Tag Archives: Charles Herring

John Wagner: Interview

John Wagner is known to have worked on girls’ comics and written girls stories in the 1970s. I didn’t know of any previous interviews which had focused on this part of his career in particular: many thanks to him for answering the questions below in this brief interview.

1 I’d love to know how you got started in writing for girls’ comics, and what you did during that part of your comics career. What stories did you write? How did you balance writing comics alongside being an editor – or was that all part of what the editor was expected to do?

The girls’ comic side of my career started with Romeo, the DC Thomson romantic comic/mag, the poor sister of Jackie. Girls’ romance was just a step up from normal girls’ fare with the addition of boys. We never touched on lesbian love back then! Then when I left to go freelance with Pat Mills, girls’ stories was one of our target markets. We were given “School of No Escape” (was that in Sandie or Tammy? [that was in Sandie]) by the managing editor, John Purdie. The story had already been started, was running, but either the writer had quit, or been sacked. In any case editorial didn’t know quite how to handle it. It was quite a challenging first assignment but we made a pretty good fist of it. I helped Pat devise “School for Snobs” and write the first couple of episodes before we split up and I went to work in the IPC office in London. My only girls’ comic story after that was “Jeannie and Her Uncle Meanie”.

2 We’re always on the lookout for information on other creators of girls comics from the  time. I have already asked you for any suggestions on the name of the artist on “Slave of the Trapeze” and “School of No Escape”, which sadly for us you weren’t able to recall. Are there stories by other people that you particularly remember from that time, which you would be able to help us to credit the creators on? For instance, anything written by any of Gerry Finley-Day, Malcolm Shaw, Charles Herring, Jay Over, Ian Mennell, Benita Brown, Maureen Spurgeon?

Malcolm Shaw was my sub on Sandie for a while, quite a good, reliable one. I’m afraid I don’t remember any particular stories any of the people you mention wrote, though Gerry would have done two or three for me. Never heard of Jay Over or Benita Brown and assume Maureen then went by another surname that I can’t remember.

3 Pat Mills has fond memories and a lot of respect for specific girls’ comics titles and the hard-hitting gritty stories that ran in them. What kind of comparisons would you draw between the world of girls’ comics and that of the boys’ titles you worked on?

They were pretty different, up until Pat and I started work on Battle Picture Weekly. I refer to the IPC boys’ stories, as DC Thomson boys’ comics had some excellent stories and were almost the equal of their girls’ titles. But IPC boys’ titles had stagnated, with stories that were formulaic, repetitive, barely credible and carried very little emotional power. They paled in comparison to the stories in Judy, Mandy and especially Bunty – clever, meaty, affecting.

4 You started your comics career working for DC Thomson before moving south to IPC/Fleetway. Were there things about creating comics that you learned at DC Thomson which you were keen to bring with you to IPC, or perhaps keen to move away from? Or other memories of differences between the two publishers?

I was keen to move away from poverty! The key lesson I learned there was self-criticism. Nothing you write can’t be better. Always question yourself – am I getting the best out of that scene, those characters, is there a better way of doing things?

5 Finally, anything you can tell us about your time at Sandie would be good to know. It was a fairly short-lived title, only lasting for 89 issues. What do you think that was down to? Did you leave it as it finished, or earlier? Who else worked on it that you can recall?

My memory is that they closed it down – or merged it – on a circulation of about 180,000 (though that figure may be inflated in my mind). In any case the low cover price meant that they had to sell enormous numbers. I was told the comic was going under and that they wanted me to move on to Princess Tina (which was also dying) and revamp it in an attempt to save it. Norman Worker (I think) was brought in to see Sandie laid to rest. In turn I made an awful hash of Tina, whereupon I quit journalism to become caretaker of an estate in Scotland, never to return (I thought!).

I’ve already mentioned [in email] some of the names of Sandie staff – subs Kyra Clegg, Rhoda Miller, Malcolm Shaw. Ally McKay was assistant art man for a while, and John…John…ah, I forget, but he was art editor.

Many thanks again to John Wagner for this interview. I have a small number of issues of Sandie, which I looked at in this post. Catawiki has details on a few Sandie issues also, and the Great News for All Readers blog has posted in detail about two issues in 2016. Mistyfan also wrote a post about the advert for Sandie’s launch, and another on issue 7 of Sandie in 1972.


Pat Mills: Interview

Pat Mills is someone who has already contributed lots to our knowledge of girls comics of this era, but even so there are still some gaps in our knowledge of what he wrote, and always plenty more questions to be asked. With thanks to him for his contributions now and in the past, here is a brief email interview.

1) In previous discussions you’ve identified the following stories in girls’ comics as having been written by you. Are there any stories missing from that list that you can remember? Some other stories have been attributed to you – also listed below – which you’ve either specifically said you didn’t write, or which haven’t been included in those previous discussions. It would be great to clarify this once and for all, if we can.

