Tag Archives: Tony Husband

OiNK! #36: CHANGES ARE A-TROTTER!

Percy Plop isn’t wrong, although while the comic would present the changes as a result of a temporarily crazed editor, in reality they were permanent. With Fleetway Publications now having bought IPC Magazine’s comics they decided to publish all titles on the same paper stock, which meant a good upgrade for the others but a downgrade for OiNK. I didn’t complain though, which I’ll get to soon, and the theme for this issue was a stroke of genius.

A bit like when the skeleton staff made a hash of #8, this issue sees some strips printed upside down, others drawn by the wrong artist, Doctor Mooney is the wrong colour and other such randomness occurs. Some strips, even if they don’t have something deliberately ‘wrong’ with them, seem more zany than usual, which is saying something for this comic. John Langford’s cover may not be the best the comic ever had but this is one of the very best issues as a whole.

So what did the team think of the physical changes and did Fleetway enforce any other alterations? “We were all disappointed initially with the changes but, fortunately, it didn’t dampen our spirit so it was ‘business as usual’ producing the best content within our means,” co-creator/co-editor Patrick Gallagher told me. “Though the publisher changed from IPC to Fleetway, Bob Paynter still held his position as Group Editor and it was him we were answerable to, with the same amount of creative freedom as before. It was still fun to produce.”

Maybe to soften the blow for fans of the glossy paper (now on thicker matt stock, slightly thinner in width) or maybe to publicise it for new readers as the publisher pushed their new purchases, this and the next two issues would have these fun stickers which ended up all over my house as a kid (and on my fridge and home office door as a 40+ year-old). The logo shifted up into the corner in a colourful banner and this too would be kept, although shifted about and resized from issue-to-issue, emphasising the random nature of OiNK.

“The logo change,” continues Patrick. “We were running short of pink ink so we decided to reduce the size of the pink logo to economise.” Typical Patrick response, that. “Only joking. I think we just wanted to experiment and give more room to the cover illustration, knowing we could always change back to the bigger logo, which we ultimately did.” That would happen when OiNK went weekly in the new year. I really enjoyed the way it looked over these issues though and it did indeed give more space to some fantastic covers, as you’ll see soon.

So what was the comic’s reasoning behind the sudden changes we readers found in our hands?

Written by Mark Rodgers and drawn by Ian Jackson, as you can see Uncle Pigg introduces himself to new readers the way he did in the soft relaunch issue, #15 (which also gave away the first of three free gifts). This normally happened when a comic got a new look, something I enjoyed every time it happened with Transformers, for example. It’s understandable and didn’t detract from the strip for established pig pals. As Percy says in that final panel anything could happen, and everything did! On the very next page is an upside down strip, along with the image of Percy I showed at the top of the review, commentating on the new paper.

We’ll get to possibly the craziest strip OiNK had produced up to this stage in a minute but first comes something of a spiritual successor to last issue’s Arctic Adventure, although I’m sure it’s more of a coincidence. Either way, Tarzham the Apeman is a fantastic, funny strip I just had to include. Written by Tony Husband and drawn by Chas Sinclair, the same winning partnership behind semi-regular Lashie the Wonder Pig, it’s another tale taking shots (no pun intended) at cowardly animal hunters.

Tony is a huge supporter of animal rights and conservation, often sharing his opinions on hunters on social media in his inimitable style, using funny cartoons to make his point. I think the first speech balloon on the second page sums up those sorts of people, and the solution to the problem not only highlights the stupidity and greed of hunters but it’s a genuinely made me laugh out loud. The ending is similar to Simon Thorp’s last time but both strips work so well I’m glad we got both.

Contributing to 40 issues of OiNK altogether, Ed McHenry would become best known for two particular things, his regular strip Wally of the West, a character I thought was in OiNK a lot more than he actually was (in reality only appearing in 12 and not until #53) and OiNK’s quiz pages, examples of which I’ve shown in the reviews for #6 and #12. However, we also enjoyed a selection of one-off characters from Ed, such as The Loon Ranger and his horse Radish.

Strips like these from Ed would become more regular during this period, yet another reason why this is my very favourite period in OiNK’s run. Below this is a quick three-panel Hadrian Vile which is a bit strange for one of the comic’s main characters. The excuse given is that the crazed Uncle Pigg ate Hadrian’s diary but in reality the next chapter in his story would perfectly fit the next issue’s theme instead, so for this issue a quick stop gap was needed so they could postpose his strip until next time. There’s also a tiny Frank Sidebottom strip about the end of the school term, apparently printed ten months too early according to the note underneath.

