Tag Archives: Sharp-Eyed Sharon

Jinty Annual 1980

JInty annual 1980

Cover artist: Audrey Fawley

  • Rinty (cartoon)
  • The Christmas Spirit (artist Trini Tinturé)
  • Can You Beat Sharp-Eyed Sharon? (artist Keith Robson)
  • And Then There were Two – text story (artist Shirley Bellwood, writer Linda O’Byrne)
  • Alley Cat
  • Drat This Weather! (feature)
  • Sally Was a Cat (artist Robert MacGillivray)
  • It’s a Mystery! (quiz)
  • Wrong End of the Tape – text story (artist Douglas Perry)
  • Rinty ‘n’ Jinty (cartoon)
  • Gymnast Jinty (artist Rodrigo Comos)
  • The Bride Wore Black (artist Jim Baikie)
  • The Snow Dog – text story (artist Terry Aspin)
  • Noel Edmonds (feature)
  • If I’d been a Princess – poem
  • Superspud! Feature
  • Calendar 1980 (feature)
  • At the Midnight Hour… – text story
  • How Fruity are You? Quiz
  • The Whistling Skater – poem (Concrete Surfer artist?)
  • No Time for Pat (artist Jim Baikie)
  • Happy Ever After – text story
  • The Winning Loser (artist Phil Gascoine)
  • Meet Some Hopeless Cases (feature)
  • Sue’s Fantastic Fun-Bag! (artist Hugh Thornton-Jones)
  • The Island of Mystery – Gypsy Rose story
  • Cat’s Corner – feature
  • The Town Girl – text story (artist Phil Townsend)
  • Take an Egg! (feature)
  • Fran’ll Fix It! (artist Jim Baikie)

The Jinty annual 1980 is a solid annual. Her own features are Alley Cat, Gypsy Rose, Sue’s Fantastic Fun-Bag, and Fran’ll Fix It! We learn that Fran is at her worst when she is trying to be helpful (spreading Christmas cheer) because that is when disaster is most likely to strike. Despite everything, Fran does spread cheer by making an old misery laugh at the sight of her after she tries to clean a chimney. But after this she gives up helping and goes back to fixing. Rinty is a bit unusual for having his own feature at the start of the annual. It’s just Rinty – no Jinty. Yet we get a Rinty ‘n’ Jinty cartoon later in the annual.

“Sally was a Cat” is a be-careful-what-you-wish-for story. The Robert MacGillivray artwork lends even more fun to the hilarity when sourpuss Sally Biggs wishes she could change places with her cat – and then finds the cat comes from a long line of witches’ cats and can therefore oblige her! You also have to be careful what you say around Henrietta too, in the fun-bag story. Sue wishes it could be holidays all the time instead of school, and Henrietta seizes on that in her usual alacrity. Sue changes her mind when she sees the spell has everyone else off on holiday too! No burgers, no buses, no mum to make tea, because they’re all taking a holiday. Still, Sue and her friends do end up with a holiday from school in the end because of flooding.

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“The Christmas Spirit” is lost on Julie. She is fed-up with being the butt of jokes because her surname is Christmas. She tries to find the Christmas spirit for her brother’s sake but isn’t having much luck – until she finds shelter in a snowstorm and things begin to happen. The Christmas spirit also comes to the rescue of “The Town Girl,” who is having trouble fitting into country life.

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In “The Winning Loser”, Jean and Alice Fisher try to get a replacement vase for their gran, who is comatose. Alice finds one going as a second prize in a tennis match, but has to learn to play tennis and go up against Selena, an arrogant girl who is always poking fun at her. At the tennis match, Alice starts playing a bit too well against Selena and could end up with first prize instead of the second prize she wanted for her gran. So she has to face a choice at the match – her pride or her gran?

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“The Bride Wore Black” is a demented bride still clinging to her wedding gown and feast decades after the wedding that never took place. An old cliché, but the creepiness is brought off to perfection by the Jim Baikie artwork.

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Jinty annuals have still not escaped the era of reprinting old serials from June. This time it’s “No Time for Pat”. No, it isn’t about a neglected girl. It’s a tear-jerker of a story about a girl who is living on borrowed time and using it to help a wheel-chair bound girl at the orphanage. Oddly, the June reprint has no border while the other reprints of June serials in other Jinty annuals do. Yet the Fran story does have a border.

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Other reprints include Gymnast Jinty, whom Comixminx has been wondering has been one inspiration for Jinty’s name. In this reprint, Gymnast Jinty is leading a camping trip instead of doing gymnastics. But her leadership faces a huge problem – Carol Lomas. Carol is a foolhardy girl whose lack of common sense causes all sorts of scrapes and could lead to big, big trouble – and it eventually does when Carol tries to show off while a storm is blowing up.

