercurrent of (often very strong) emotion is released. In looking at how people talked and thought about girls comics in the past, and how people talk and think about them still, this book is a great review both of the memories of the former girl readers, and of the criticism – often ill-informed or inadequate – made of these comics.

To be clear up front, this is an academic work based on Dr Gibson’s research for her doctoral thesis, and published by an academic press within a series of ‘Studies in European Comics and Graphic Novels’. Some of the writing includes some specialized vocabulary or concepts (in fact this is generally not too bad but it could put some people off). Perhaps more importantly for a work on comics, only a very few illustrations are used: this sort of book typically has definite budget constraints and it is hard to obtain permission to use this sort of old material (especially for free). It is not a lavish reference book for a general audience! Having said that, Dr Gibson has chosen wisely in including a four-page “Belle of the Ballet” story and an absolutely corking two page photo story from “Shocking Pink”. It also includes a very solid chapter on ‘The Rise and Fall of the British Girls’ Comic’, which provides an outline of publication history and of the development of this market. Its real strength, though, lies in the number of questions, thoughts, and avenues for investigation that it has provoked in me during my reading. (And what better thing can you say of an academic book than that it is fruitful?)

So, what is the book all about, in more detail?

Coverage

In the Introduction, Dr Gibson sets out her stall. This book aims to look at how the genre of comics aimed at British girls developed and why they disappeared, while also looking at other comics that were read by girls (such as American superhero comics) and to a lesser extent also at the phenomenon of boys reading girls’ comics too. This is in order to challenge the received idea in our Anglo-Saxon culture of comics as being by and for boys and for men: a prejudice that forgets and belittles the history of girls comics. Because it proved hard and expensive to get hold of issues of girls comics themselves, or at least in the range and quantity you’d need to do a good overview, Gibson ended up not looking at the titles directly, or the stories in them, but rather at people’s memories and what was important enough in those memories to stick with them until she interviewed them years and decades later. (These were interviews done at a range of events typically held in libraries, schools, and other organizations, thus not targeting a body of already-identified comics fans.) At the same time, Gibson is clear about needing to look at the history of British writing on comics too: a history that comprises a strand that considers comics functionally as an educational tool, a strand that reflects enthusiasm and positive interest in the medium, and a larger third, critical, strand that starts from the premise that comics are bad for readers. (Even in the Introduction, it’s obvious that Gibson is writing from the point of view of a keen and positive reader of comics herself, so that while she outlines and discusses the critical strand there’s no fear she is likely to endorse it.)

Chapter One starts off talking in more detail about why it was so hard for Gibson to find copies of the girls’ comics she would have liked to work on: you might not have thought this was a particularly interesting aspect to lead off with, but it actually reveals some interesting attitudes on the part of the comics dealers she was in contact with. The dealers themselves had prejudices and misconceptions about girl comics readers: they argued that girls only got given comics out of duty and “did not really like them”, while at the same paradoxically still keeping them – meaning that dealers ended up with stashes of girls comics that they didn’t value either, and typically destroyed rather than sell! So a perceived lack of interest in girls comics becomes a self-fulfilling prophecy. Mass media writing about girls comics, too, ‘flattens’ and reduces the diversity of comics actually produced and read, and paints the comics that girls read as being all about boarding schools and middle-class respectability.

Between her own experience, the interviews with readers, and even some interviews with women involved in the creation of comics, Gibson promises us a much more nuanced view not only of the value and interpretations that girls do place on comics, but of the range of publications actually on offer at different times, and the relevant differences between them, particularly including perceived differences of class. This nuanced view is used not only to challenge the views of the dealers but also those of the few academics or educationalists who have written about this area. The analysis is even turned inwards too: Gibson confesses that “[a]s a younger reader I dismissed comics for girls as less significant, showing my own entanglement with value judgements and ideology” – a point she develops further in the rest of book that had a lot of resonance for me, too. Nevertheless, when discussing their memories with readers who came forward, she found that “these publications had been an important part of childhood reading”, used to construct the reader’s sense of what it was to be a girl in Britain at the time. (Not that everyone wanted to become a girl if that was what it meant to be one – some readers rebelled in various ways – but it clearly helped to shape them, either way.)

Chapter Two covers the publishing history of girls’ comics in Britain: this is a really good solid chapter which covers the gamut of work and of publishers. It starts with 19th and early 20th century text-based periodicals for girls, which were aimed at and read by a wide range of classes and ages. Girls’ comics themselves appeared rather later, in the 1950s; the key story is “The Silent Three” but the key title that comes under most discussion here is Girl. One particular point of interest in this chronological approach is that Gibson is able to highlight the treatment in Girl of ballet as “acceptable”, “although it had not been long since ballet had been seen as a problematic profession” – that is, although later generations of readers treated ballet themes as boring and conservative, we should remember there was a time when this was far from being the case! Gibson also highlights that titles with a mixture of content – features, fashion, pin-ups as well as comic strips – “came to be predominantly associated with British girls’ comics” (despite also being seen in boys’ titles such as Eagle and Look & Learn). Later titles such as Jackie in particular took this further, of course, and indeed led to the magazine format dominating the teenage and adult markets. At this point there’s a visible split in the market, with the titles for pre-teens (starting with Bunty, Judy, and Princess) being produced primarily in comics form rather than using more of the mixed format. “The comic medium, in not continuing through to periodicals for adults, was reinforced as an indicator of childhood.”