If all that sounds crazy you haven’t seen anything yet. Jeremy Banx’s strips are known for their surreal humour and random daftness. He’s always able to take a ludicrous idea that really shouldn’t work and turn it into pure comedy gold. Already peculiar on a regular basis, how could a Burp strip stand out in an issue themed around being peculiar? How about a story involving him wanting a Cary Grant tattoo on his meters-long tongue? This includes a panel that I never forgot after seeing it. I’m sure you’ll be able to tell which one.

Funniest moment? Oh that’s far too difficult to narrow down. How about a tattoo parlour having a free trial offer? Or the tattooist’s blank eyes and small balloon text as he reacts to what he’s just been told? The way he straddles Burp’s tongue, or even shouts after him for his tip? Already hilarious, already weird, already daft, somehow Jeremy is able to ramp it up even more in those final panels, cramming in so many insane moments you feel like you need to catch your breath while reading it.

I do like the seal of approval on Pete’s strip, a little dig at W.H. Smith

Both of Jeremy’s regular strips, this and Mr Big Nose had a knack of surprising us with endings that just came out of nowhere, and while completely random, out-of-nowhere end gags can sometimes fall flat in other comics this was never a problem for Jeremy. Every single time he nailed it. This next handful of fortnightly OiNKs would see Burp’s strip regularly expand to two pages with some of the best strips the comic as a whole ever produced! I can’t wait to see them again.

A quick look at some other highlights before we move on. On the Grunts letters page there’s a quick glance at a new piece of merchandise coming very soon indeed and the results of #27’s Pop-Star Lookalike Contest with Frank Sidebottom had a particularly fantastic entry from reader Graham Fenton. Elsewhere, both Rubbish Man and Pete and his Pimple are victims of the issue’s peculiarities, although I think Rubbish Man came off worse. I do like the seal of approval on Pete’s strip, a little dig at W.H.Smith moving OiNK to the top shelves due to just two complaints.

Our smelly alien isn’t the only person to get two pages this issue. Lew Stringer’s Tom Thug gets to enjoy a bit more space to cause bovver in. I’ve mentioned before how OiNK’s high quality, glossy paper stock not only allowed gorgeous painted artwork, the black and white strips could also benefit from intricate shading, Lew in particular applying grey washes to his. While the paper from this issue onwards was a downgrade, it was still a cut above the newsprint OiNK’s contemporaries had been using up to this point.

“The quality of print on the matt stock paper was pretty good,” Patrick told me. “In my view it gave it more of a retro comic feel and warmth, which I liked.” I concur. While the gloss was lovely, and the plan was always to have the Holiday Specials use it, I really liked this paper but was struggling to articulate why until Patrick described it like that. This high grade matt was capable of the same techniques Lew had been using, but you’ll notice its conspicuously absent from Tom’s strip.

“Yes, I think I expected it to be like newsprint so I avoided doing a grey wash on the strips until I saw that it was a better grade of paper than I thought it would be,” Lew explained too me. “I thought it was a shame the paper was downgraded from glossy but that wasn’t the first time budget cuts had affected a comic so it was inevitable I guess.” Lew would return to his usual style pretty quickly and we’d see OiNK’s most popular character shaded once more.

But what about the rest of that story? Well, Banx’s strips were great when he’d pull a conclusion seemingly out of nowhere but it appears crazy Uncle Pigg giving the cartoonist a holiday, forcing him to rush the ending of Tom’s strip, has had the opposite effect. Our editor’s assistants The Plops have no choice but to allow Tom to finish his strip himself. Well that’s just inviting disaster, isn’t it?

My favourite bit is the fact the re-use of a panel from #17 (the previous Christmas issue no less) is an actual reprinting and not just Lew drawing it again. Go and check out that previous issue’s review to compare them if you don’t believe me. An ingenious strip and giving Tom two pages in an issue set up to attract new readers was also a great idea, seeing as how popular he was and would be in Buster for years to come.

Underneath Lew’s Pete and his Pimple strip were a couple of plops drawn by Ian Jackson who, along with some bad (as in groan-inducing) spotty puns, commented on everything that was going wrong with the strip. They appear throughout the comic, getting increasingly worried about what’s happening right up until we get the delight of seeing Harry the Head drawn by J.T. Dogg!

