Tammy & Jinty 28 November 1981

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  • Jump, Jump, Julia (artist Giorgio Giorgetti)
  • The Shadow of Sherry Brown – first episode (artist Maria Barrera)
  • Crayzees (artist Joe Collins)
  • Pam of Pond Hill – from Jinty (artist Bob Harvey, writer Jay Over)
  • Goodbye, Jo… (artist Eduardo Feito)
  • Sheena, So Shy (artist Tony Coleman)
  • The Bow Street Runner – continues from Jinty (artist Phil Townsend, writer Alison Christie)
  • Lara the Loner (artist Juliana Buch, writer Alison Christie)
  • Bella (artist John Armstrong)

This was the issue where Jinty merged with Tammy. Strangely, the merger changed the Jinty logo – something Jinty had never done in all her seven years. And it was very unusual to change the logo of a merging comic. What could be the reason for doing it here? Had there been plans to change the Jinty logo during her own run that they decided to put into practice here? Or did they feel the previous style would not stand out so well in a smaller size? The more solid lettering, narrowing of the letter spaces, and the overlap of the letters in the new style does point to the latter.

Correction: It has been brought to my attention that Jinty did change to the new logo in October, about seven issues before the merger.  This figures, because I do regard these last seven issues of Jinty as a “countdown” to the merger because of the abrupt change in the lineup of stories to short filler stories and hints that “Gaye’s Gloomy Ghost” was building up to a conclusion. The rushed conclusion of “Worlds Apart” and sudden return of “Pam of Pond Hill” point to this as well.

Jinty brought with her “Pam of Pond Hill” (with an entirely new story that had no proper introductions to the characters – Tammy readers were left to pick things up), the continuation of “The Bow Street Runner”, and the amalgamation of Snoopa into the Edie & Miss T strip to become “Crayzees”. They move into a new house to celebrate, but Edie dislikes Snoopa from the start and is chagrined when Miss T’s cat falls in love with him. Phil Townsend made his transition to Tammy with “The Bow Street Runner” and became a regular contributor. Trini Tinturé made no contributions to Tammy, except for one complete story, “When the Wild Geese Call…”. Later, Tammy & Jinty readers would see a repeat of Jinty‘s “The Human Zoo”, possibly due to Pam’s Poll in 1980. The merger would also run “Little Sisters”, which was possibly originally written for Jinty because it appeared in a Jinty annual. Tansy of Jubilee Street would return in “Old Friends”, a slot she shared with Bessie Bunter, Molly and Wee Sue until the merger gave way to the new look Tammy on 17 July 1982. Gypsy Rose would return in the spooky storyteller slot that she shared with The Storyteller. The merger also carried on Jinty‘s ribbon-cutting logo that she had used to open new stories. And of course no merger is no complete without a competition to celebrate (though some readers may not have), and the first prize is a 7-day trip to the US.

In regard to Tammy, she had dropped the Misty logo shortly before the merger. But one suspects that the Misty influence continued, as the merger ran “Monster Tales”, which told stories of monsters that included a man-eating plant, a gargoyle, a (helpful) fire monster, a doll that reflected the evil nature of its owner, and a man turned into a monstrous dog as a punishment for his cruelty to dogs. Such a thing could only come from Misty; perhaps this was originally written for Misty and appeared in the Tammy & Jinty merger because the space had opened for it.

The merger also saw changes in the art teams. Phil Townsend was now a regular and Maria Barrera’s artwork appeared more frequently, starting with “The Shadow of Sherry Brown”. But other Tammy art veterans were on their way out. Giorgio Giorgetti, an artist who had been with Tammy from her early days, made his Tammy swansong with “Jump, Jump, Julia”. Douglas Perry, who had been on the Tammy team since year one, would become sporadic, with Molly Mills in “Old Friends” and some complete stories, before disappearing from Tammy later in 1982. Presumably this was when Perry moved to DCT. Diane Gabbot, who had been a regular Tammy artist since 1976, drew her last Tammy serial, “Rosie at the Royalty”, just before the merger. She would only return to draw the spot illustrations for “Into the Fourth at Trebizon” adaptation in 1983.

 

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8 thoughts on “Tammy & Jinty 28 November 1981

  1. Re the Jinty logo – you’re right that the logo wasn’t substantively redesigned until this point, but there had been some smaller tweaks at points along the way, specifically in separating out the last three letters of the title rather than having them all joined up. (This was some time in the second half of 1980.) I prefer the “classic” joined up version: I do think it looks more elegant.

      1. The new Jinty logo was actually seen in October 1981, only 7 weeks or so before the end. Tiger would change its logo in 1985 under the same circumstances its merger with Eagle only being weeks away, and the new Tiger logo returned in 1986, ironically spending longer on Eagle’s cover than it did on Tiger itself.

  2. I was wondering about these mergers that took place all the time. In the final issue most stories ended, but some continued after the merger. Did those stories also appear in the other magazine of the merger? Or were the readers of the other magazine after the merger all of a sudden treated to a story that started (at least for them) in the middle?

    1. The unfinished stories just carried on in the mergers. Readers of both comics had to contend with stories that were half way through or nearly finishing and did not see the earlier episodes prior to the merger, which must have annoyed them.

      1. Oh, yes, that must have been very annoying. I remember when I got my first magazine with serials in 1983. All you want is to know how all those stories started, and not jump in in the middle.

  3. It doesn’t make much sense to change a logo seven weeks before the end JUST because you know the end’s coming, so I disagree it was a countdown as such. It’s more likely to have been a way to kick-start the title by replacing its serviceable-but-seventies logo to jazz things up. I find it more than conceivable, alas, that in very early November someone said, “It hasn’t worked, let’s merge.” I don’t believe decisions so to do were agonised over for longer; Lew Stringer would probably confirm that. Besides there would have been no need for agonising if it were a failed kick-start; the last chance saloon was sometimes a practical, if unfortunate, necessity.

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