Fatty Finn (1923-1977): Australia’s Enduring Comic Strip Icon and Cultural Treasure

Fatty Finn, created in 1923 by cartoonist Syd Nicholls, is one of Australia’s most iconic and longest-running comic strips. Initially titled Fat and His Friends, the strip made its debut in the Sunday News and captivated generations of readers with its visual flair, cheeky humor, and quintessentially Australian settings. Over a span of more than five decades, it charted the adventures of its central character, evolving from a crude schoolyard comedy to a refined narrative that reflected the social consciousness and cultural temperament of the times.

Infobox: Fatty Finn Comic Strip

History and Evolution

In 1923, while working as a senior artist at the Evening News, Syd Nicholls was approached by managing editor Errol Knox to develop a Sunday comic that could compete with the runaway success of Us Fellers, created by Jimmy Bancks. The result was Fat and His Friends, which premiered on 16 September 1923. The early version of Fatty, known then simply as “Fat,” bore an unmistakable resemblance to Billy Bunter—a rotund, mischievous British schoolboy archetype. Complete with a straw boater and frequent frowns, Fat was often the butt of cruel schoolyard pranks, reflecting a rigid educational system steeped in corporal punishment and discipline.

By August 1924, the title changed to Fatty Finn, signaling a turning point in the strip’s identity. The character slimmed down, became more dynamic, and developed into a Boy Scout-like figure clad in a uniform, accompanied by his faithful dog Pal, his goat Hector, and a supporting ensemble that included Headlights Hogan, Lollylegs, Bruiser, and the blustering local policeman Mr. Claffey.

The strip began embodying a more optimistic and aspirational tone. Fatty transformed into a spirited, honest, street-smart leader—what Paul Byrnes of the National Film and Sound Archive described as “a half-pint version of C. J. Dennis’ ‘Bloke’” with a tight-knit “push” of loyal urban mates. Nicholls expertly grounded the strip in Australian urban life, giving it a character and sense of place distinct from its overseas counterparts.

Despite the strip’s growing popularity, Nicholls was frequently at odds with editorial mandates. In 1928 and again in 1929, he attempted to introduce elaborate adventure narratives featuring pirates, bushrangers, and exotic escapades. These bold departures from the established slice-of-life formula were promptly curtailed by Errol Knox, who insisted on returning to the humor-driven, domestic-style strips that defined its early success.

Fatty Finn’s Weekly: Australia’s First Comic Book

After being unexpectedly dismissed in 1933 by new editor Eric Baume, Nicholls took his talents to new heights. In May 1934, he collaborated with fellow artist Stan Clements to launch Fatty Finn’s Weekly, Australia’s first locally produced weekly comic book. The publication featured eight black-and-white tabloid pages showcasing Fatty Finn, a center-spread serial titled Forest of Fear, and other original creations like Basso the Bear, Pam and Popsy Penguin, and Ossie by George Little.

The magazine utilized a combination of text captions and word balloons and quickly developed a cult following. Children could join the “Fatty Finn’s Club” by mailing in coupons to receive a badge and membership certificate. Later in 1934, Frank Packer took over publishing duties. Under his management, the comic expanded to 16 pages, added red-tinted covers, and introduced imported strips like Brick Bradford. However, disagreements over editorial direction and an increased focus on filler text over illustrations eventually led to the comic’s demise by early 1935.

Revival and Continued Popularity

Fatty Finn re-emerged in December 1951 in the Sunday Herald after a hiatus of nearly two decades. The strip continued in the Sun-Herald from 1953 following a merger. Remarkably, Nicholls remained steadfast in his artistic style, drawing in the same 1920s aesthetic until his passing in July 1977. He resisted the growing trends of modernization in comics, choosing to maintain the original visual and narrative charm that had won over generations.

While Ginger Meggs maintained broader popularity, Fatty Finn was widely considered a more visually sophisticated strip. Critics and fans alike praised Nicholls’ impeccable draftsmanship, creative panel layouts, and ability to blend humor with subtle social critique. As John Ryan noted in Panel by Panel, Nicholls’ experimentation with tall, column-like frames and sweeping full-page panels made Fatty Finn “the most visually pleasing strip in the country.”

Film Adaptations

The Kid Stakes (1927)

In 1927, Fatty Finn transitioned to the big screen with The Kid Stakes, a silent black-and-white film directed by Tal Ordell. The film starred real-life children and animals, including Hector the Goat, and included scenes of Nicholls drawing at his studio. It was the first Australian feature film to be based on a comic strip, cementing the character’s place in the nation’s cultural lexicon.

Fatty Finn (1980)

In 1980, Fatty Finn was revived for a new generation with a colorful film adaptation directed by Maurice Murphy, featuring Ben Oxenbould in the lead role and Rebecca Rigg as a co-star. The film grossed over A$1 million at the Australian box office and earned seven Australian Film Institute (AFI) Award nominations, winning in categories for Costume Design and Original Music Score. Accompanying the film was a book titled The Adventures of Fatty Finn, penned by journalist and screenwriter Bob Ellis, which featured reprints and illustrations from the original comic strip.

Legacy

Fatty Finn remains one of the most significant Australian comics ever created. More than just a comic, it served as a reflection of the country’s evolving identity, humor, and values across the 20th century. Nicholls’ refusal to modernize the strip speaks to his deep respect for the medium and his desire to maintain artistic integrity.

“Fatty Finn wasn’t just a comic strip—it was a window into Australia’s childhood dreams, social struggles, and suburban adventures.”

From newspaper clippings and weekly comics to major motion pictures and nostalgic retrospectives, Fatty Finn endures as a beloved symbol of Australia’s golden comic age. With timeless themes of friendship, mischief, and resilience, Fatty continues to win hearts long after his last appearance in the Sunday funnies.