Normally drawn by his creator Marc Riley, we’ve become used to Harry being drawn in Marc’s simplistic but energetic fashion, so to see him rendered by Malcolm Douglas (J.T.’s real name) like this is a sight to behold. There’s no writing credit but I think it’s safe to assume Marc would’ve still been responsible for the script. Oh, and that little image at the bottom leads to Uncle Pigg exploding on the next page!

Well, sort of. When he blows up screws and metal bits and bobs come flying out and the real Uncle Pigg soon reappears to explain with some “handy plot explanation”.

What an issue! It’s been an absolute delight to read this one again, it’s more than held up to the fond memories I had of it from 35 years ago. In fact, I can remember walking back from the newsagent with it in hand in 1987. Walking very fast actually, because I was thrilled with these exciting changes to my comic and couldn’t wait to see what this would mean on the inside. (The stickers helped quicken my pace too!)


“Fat! Floppy! Fun! The biggest news ever for pig pals!”


A fabulous start to OiNK’s Golden Age (my own term, see here for more on that) and one of the best all round issues so far. It feels brand new again, like a fresh start in the same way #15 did. Also, all the best issues are the ones with a strip continuing through the comic in fun and original ways, such as #3‘s Star Truck and our editor again in the festive #17. The next edition is the Happy Families issue and I remember the fun Mike Higgs cover, the cut-out game and most of all the three-page Hadrian Vile strip!

You’re going to get sick of me saying this over the next few months, but I can’t wait for the next issue. Speaking of looking forward to things, the inside back cover finally revealed what had been hinted at for months. So that’s me looking forward to Christmas now too!

The review of OiNK #37, the Happy Families issue will be published on Monday 19th September 2022.

OiNK! #34: PIG PALS, HO!

This latest issue of OiNK marks the end of an era and a particular milestone in the comic’s run, neither of which we were aware of when we first bought it back in 1987. First up, this would be the final issue published by IPC Magazines, the company which took that initial chance on the whole concept and it had paid off for them! IPC were very happy with OiNK’s sales of roughly 100,000 per issue, the press coverage and the celebrity endorsements it had inspired. But now changes were coming, as you’ll see soon.

As for the milestone, it couldn’t have been foretold at the time. OiNK would run to 68 issues altogether so after reading this edition I’m now officially at the halfway point of the regular issues (just 18 days before this issue, 21st July was the halfway point date-wise too). Where has the time gone? I’m particularly looking forward to the remaining issues from this year because they include some of my very favourites and of course there’s also the first book, but I’ll go into that in more depth in a future post.

‘Butch-arr the Ever-Cleaving’ on Ed McHenry’s cover is just hilarious

The Next Issue promo in #33 starred Weedy Willy so it’s rather strange to see a distinct lack of him in this issue. The adventure theme isn’t as prevalent as previous subjects, in fact most of the regulars ignore it or just tangentially relate to it. Thunderpigs is the main themed strip but unfortunately it’s not the best. There have definitely been (and will be) better spoofs, many of the jokes here are rehashes of previous ideas (the main gag is a saturation of overpriced merchandise) but it did produce Butch-arr the Ever-Cleaving on Ed McHenry’s cover which is just hilarious.

I think OiNK’s three-panel strips would make a great digital collection of quick-fire, random, spontaneous gags, guaranteed to have plenty of laugh-out-loud moments. Probably my favourite strip amongst all of these mini marvels was Roger Rental, He’s Completely Mental. Written by a variety of people throughout the run but always drawn by Ian Knox, Roger’s entry for this issue was written by Howard Osborn whose work I haven’t featured on the blog yet.

A prolific writer for the comic, his scripts would appear in 19 issues altogether, although he’d often contribute a few strips to each one. First appearing in #23 and staying with OiNK through to its conclusion, Howard’s name would be attached to many of the mini-strips from here on.

From a writer’s first blog appearance to a punk band’s.

OiNK has been described by co-creator/co-editor Tony Husband as the punk band of comics. With him being a fan of the music genre, I can see where Tony is coming from. OiNK came out around the same time as the MADchester music scene and was seen by many as an integral part of it thanks to the likes of Frank Sidebottom, Marc Riley and the music superstars often photographed reading it. Even when OiNK was cancelled after two-and-a-half years Tony said it was better for it to burn out than fade away, that punk attitude at the forefront right to the very end.