I wonder whether the text stories were actually written for the annual or reprints, or both. “Then There Were Two” is the only one with a credit, to Linda O’Byrne as the writer. It probably is a reprint as it is drawn by Shirley Bellwood. The same may hold true for “At the Midnight Hour” as the spot illustration artist is unknown but definitely not a Jinty artist. The spot illustrations of the other text stories were done by artists who have drawn for Jinty (Terry Aspin, Douglas Perry and Phil Townsend).

The Gypsy Rose story finally leaves Uncle Pete (The Storyteller under another name) behind. Gypsy Rose is now telling the story herself, although the story is still recycled from Strange Stories. Nonetheless, it is a sign that the Jinty annuals were beginning to outgrow reprints from older comics.

Keith Robson

This is the 250th post on this blog! After a slow season in the run up to Christmas, we have been blazing away. How better to celebrate than with another creator interview?

Keith Robson contacted us via a comment on this site: “I drew ‘The Birds’ so can tell you that the writer was ‘Buster’ editor Len (Lennox) Wenn. Before going freelance in 1975 I was a staffer so Len and I were old friends. Len also wrote ‘Go On, Hate Me’ and many other Jinty serials.” He kindly agreed to answer a few questions for this blog, illuminating various aspects of the life of a freelancer and staffer at the time and subsequently.

Keith Robson stories in Jinty (see also the Catawiki list of his stories and the Lambiek Comiclopedia entry):

1 Can you please outline your career in British comics? For instance, how did you start, which titles did you write for, how long did you draw comics for? I have read Dez Skinn’s article about IPC Fleetway when you both worked there, and of course in your original comment on this site you said that you started as a freelancer in 1975, but it would be great to know what led you to go freelance (it seems to have been a step taken by a lot of in house staff?).

I got my start in October 1968 in D.C.Thomson’s Meadowside art department in Dundee. This was a wonderful training ground where I learned far more than I ever did in Art College! There were over 50 artists, letterers and layout people at the disposal of all the Thomson publications so almost anything could land on your desk to be drawn, quickly and accurately. In those early days I drew lots of text story illustrations for the boys’ comics – Rover, Victor, Hotspur etc. Pat Mills and John Wagner were there at the time though I never got to know them, and they left before I did.

The Spanish and Italian artists used by the girls’ comics did beautiful work, but they could never get British things like policemen, buses, taxis, pillar boxes etc. right, so a typical job would be Anglicising pages for Jackie or Romeo. (I also appeared in Romeo, as did many young Thomson staffers, photographed to illustrate readers’ letters and problems!) More often though, 39 pages of an old girls’ serial would land on my desk to be updated- all the hairstyles updated, skirts shortened, blazer badges changed and so on. Thus acres of magnificent artwork passed through my hands, and once in a while there would be the opportunity to actually draw some pages. My first girls’ stories were for Diana starting with a serial on the back page (in full colour!) called ‘Little Donkey’. Assorted other Diana features and annual pages followed but the bread and butter work of the art department was repairs and alterations. In all, I spent two and a half happy years in Meadowside learning from some wonderful mentors, but really wanting to draw my own weekly pages and not seeing too much future for that in the Thomson Art Dept.

In the summer of 1971 I was down in London (hoping to find an agent) and found myself passing the offices of IPC Magazines with a folder of artwork under my arm and the number of an ex-Thomson staffer now in Look and Learn… An hour later after a hilarious interview with legendary managing editor Jack Le Grand I emerged back on Farringdon Street with a staff job (and some freelance work on Look and Learn)!

I returned to Dundee, packed my bags, bade a cordial farewell to D.C.Thomson, and a fortnight later joined Buster working with editor Lenn Wenn and sub editor Dez Skinn. (A week later we were all on strike!)

A daily visitor to the Buster office was Mavis Miller, and old friend of Lenn’s (they started at Fleetway together) and we often all went to lunch. I acquired an agent (Dan Kelleher of Temple/Rogers) and started doing freelance for assorted publishers, all kinds of work with a view to saving enough for a deposit on my own flat. Through the good offices of Dan and Pat Kelleher, (and since I had parted amicably from D.C.Thomson), I began drawing for the Sparky – a series called ‘Mr. Bubbles’.

Friends in Dundee alerted me to a suitable flat for sale in Newport-on-Tay (across the river from Dundee) I was able to get a mortgage, and a few months later took the plunge, moved back north and went freelance, working for both Thomsons and IPC.

2 Which stories did you draw, in Jinty and on other titles? On my list of Jinty stories that you drew, I have “Jassy’s Wand of Power”, “Go On, Hate Me!”, “The Goose Girl”, “The Birds”, and various Gypsy Rose stories. Of the stories you drew, do you have favourites or perhaps ones you now recall with a bit of a shudder? Did you know ever know who wrote “Jassy” for instance, or the Gypsy Rose stories you drew? We know from Veronica Weir that there was at least one case of an artist who wrote their own story; did you ever do that, or did you know of other cases where that happened at all?