Known stories (Jinty)

You have also said before that you wrote a horse story, without identifying which one it was. Might it be “Horse from the Sea”? Or perhaps “Wild Horse Summer“?

Pat Mills: No. Doesn’t ring a bell. It’s possible I did the horse story for Tammy, but it wasn’t very good.


  • Ella on Easy Street?
  • Glenda’s Glossy Pages?

Pat Mills: Charles Herring wrote Ella which I hugely admire. I wrote Glenda. Also – Aunt Aggie, School for Snobs, and Granny’s Town, but not all episodes.


  • Moonchild
  • Roots (Nightmare)
  • Red Knee – White Terror! (Beasts)

Pat Mills: Think “Red Knee” was mine if it was the spider story. Also “Hush Hush Sweet Rachel” – art by Feito.

And some Jinty stories you didn’t write but which are often attributed to you: “Knight and Day” (now confirmed as not yours), “The Human Zoo” (I think this is thought to be Malcolm Shaw’s), “Wanda Whiter Than White“, “Guardian of White Horse Hill” (you’ve previously thought this is likely to be Malcolm’s too).

Pat Mills: No, none of those are mine.

2) I appreciate that it’s harder to remember which stories were written by other people, if you even knew these details at the time. If there are any stories that you know the writers of, we are always up for adding to our store of attributions! We know that co-workers of yours such as John Wagner, Gerry Finley-Day, Malcolm Shaw, Charles Herring wrote for girls comics, in case that helps to trigger any memories. Did you also perhaps know Jay Over, Ian Mennell, Benita Brown, Maureen Spurgeon? (Some of those names are listed in the era when Tammy printed creator credits between 1982 and 1984, meaning we do have some story credits already in hand for that time.)

Pat Mills: Charles Herring was great – Ella and similar stories.  Pat and Alan Davidson wrote stories like Little Miss Nothing – Sandie and the equivalent in Tammy. They were top writers and that style of ‘Cinderella” story was hugely popular, but I don’t think they ever worked for Mavis. [In fact we do know that Alan Davidson wrote for Jinty, though Pat Davidson did not.]

John Wagner created and wrote “Jeanie and her Uncle Meanie” for Sandie, I think.  John was an editor on Sandie, but Gerry was the founding editor.

I wrote “Captives of Madam Karma” in Sandie.

John Wagner and I wrote “School of No Escape” in Sandie. (That was not bad) And “The Incredible Miss Birch” for Sandie. (Not our finest hour!) And I must have written at least one other story of this kind for Sandie.

I also wrote “Sugar Jones” and other stories for Pink, and “9 to 4” for Girl.

3) In Steve MacManus’ new book on his time in IPC / Fleetway, he talks about stories being measured in terms of the number of panels in the story: so for instance at one point he refers to a ‘twenty-two picture episode’ and at other points to a ‘thirty-picture script’. Is this something that you too remember from your time at IPC Fleetway? Did it happen at DCThomson too? I was interested in this because it seemed like a surprising way to think about comics, rather than in terms of page count.

Pat Mills: Yes. Steve is spot on. It’s a big subject. A thirty picture story in girls comics would theoretically deliver a lot of story. But it would be crammed and old fashioned. So I changed all that on 2000AD with less images on the page and started to apply it to Misty.

4) You’ve talked before about girls comics working differently from boys comics, and Steve MacManus recalls you saying that in a girls story the heroine would beat a bully, ride in a gymkhana, and still get back home in time to make her motherless family a hearty tea. Clearly girls comics were very full of plot! And you were a big part of rewriting a bunch of boys stories to make them fit the girls comics model more closely. Can you talk in a bit more detail about how this worked, in other words, what the mechanism was, more exactly? Is it a case of using fewer action sequences, more surprise reveals, lots of scene changes…?

Pat Mills: The big principle of girls comics that I applied to boys comics was “emotion”. Sometimes this worked well, but it needed applying in a different way. More “cool”, perhaps. Some girls principles didn’t adapt well:  jealousy for instance. Girls loved stories involving jealousy – boys didn’t. Hence “Green’s Grudge War” in Action wasn’t a hit.  Similarly, mystery stories work well in girls comics, boys didn’t give a damn about mystery. Hence my “Terror Beyond the Bamboo Curtain” in Battle, boys didn’t care what the terror was. It wasn’t a failure, but not the hit we hoped for.

However, where girls comics scored ENORMOUSLY was in having realistic stories that didn’t talk down to the reader. My “Charley’s War” is really a girls comic in disguise. Its popularity lies in it applying girls comic principles NOT boys comic principles – e.g. emotion is allowable in the context of World War One.

