The Beano: A Comic Born in Dundee, Raised by Rascals, and Loved by Generations

May 5
6 min read

I was a devoted reader of The Beano, delivered it as a paperboy, and grew up with its characters rattling around in my imagination. I often passed by artist Dudley D. Watkins’ art deco turreted mini castle/house on the way to Broughty Ferry from Dundee - visible from the top deck of the bus - and my mother played golf with Mrs. Moonie, wife of George Moonie, the comic’s first editor. My first freelance job was with DC Thomson while I was still a student...so yikes - yes The Beano is very close to my heart...an affair that's lasted more than sixty-five years.

The Beano and Why Comics Matter

Comics have long been the secret weapon of children’s literacy - visual storytelling that hooks reluctant readers, fuels imagination, and delivers complex ideas with clarity and humour. For me, The Beano was not just a comic; it was a portal. Its anarchic energy, stitched through with the spirit of St Trinians, lit the fuse for my own work, especially You Wouldn't Want to Be.... That rebellious DNA - equal parts Dundee, Dennis, and detentions- is deeply embedded in many of my books.

From Jute, Jam and Journalism to Jokers and Japes

The Beano was born in Dundee, Scotland, launched on 30 July 1938 by DC Thomson & Co. Ltd. At the time, Dundee was a powerhouse of publishing, the three J's "Jam, Jute and Journalism", and DC Thomson already had success with children's story papers. The comic was part of a new wave that offered irreverent fun, slapstick chaos, and bold cartooning - escapist and sometimes surreal humour for working-class children in pre-war II Britain.

DC Thomson editor R.D. Low, along with artist Dudley D. Watkins, had developed The Dandy, Oor Wullie and The Broons. The Beano followed, named after the slang for a party or ‘bean-feast’. Its first cover star was Big Eggo, a socially awkward ostrich, drawn by Reg Carter. Inside, Lord Snooty (or Lord Marmaduke of Bunkerdon) and His Pals - created by Watkins - led the charge of cheeky, class-bending kids.

In 1946, D.C. Thomson made an unprecedented move that underscored Watkins’ importance: they allowed him to start signing his artwork. Up to this point, British comic artists generally worked anonymously (publishers wanted readers to focus on characters, not creators...I know how that feels!). Watkins was the rare exception. Beginning in 1946 his name “D. Watkins” appeared in bold letters on strips like The Broons and Oor Wullie – a sign of how invaluable he had become to the company.

The Sunday Post Strips

The Broons

First appearing in 1936, The Broons charts the life of a large Scottish family living in a tenement at 10 Glebe Street in the fictional town of Auchenshoogle. The family includes the diminutive Paw and Maw Broon of the large shelf like bosom, their eight children, and Granpaw. The strip portrays everyday life, emphasising themes of family dynamics, generational gaps, and the challenges of living in a large household.

Oor Wullie

Also first appearing in 1936, Oor Wullie is a mischievous Scottish boy known for his spiky hair, dungarees, and upturned bucket seat. Set in Auchenshoogle, Wullie's adventures often involve his gang - Fat Boab, Wee Eck, Soapy Soutar, and Primrose Paterson. The strip captures the essence of timeless Scottish childhood, blending humour with cultural nods, exclaiming in dialect phrases like “Jings!” and “Help ma Boab!”.

Wartime Wit and Editorial Courage

World War II brought rationing, reduced page counts, and a fortnightly schedule, but The Beano pressed on. It took bold jabs at Hitler and Mussolini. George Moonie, the editor, later discovered his name and Watkins was on a Nazi hit list - a strange honour for a man editing a children’s comic and a man drawing the pictures..

As wartime austerity deepened, comics like The Beano became cultural lifelines. Its circulation held strong, with its mixture of anarchic fun, parody, and cartoon violence providing a cathartic outlet.

Dennis the Menace: The Red-and-Black Rascal

In 1951, Dennis the Menace burst into the pages - his catapult, wild hair, and snarling grin redefining the comic. Drawn by David Law and named by George Moonie, Dennis was an anti-hero for a new era. A few months later, his signature red-and-black striped jumper arrived. In 1968, his dog Gnasher (a rare Abbasynian Wire Haired Tripe Hound) joined the act, and the two became inseparable.

Dennis quickly took over as The Beano’s front-cover figure by the mid-70s, ousting Biffo the Bear. A fan club followed, adding over 2,000 new members a week at its peak.

The Beano - Biffo The Bear 1957 — Biffo The Bear The Beano 1957 - Biffo went straight on to the cover of the Beano on January 24th 1948 and stayed there for 25 years until he was booted off by a certain Dennis.