It was through Pat Kelleher and knowing Mavis Miller that I got my first Jinty serial – “Jassy’s Wand of Power’’ – which I really enjoyed. They never told me know who wrote anything, I only knew the stories written by Lenn Wenn, so I can’t tell you who did those Gypsy Rose stories – except for the one I wrote myself. This was one of the first scripts I ever had accepted. A girl encounters a photographer with a Victorian camera at a ruined castle. She later realises he must be a ghost and that she has taped his voice on her new cassette recorder! However when she plays it back there’s nothing. The twist comes when she does some research in the library and discovers a 100 year old photo – of herself! [This story is reprinted below]

I didn’t find out that Alison Fitt had written “The Goose Girl” until 2006 when we met at the launch of ‘Time Tram Dundee’, a ‘Horrible History’-type book I illustrated that was written by Alison’s son Matthew.

3 In your time doing these comics are there any kinds of stories that you would have liked to draw that you didn’t get the chance to?

I enjoyed all the stories I did for Jinty, and I always tried to put in as much background detail as I could. I would love the opportunity to redraw any of them again now (I cringe when I see some of the stuff I did in those days!). I especially liked stories with a distinctive setting and lots of atmosphere. I can remember “Save Old Smokey” the train story that Alison mentioned. I would have loved to have been asked to draw that one as I love steam trains! Deadlines were often a bit of a struggle, and in order to stay on schedule with “The Goose Girl” I had to take my pages with me on holiday, and it was while drawing an episode in a caravan in Anstruther that the news came that Elvis had died (16 August 1977).

4 We are always keen to know who worked on the various stories, as explicit creator credit was very rare. You have already helped muchly with your crediting of Len Wenn as writer on “Hate Me!” and “The Birds”, and via Alison Christie we now know that she was the writer on “The Goose Girl”. Do you know names of other people who worked on Jinty and related girls’ comics?

After Jinty, I also did a serial for Penny called ‘The Blue Island Mystery’; again I was never told who the writer was, also a ‘spot the clue’ type detective feature called “Sharp-eyed Sharon” for the Summer Special [there were also two examples of it in the 1979 Annual]. My final girls’ serial was for D.C.Thomson in Mandy, which had been taken over by former Sparky editor, Iain Chisholm (shortly before he died). This was “Diana’s Dark Secret” – Blind Diana unexpectedly regains her sight in episode one, but because she fears they’ll take away Goldie, her beloved guide dog she continues (riddled by guilt) to fake blindness. Only the dog knows…

After Mandy, Thomsons moved me onto Topper (drawing “The Whizzers from Oz”) and Starblazer doing science fantasy covers, then on to their final two boys’ papers, Spike and Champ. When they folded I worked on school textbooks for Oliver and Boyd in Edinburgh, then over ten years on the Dandy writing and drawing “Black Bob”, and “Jonah” and “General Jumbo” for Beano. There was a brief return to girls’ type stories in the Dandy with a short-lived parody written tongue-in-cheek by Thomson staffer Duncan Leith called “Wendy’s Wicked Stepladder”.

5 In his article, Dez attributes the decline of comics to a contempt for the reader (and maybe also the creator?) that was down to a purely commercial vision – printing using old-fashioned presses, resizing artwork in a destructive fashion, and so on. Pat Mills also thinks similarly, talking of the hatch-match-dispatch process angrily. Of course the rise of competing claims on kids’ time and pocket money (computer games, tv) could also be held to blame. Where do you stand on this? Do you think the decline of the British comics industry was an avoidable misfortune, or inevitable in a changing world?

I feel it was very short-sighted that the comics were allowed to slide into decline. For sure, the rise of other media certainly played its part, but the publishers were always reluctant to invest when sales dropped, especially IPC with its hatch, match, and despatch policy. They never had much respect for the amazing pool of talent that they had at their disposal, and certainly never gave anyone credit. Payments hardly increased in the latter years, and our work was never returned. There was a constant anxiety that the comic might fold (they never told you that the end was coming) and there might be no more work…

Letterpress printing never did justice to the artwork and maybe, just maybe if they had gone upmarket into full colour and printed on decent paper, giving creators a name check they might have got a bit more attention and survived. Of course there was always a snobbery towards comics in this country, devalued and disparaged at the time by teachers, librarians etc. who thought they were just throwaway rubbish that would rot children’s brains.

Nowadays teachers are delighted to see children reading comics (reading anything!) and appreciate the creativity that goes into them. Thanks largely to ‘Time Tram Dundee’, I decided to qualify as a teacher and now have a whole new career (which I love!) going into schools and working with children to create and draw their own comics.

It surprises me that no-one has considered publishing some of those serials as graphic novels (suitably updated and with colour). I’ve worked with Alison Fitt on several projects and we’ve recently collaborated on a 72 page graphic novel ‘Nora Thumberland, Heroine of Hadrian’s Wall’ (yet to find a publisher) which 30 years ago could well have have been a Jinty serial…

Many thanks again to Keith for this great interview!

“Gypsy Rose: A Picture From The Past” published Jinty 3 December 1977

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