With this attitude it was only natural that a strip starring a punk band would eventually make its way onto the pages. Their first appearance was actually last issue, when a straight laced local band were subjected to punk music and made a startling transformation into The Slugs. Always written by Tony and drawn by Les ‘Lezz’ Barton, The Slugs would be regulars in 24 OiNKs, only missing the occasional issue until the end of the weeklies, never making the shift into the monthlies for some reason. They’d quickly become a fan favourite and this sophomore strip shows why.

For me, rather than Thundercats, the main highlight of this issue has to be the following.

While it may not be linked to the theme either, Tom Thug Meets Pete and his Pimple is a hilarious addition and something of a surprise because until I read OiNK a few years back for the original blog I’d no recollection of this happening. We’ve already seen Zeta in a Tom strip before in #13 when he crossed over with Weedy Willy, but only now do we find out she’s actually Pete Throb’s sister. (How could we not know!) Between Tom’s attempts to appear spotty, to the very satisfying ending for both characters, this was surely a hit amongst pig pals at the time!

Lew tells me he simply approached co-editor Mark Rodgers with the idea of having Tom and Pete finally meet and was given the green light. He didn’t want to do it in a typical Beano style though, where one would simply guest star in the other’s strip. Instead, Lew wanted it to be more of an event, giving them equal billing in a larger than normal strip. “I liked the flexibility of OiNK allowing things like this,” Lew told me. “Readers never knew what to expect and anything could happen in each issue.” How true. We loved it!


“Slurp! Slurp! That’s nectar, that is – slurp!”

Burp’s bath tap

As always, here’s a quick glance at some individual panel highlights from the issue, beginning with Burp’s plumbing problem, The Amazin’ Spider-Guy has some very authentic special skills and in The Street-Hogs our not-very-well-disguised baddie finally reveals himself. Thought to have drowned in a vat of his own apple sauce back in #11, instead Don Poloney just ate his way out, hence his somewhat different shape. There are some absolute treats in this issue.

Interestingly, in the 2000s Lew would go on to draw the real Spider-Man in Marvel Rampage and (after its cancellation) Spectacular Spider-Man with his Mini Marvel humour strips, following in the tradition of Marvel comics such as Transformers, Action Force and The Real Ghostbusters to include funnies from Lew. If only Panini would include such extra treats in their monthly Spider-Man and Batman comics we get today. To see some examples of Lew’s Mini Marvel strips you can check out this post on his personal blog.

As mentioned on the previous Grunts page, this issue includes the latest Butcher Watch update from Jeremy Banx, although now it’s been renamed Cleaver Flash! This is in response to how the young readership had taken to the terrifying villain, Jimmy ‘The Cleaver’ Smith who’d originally been just another butcher when he first popped up in #14. This character and his attempts to cull the pig population of our newly porcine-friendly UK had really captured the imagination.

When you think about how pigs were depicted as citizens of the world in OiNK it was a bold move by Jeremy to depict Jimmy as so relentless, the black blood on these pages (Jimmy was always standing in pools of the stuff) all the more shocking and as a young pig pal these strips were the perfect mix of thrills and laughs. The victim’s ridiculous story while his face is constantly obscured by the microphone raises the giggles, followed by the slaughter of the piggy police, then the final reveal and the ending has us almost hearing that blood-curdling scream.

No comic character is as creepy as Jimmy ‘The Cleaver’ Smith and I think it’s clear Jeremy had great fun pushing the envelope as much as he could in a kid’s comic with him. It’s all rounded off with that famous tagline under the final panels. With this, the Lewniverse crossover and The Street-Hogs we’ve obviously had our fill of fantastic double-page spreads for a fortnight, right? Wrong. This issue we were spoiled with larger strips and on the middle pages was yet another treat, The Styeux Tapestry, led into with this introduction.

If you remember your history, you’ll know the Bayeux Tapestry depicted the events that led up to the Norman Conquest of England, with the Duke of Normandy challenging King Harold which of course led to the Battle of Hastings in 1066. While the introduction sets the historical scene, containing as many name puns as you could hope for, the main event is something else! Written by Tony Husband and so brilliantly brought to life by Eric ‘Wilkie’ Wilkinson, this is just a wonderful middle-page spread indeed.

