it’s time for the second issue of the world’s funniest comic and the cover sets the ball rolling in typical OiNK fashion. Using the same design as the preview issue, an artist’s illustration framed above Patrick Gallagher‘s Uncle Pigg and Mary Lighthouse, this has proved to be very memorable over the years amongst fans.
Let’s try to forget about how old the image of those two boys makes us feel and instead concentrate on the funny rendering by Steve McGarry. This was all to promote another free gift, a set of blank sticky badges with letters, numbers and images which could be rubbed on to create anything the young readers wanted. They’re a bit like those old pretend tattoo rub-on transfers we had as kids, which never transferred in one piece and would look a right mess on our arms.
Of course there were other cheeky examples of what could be created inside the issue and a request for pig pals to send in their ideas, which we’ll see later. As we open the issue it’s again up to critic Mary Lighthouse and editor Uncle Pigg to introduce the issue, this time by following on directly from Mary’s quite startled discovery on the front page.
It’s not often you’ll see a Royal fart joke. Again, Ian Jackson‘s artwork is the star here and he really does epitomise everything OiNK was about. I’d call it a breath of fresh air but that might not be the case given the subject of Mark Rodgers‘ script. Mary’s face in the final panel brings out a childish grin on my own face every time I see it.
It’s time to meet another regular star of the comic. Weedy Willy was introduced in the preview issue as “So Pathetic It’s Embarrassing”. Cowardly, insanely weak and lacking any kind of social skills, Willy’s continued optimism led to us cheering him on through mishap after mishap. Most of these would also involve his unrequited love of local girl Mandy, who’d often fall foul of his misplaced affections.
While Willy’s weediness (expertly rendered by Mike Green) was the subject of the humour, he was never portrayed as a victim. Yes, we could laugh at his inability to lift the lightest of objects or his fears of the cutest, cuddliest babies, but whenever the strip put him up against a bully he’d always come out on top, even if it was inadvertently. His positivity was infectious and the moral was clear, albeit delivered in an original OiNK fashion.
The comic had an anarchic feel to it which I always loved, not only in its humour and artwork but also in how it was organised. Other humour comics would have certain strips on the same pages every issue, always taking up the same amount of space. OiNK mixed it up, placing its regulars on different pages and often giving them varying amounts of space from issue to issue. Co-editor Mark Rodgers said strip length was one of the rules they no longer wished to be confined by.
This variation carried over to the one-off strips, which could be anything from a quick three-panel gag to a detailed multipage story. From this issue, this two-thirds of a page strip is one such example and a definite highlight.
Burp and Mr Big Nose creator Jeremy Banx‘s Kangaroo Kid leaps (sorry, I couldn’t resist) off the bright yellow page, ending with the reader actually taken by surprise with the blatantly obvious fact he hadn’t exited the phone booth yet. A brilliant piece of misdirection and comic timing.
Compared to the newsprint comics of the day, OiNK’s shiny paper was a revelation. While action comics such as Transformers were mostly printed on full colour glossy paper, OiNK’s was much bigger and of a higher grade, meaning even these one-colour pages feel more vibrant when held. Its printing process also meant black and white strips didn’t have to be quite so simple anymore and shades of grey could be used to really bring them to life in a way we hadn’t seen before in humour comics.
But of course, OiNK also had more striking full colour pages than any other funny comic and none would use this to greater effect than J.T. Dogg, so while we’re on the subject here’s his latest Superstar Poster, Frankenswine!
I know I’ve included one of these before but how could I not show off this masterpiece? I hadn’t discovered OiNK at this stage but I remember having these up on my wall back in the late 80s, from a mix of issues given to me by my cousin and reprints from much later in the run. I have a couple up on the walls of my home office now, I’ll let you know which as we go along.
Other highlights of this issue include the pun-tastic pigs The Street-Hogs as they continue to fight Don Poloney, not-so-subtle in-jokes in Cowpat County, a wonderful full colour Burp and a Rocky-inspired Golden Trough Awards, complete with catchy musical monologue. Be warned, you may not get the original tune out of your head after you read this.
One of the main contributors to OiNK had never worked in comics before, but was the lead singer of the band that received a little promo above in Cowpat County. Marc Riley is better known today as a BBC Radio 6 Music presenter, previously of Mark and Lard fame on Radio 1. Just for the record, our Marc was ‘Lard’.
“With Marc all hunched over dressed like this, passers-by and car drivers were stunned and puzzled.”Tony Husband
An old friend of Patrick’s (still good friends with both him and fellow co-editor Tony Husband to this day) Marc could be heard singing on the free flexidisc from issue one and would star as Snatcher Sam in many photo stories, often appearing alongside Frank Sidebottom. Later stories are set outside or on makeshift sets, but in these early days Marc would be pasted onto hastily drawn backgrounds.
The Bully Who Went Bald is one such story. It also features Tony’s son Paul (previously seen in the preview issue) as Sam’s intended target and Patrick as an innocent airplane pilot who just happens to be passing by. The rough sketches and cut-and-paste nature adds to the amateurish look, which in itself highlights the fact these were spoofs of photo stories found in the likes of Eagle and women’s weeklies.
This behind-the-scenes photo has been shared by Tony, who said that after the shoot Paul walked down the lane holding Marc’s hand. “With Marc all hunched over dressed like this, passers-by and car drivers were stunned and puzzled”, says Tony. Also, according to Paul himself the photographer was none other than Ian Tilton, who has worked with legends such as Iggy Pop, The Stone Roses and whose Kurt Cobain photographs were hailed by Q Magazine as among the best rock photographs ever taken.
We stick with Marc for the back page and our final highlight. Probably Marc’s most fondly remembered creation after Snatcher Sam was Harry the Head, the tale of an ordinary boy who just happened to be a disembodied head. In the preview issue Harry’s parents were also just heads but a later strip would change this to involve a genie, a greedy young boy and a lesson learnt.
Quite a severe lesson to learn! But Harry did just that and ended up kinder and less selfish, earning himself a good friend in Barney (who would diligently carry Harry around by the hair) and decided to live life to the full. Later he would go off on an adventure around the world over multiple issues, but his best strips were the self-contained ones where he’d use his predicament to his advantage, such as in this one which paid tribute to the Dambusters, believe it or not.
Who would’ve thought this crazy comic could be educational too. Well okay, I’m pushing it but this strip actually saw publication on the 43rd anniversary of the Dambusters raid, which occurred on the night of 16-17 May back in 1943.
With that we come to the end of our second review (third if you count the preview) of OiNK in this real-time 35th anniversary read through. The next issue is the first of the themed editions. These were another example of how OiNK stood out from the crowd and another reason it was a favourite among so many.
The first subject is space, so watch out for chicken aliens, pigs behind the moon and even a cameo from The Doctor. Issue three takes off on Monday 31st May and you can also check out the promo for it from tis issue.