The section on Bunty and the subsequent section on Tammy and the new wave of comics will probably be of particular interest to readers of this blog, and won’t disappoint. There are some quotes from Benita Brown, who talks about writing the stories “Blind Bettina” (publication not traced),  “Hateful Heather”, and “Cathy’s Friend From Yesterday” (both in Mandy). Brown also wrote the sports tips that appeared in Jinty, “Winning Ways”, and it is implied though not stated clearly that she wrote “Spirit of the Lake” too. The final section is also interesting, covering the advent of photo-stories (illustrated by a parody one from feminist title Shocking Pink) and horror themes, before the death of the girls’ comic as a separate medium. Unfortunately for my personal interests, this chapter doesn’t go down to the level of detail I would ideally want to see about ‘production’ points such as sales data, who wrote what, who drew what, or editorial decisions and aims. Nevertheless it is a really good chapter that will give solid reference for anyone reading or researching in this area in the future.

Chapter Three is about how librarians, academics, teachers, and others have thought and talked about comics reading in Britain. It looks at moral panics and the fears that adults who are gatekeepers for children have had about comics: that comics are dangerous unless vetted for appropriate content, poorly-made, and will incite their readers to violent, criminal, or otherwise undesirable outcomes. These fears applied to boys and girls but particularly vehemently to girls; there was also a class element to the fears, with working-class readers felt to be more at risk than others. These worries came from various sides of the political spectrum as there were also plenty of feminist critiques made: that girls’ comics were unnecessarily twee and limiting, that they had too many stereotypes, that they were created almost exclusively by men, that they encouraged a victim mentality (especially the Cinderella and Slave story themes, as you can imagine).

On the positive side, Gibson counters these fears much more thoroughly than I’ve seen elsewhere. She cites Benita Brown as seeing her work in comics deliberately stretching the boundaries of the girls’ comics traditions; Brown also apparently “said that during her period of writing the majority of writers that she found out about, in both IPC and DC Thomson, were women”. (No further details were given on this statement – I’d love to hear more! – I also note that Mavis Miller, who also shaped girls comics publications at the time, wasn’t mentioned.) Gibson also points out the contradictions in the ‘moral panic’ reactions to comics – that commentators are scared comics will make readers ‘lazy’ and unwilling to move on to ‘proper’ books while at the same time noting that high volumes of comics being read tends to go hand in hand with high volumes of other materials being read by the same people. Gibson also points out changes over time in what is shocking and deplorable – at one point ballet is risqué, then Jackie becomes worrying because of its content about boyfriends and fashion, and subsequently titles like Just Seventeen and Mizz seem just as problematic. Each generation sees “a shift in defining what girlhood is and what the concerns of girlhood are.” Furthermore, once you start talking to the readers of the stories about them in more detail, you get a lot more about how they are interpreted or understood by those readers: girls discussed and argued about what they were reading, they interpreted them in different ways, it wasn’t just a mechanical equation or imposition of stereotypes onto vulnerable readers. It is precisely that area of reader response that is so valuable in the subsequent couple of chapters.

Chapters Four and Five are based on her interviews with readers of comics. It covers (of course) girls reading girls’ comics, looking at interview data to see how women talk about their girlhood reading and comparing this to academic writing that often makes incorrect assumptions about how that worked. Pleasingly, Gibson also covers boys reading girls’ comics, and girls reading comics that aren’t intended for girls (or not straightforwardly – she argues that even humour comics intended for a mixed audience are more firmly marked as being for boys than you might think).

Gibson showed through these interviews what readers of this blog will know from personal experience: girls don’t only read girls’ comics as might be assumed, they also read humour comics intended for a mixed-gender audience (The Beano) and titles intended for a male audience (Eagle, superhero comics). They read across class lines (there is often awareness of the idea of comics as a ‘lower class’ thing unless you read the ‘posh’ titles such as Girl). Most of all, readers read widely – borrowing other people’s comics, swapping, buying multiple titles per week – often communally, and with strong feelings about those comics even when remembering them as adults. Comics were fun to read and remembered fondly, but were also an important part of growing up: the transition from reading comics to reading magazines was often a marker of teenagerhood or early womanhood, and not infrequently this transition was forced on the reader to some extent by parents or by peer pressure. So on the one hand comics showed you ways of being a girl in British society (which you might reject by reading boys comics instead, or by interpreting the story differently from the way adults did), and on the other hand they were something you were expected or made to grow out of and put behind you – they belonged to childhood.

And girls comics stayed in one’s childhood, unlike the boys comics which have generated a collector base and fandom around them. Grown women are not, in our society, supposed to be still interested in those childish things for their own sake (though they are allowed to read comics if they have children who they are buying them for), and grown women do not as a rule, indulge themselves in re-buying their old comics and participating in ‘collecting’ activities. This is especially the case considering that comics are quite strongly marked culturally as being ‘for boys’ and ‘for men’, apart from the girls comics which are marked as being ‘of the past’. Some women will buck this trend, of course, but as exceptions to the rule.

The book ends with a good selection of end material, with an index and bibliography that has given me leads for further investigation in the future. One very welcome feature is a list of stories under discussion, which shows convincingly the wide range that Gibson covers. An index is also always useful, though a couple of quibbles – why not include Benita Brown in the index? (Pat Mills is also quoted but not included, so presumably no creators are listed in the index, but this still doesn’t make good sense to me.) Also, why is there no list of figures? There are only about 6 of them so it wouldn’t be a long list but it would be handy to refer back to and seems a striking omission for a book about comics.

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I have a host of follow-up thoughts on this in terms of questions this book sparks, and further things to be looked at. This post is already very long though so those will continue separately.