Historical satire isn’t something you’d expect to see in your average humour comic, but just to complete the cliché OiNK was not your average comic. (If you haven’t caught on to this by now there’s not much hope for you.) To this day I think this would look superb in a fancy frame, something to give the illusion of a serious piece of art until whichever visitor to your home takes a closer look. If anyone asks you to describe OiNK and you’re struggling to summarise its uniqueness, I say just show them this. The Styeux Tapestry perfectly sums up the sense of humour we grew up with.

We come to the end of yet another review and I’m excited for what’s ahead. Most of my memories of OiNK from the 80s come from the second half of the run and my favourites are from the latter half of 1987, the very year I’m covering right now in this real time read through. The issues to come over the next five months have stuck with me all these years and I’ll be going into more depth about that in an extra post soon. As for #35, the Terrific Travel Issue review will be here on the blog from Monday 22nd August 2022.

OiNK! #32: PHYSiCAL FUN

I’m not a sports fan, never have been. As a kid when OiNK was published my dad and brother were football mad but I simply had no interest. The Olympics were always the exception though and that remains true today, I’ll be glued to the TV day and night for two weeks solid (I’ve even booked time off work before for them) but then for four years normal service resumes. So it was with trepidation that I approached the latest issue of OiNK, which upon first glance I had no recollection of from childhood.

But now I’ve finished the issue I needn’t have worried. Beginning with that cover by Steve McGarry whose work we haven’t seen since #4, and this would be the last cover (and accompanying strip) he’d draw for the comic, his contribution to The OiNK! Book 1988 already completed even if we wouldn’t see it for a while yet. But it’s the panels down the left that really had me laughing, in particular the one about sports commentators! A funny start and inside the first laugh out loud moments come courtesy of Jeremy Banx’s smelly alien, Burp.

At this point Burp’s attempts at ingratiating himself with his human neighbours seem to be entering a rather gory phase, beginning with the malfunctioning fast food machine in #30 and in a strip I didn’t feature last issue he sliced off the top of Ronald Reagan’s head to have a chat with his brain. Bringing this little girl’s teddy bear to life might be the thing of fairy tales but as you can see Jeremy took it a step further to show the repercussions of such an act bedtime stories never would.

As well as the blackness of the blood adding to the funny horror and the bear’s protestations, there are a lot of moments here I found myself chuckling away to, not least of all Burp’s long explanation of what he did to the bear while never catching on that this was previously a toy. Also the fact it’s all done with ‘Bupa’ rays. Adverts for Bupa were on the telly all the time back then so even as a child I’d have found this funny. This issue wouldn’t be the last time we’d see this teddy either. It was, however, the first time we saw two other individuals.

One of my most fondly remembered strips, David Haldane’s Torture Twins was a regular staple of the comic from here on in, appearing in every regular issue except the penultimate monthly. It was a tale of twin brothers who really enjoyed their work. Their work just happened to be medieval torturers. In such a dark profession I guess it helps to have a good sense of humour! From gags and puns based on the style of torture they were using, to more ridiculous forms of torture, they were a highlight and a fan favourite! It’s good to finally see them here.

I knew of the Day of the Triffids from watching the movie not long before this issue, so it was the perfect material to parody

While this issue as a whole didn’t seem to jog the memory cells as much as others there’s one definite highlight that takes me right back to the first time I read it. In fact, it was the first time I’d come across these characters (my first issue was #14) who had made such a huge impact with pig pals who’d been with the comic from the start. Written by Mark Rodgers and drawn by J.T. Dogg, the second epic adventure for The Street-Hogs began here. The Day of the Triffics would be a lot shorter than their original story but it made a huge impact on me.

For young readers at the time already familiar with them it must’ve felt like an age since their last appearance in #11. The hype of their return began in #27 and was further added to last time with a large poster, but now the moment was finally here. I was completely won over by the potential of the strip by two things, namely the return of Dogg as the artist after I’d loved his work on Ham Dare, and the reason behind the plants being called Triffics!

It’s been too long since we’ve had a series of one preposterous cliffhanger after another, with equally ridiculous escapes the following issue. I knew of the Day of the Triffids from watching the movie late one night with my mum not long before this, so it was the perfect material to parody as far as I was concerned. The mysterious baddie really isn’t mysterious at all for those who’d read the first adventure, but that was all part of the fun, that our heroes who were so daring and gung-ho couldn’t even figure that out! I’m really looking forward to the next few issues.