Other Anarchic Icons

The 1950s also saw the debut of Minnie the Minx, Roger the Dodger, and The Bash Street Kids. These strips - particularly those created by Leo Baxendale - revolutionised the comic’s energy and outlook. Minnie was a fiery tomboy with a taste for mischief. Roger was a schemer who dodged chores and homework. And the Bash Street Kids - a wild school class in perpetual revolt - brought the chaos of the classroom alive, as well as school dinners with Olive Sprat the cook...who predictably cannot cook. The Bash Street Kids were gradually streamlined to a core group of nine, with the addition of Cuthbert Cringeworthy bringing the count to ten. Over the years, the cast has continued to evolve to reflect a more diverse and inclusive school environment. Characters such as Harsha and Mandi expanded the class to twelve, and more recently, Stevie, Khadija, and Mahira joined the line-up, bringing the total to fifteen. The class, still based in Class 2B, is overseen by their long-suffering teacher, who remains a fixture of authority amid the ever-growing mischief.

Each character tapped into a different type of naughtiness: physical rebellion, cerebral trickery, and good old-fashioned school mayhem.

60s to 90s: Mischief Never Ages

The 1960s and 70s introduced more modern figures: Billy Whizz (a boy who ran at lightning speed), Ivy the Terrible (a furious toddler), and Calamity James (the unluckiest boy alive). In the summer of 1969, at the age of 62, Watkins was still the primary artist on The Broons, Oor Wullie, Desperate Dan, Biffo the Bear, and more but on the morning of 20 August 1969, Watkins died suddenly of a heart attack at home, while at work, his wife found him slumped at his drawing desk, a half-finished Desperate Dan comic strip for The Dandy still in front of him. Although Watkins had suddenly died - in a real sense of how his work never left Britain’s newsstands; his characters lived on, bringing humour to generations to come as DC Thomson kept reprinting strips for years.

The Beano evolved, but never abandoned its slapstick roots.

Dennis's storyline in 1986 - when Gnasher disappeared and then returned with a family - showed the comic could do multi-week narratives. In 1988, The Beano turned 50, printed in full colour, and set a Guinness World Record with the world’s largest comic strip.

Surviving the Digital Age

While many comics faded in the 1990s and early 2000s, The Beano stayed strong. It moved to glossier paper, introduced Bea (Dennis’s baby sister), and embraced digital expansion. Beano.com now offers quizzes, jokes, videos, and games. Dennis and Gnasher have starred in TV series, and the comic has celebrated landmark issues with pride.

Dennis and Gnasher

The Two Dennises: A Curious Coincidence

In a bizarre twist, an American Dennis the Menace also launched in March 1951 - just days before the British Dennis appeared. Created by Hank Ketcham, the US Dennis was a cherubic five-year-old in dungarees. But beyond the name and slingshot, the two characters couldn’t be more different.

The British Dennis is a chaos agent; the American Dennis is a precocious cutie. Remarkably, no lawsuits ever followed. The timing was sheer coincidence, and both characters developed in cultural isolation. In the UK, the 1993 Dennis the Menace film was simply titled Dennis to avoid confusion.

Why The Beano Still Matters

The Beano has shaped British humour, language, and cultural identity. Its characters are national icons - statues of the Dandy's Desperate Dan and Beano's Minnie the Minx now stand in Dundee. The comic has influenced everyone from Alan Moore to contemporary cartoonists. It’s a triumph of storytelling simplicity, comic timing, and generational joy.

That a comic launched before World War II still sells an issue every 17 seconds in Britain is astonishing...and a testament to the Beano characters - raised by rascals, and loved by generations

DC Thomson's Comics

For Boys:

The Beano (1938–present)
The Dandy (1937–2012)
The Beezer (1956–1990)
The Topper (1953–1990)
The Victor (1961–1994)
Warlord (1974–1986)
Commando (1961–present)
Hotspur (1933–1981)
The Hornet (1963–1976)
Bullet (1976–1978)
The Crunch (1979–1980)
Spike (1983–1984)
Starblazer (1979–1991)
Nutty (1980–1985)
Buzz (1973–1975)
Plug (1977–1979)

For Girls:

Bunty (1958–2001)
Judy (1960–1991)
Mandy (1967–1991)
Debbie (1973–1978)
Diana (1963–1976)
Jackie (1964–1993)
Emma (1978–1979)
Tracy (1979–1985)
Suzy (1982–1987)
Nikki (1985–1989)
Spellbound (1976–1977)
Twinkle (1968–1999)
Patches (1979–1983)

These publications not only entertained but also reflected the evolving societal norms and aspirations of their respective eras. Wikipedia

The Enduring Influence on Literacy and Creativity

Comics are instrumental in fostering literacy - the combination of visual narratives and concise text in comics like The Beano makes reading accessible and enjoyable, especially for early readers. This format encourages:

Vocabulary Development: Introducing new words in context.
Comprehension Skills: Understanding sequences and cause-effect relationships.
Imaginative Thinking: Stimulating creativity through engaging storylines and characters.