So far out of the highlights I’ve shown only one has stuck to the theme, so here’s a selection of panels taken from throughout the issue. Pete and his Pimple finally work together to show it’s not all a bum deal for the spotty teen, there are some exercise ideas even I could get behind, a very funny spoof tabloid The Bumb is more believable than the real thing (and stars radio DJ Mark Radcliffe!), and then the final panel is about as close as we’d get to a friendship between Hector Vector and his Talking T-Shirt.

DJ and TV presenter, and close friend of editor Patrick Gallagher and writer/artist (and fellow radio DJ) Marc Riley, Mark Radcliffe worked alongside both on The Mark Radcliffe Show on BBC Radio One after OiNK and Round the Bend came to an end. The three also performed as The Shirehorses, a parody band that came off the back of the radio show. Also, Patrick and Mark performed with Chris Sievey aka Frank Sidebottom in his Oh Blimey Big Band, a photo of which you can see in #16‘s review. Of course, you’ll also know Marc and Mark as Mark and Lard!

Do you remember spot-the-ball competitions? They could still be around for all I know, but in case they’re not they’d run in newspapers and magazines back in the 80s and would involve a photograph taken during some action in a football game, with the ball itself removed from the picture. This would always be very cleverly disguised and given the technology of the day was quite the feat because there’d be no trace of it in the photo.

Competition entrants would need to look at the positions of each individual player, their actions, where they’re looking etc. and try to figure out where best to place their ‘X’ to highlight where they think the ball was in that precise moment. The team behind OiNK decided to run a similar competition in this sports issue and went to the same painstaking levels of professionalism to ensure it was as difficult to work out as possible. Well, difficult if you’re a cretin apparently.

I was so happy to see the return of Tom’s Toe in this issue! Originally appearing back in #12 he then popped up in the first Holiday Special before disappearing again until #30. Given the nature of the strip, that it would parody clichés from OiNK’s own sister publications, it worked best as a special character who’d just pop up now and again. If Tom had been a regular I think the joke could’ve worn thin and he could’ve strayed into cliché himself.

Thankfully that never happened and here his return is marked with a brilliant strip which really highlights the differences between OiNK and other comics of the day. Of course, it’s all helped along by the fact it’s drawn by John Geering whose usual work was among that which Tom was parodying! So, this time Tom and his friends are playing a game of footie when the ball bursts. What to do? Well, we have a boy whose toe can take on any form so naturally he grows it to resemble a football.

Tom’s four appearances were brief but memorable and the perfect antidote to the safer humour OiNK was created to counter

This halfway point of the page feels like the end gag for a traditional strip in another comic; “Haha, oh he made it into a football this week, I wonder what he’ll do next time haha?” But this is OiNK. OiNK was different, it went further. In this case, it takes the scenario further to see what would actually happen next, turning the second half of the strip into something else completely, into classic OiNK! The whole page is kind of like a metaphor for the difference between traditional comics and this one.

Unfortunately, this would be the last time we’d ever see Tom. His four appearances were brief but memorable and the perfect antidote to the safer humour OiNK was created to counter in the first place. John would return in the first OiNK Book, drawing more jokes aimed at other comics he worked on. As a child I’d no idea this was the case because OiNK was the only humour comic I collected for a while, but now I can appreciate his contributions even more than I originally did.

The final page I’d like to highlight is once again Frank Sidebottom’s. Chris Sievey was a creative genius, let’s make no bones about it, and since he joined the ranks of OiNK he’s designed a cut-out zoetrope, his own Time magazine cover and even created working programs for young ZX Spectrum computer users! The page he’s brought us this time once again shows the insane amount of work he’d put into OiNK. We appreciated it every single time.

No other character had such a variety of content from issue to issue. We just never knew what would be next with Frank! He particularly seemed to enjoy giving us an excuse to cut up our precious comics, giving us even more value for (our parents’) money. He certainly didn’t let us down with his (deep breath) Frank “Windy” Sidebottom vs Elton John All-Star Cut-Out Snooker Game. The rules alone were surely a feat to create. At one stage he even suggests throwing them out, they’re that intricate!

A simply wonderful page for us to finish on this time. The next OiNK comic review will be up from Monday 25th July 2022, the theme of which really puzzled me back in 1987, then made me very happy indeed to be living in Northern Ireland and not another part of the UK as a child. You’ll have to come back in a fortnight to find out what that’s all about.