I was never that sold on “girls adventure” where there wasn’t a strong “kitchen sink”/Grange Hill factor. I think when Jinty went in for science fiction adventure it led the field, but not so sure about regular adventure which could seem “old school” – to me, at least. This was a factor everyone battled with on girls and boys comics, avoiding “old school” and creating stories that were “cool”.  Thus I would describe “Cat Girl” in Sally as uncool and old fashioned. Some of the Misty stories fell into that category – historical stories, for example.

Many thanks again to Pat Mills for his time, and for his memories and thoughts on this.

The Terror Behind the Bamboo Curtain (1975)

Sample Images

bamboo curtain 1

(Click thru)

bamboo curtain 2

(Click thru)

bamboo curtain 3

Writers: Charles Herring, Pat Mills, John Wagner, Tom Tully (?). But only Charles Herring appears in the writing credits.

Artist: Giancarlo Alessandrini

Publication: Battle 8 March 1975 to 24 May 1975

Reprint: Tornado Annual 1980

Plot Summary

In World War II, “Big Jim” Blake is a prisoner in a Japanese POW camp in Burma where prisoners are forced to build a bridge on the Benwaddy River. Sado, the cruel commandant, takes great delight in punishing his prisoners by having them run the gauntlet in the Bamboo Curtain, a bamboo forest on one side of the camp that is laden with deadly booby traps. Concerned at the intimidating effect the Bamboo Curtain is having on his comrades, Blake deliberately gets himself sent to the Bamboo Curtain, in the hope that if he can somehow beat it, it will break Sado’s hold over them.

Sado declares Blake dead after seeing him fall into one of the booby traps and forces the prisoners to cheer at this. However, Blake escapes. He is then surprised to stumble across a band of British soldiers in Japanese uniform who are acting as if they are brainwashed/hypnotised and don’t even feel pain when branded. One of them he recognises as “Handlebars” Lewis from his old unit. He soon finds out Sado is behind it, but the men disappear into a ruined pagoda before he can investigate further. He decides that for the soldiers’ sakes he will return to the camp to find out what is going on, although he is risking big trouble from Sado.

Everyone at the camp is surprised to see Blake has not only survived the Bamboo Curtain but returned as well. Blake’s purpose in going into the Bamboo Curtain is fulfilled; the prisoners now see it is not so unbeatable and become more rebellious and rallying around Blake as a hero. Jensen, Blake’s best friend, is sceptical when he hears the reason for Blake’s return, because Handlebars had been sent to the Bamboo Curtain several months previously.

Sado starts inflicting heavy punishments (actually, tests) on Blake. He starts with the sweat hut, but loses face when he realises Blake is too strong to break that way. Next, Sado forces Blake to fight a masked man to the death, and Blake is shocked to discover it was Handlebars. The next punishment (Sado’s final test) – forcing Blake to find a way to escape from a minefield – backfires when Blake escapes into the Bamboo Curtain and back to the pagoda. There he discovers another soldier undergoing the brainwashing process. The process takes effect, and it causes the prisoner to go wild and nearly kill Blake. Then Sado recaptures Blake and takes him back to camp – by shackling him to the back of his jeep and dragging him along until he blacks out.

Sado now brings Blake to his hut for a surprise spread of food. Suspecting his food is drugged, Blake contrives to switch it for Sado’s plate. His suspicions are confirmed when Sado’s cat Suki goes crazy from eating the food and attacks Sado. Judging by what he saw with the brainwashed soldier, Blake guesses the drug in the food must be part of the brainwashing process and this was what Sado intended for him. He also notices the door to Sado’s office is heavily padlocked and suspects the reason is that the key to the mystery is in there.

Jensen has the men start a riot at the bridge as a diversion so Blake can go back to investigate the office. Breaking in through the roof, he rips open a desk, where he finds a paper listing the men who have been sent through the Bamboo Curtain – and his own name is at the top of the list. The rest is in Japanese, but Jensen can translate it.

However, Sado has guessed the reason for the now-quelled riot and returns to his office to check. He discovers the theft, but Blake manages to escape with the paper. Upon translation, it reveals that the true purpose of the Bamboo Curtain is a survival of the fittest test. Soldiers who survive the Curtain are incorporated into Sado’s private army. They undergo a brainwashing process to turn them into crazed killers who obey Sado robotically. The paper also reveals there is a secret entrance under one of the flagstones in the pagoda.

Determined to get his paper back, Sado has turned extra-nasty towards the prisoners. He is forcing them to work under even worse conditions (extra hours, reduced rations and sleep, drinking from a malaria-ridden source) until someone comes forward about the theft. This has Jensen and Blake escape before someone breaks and lets on, and they flee into the Bamboo Curtain. But Jensen gets caught in a quicksand trap and Blake fails to save him in time. Jensen’s death hardens Blake’s resolve to stop Sado.

Blake heads for the pagoda, where he disguises himself as one of the brainwashed soldiers. He learns that Sado is sending his army against the approaching British forces, and sets up an ambush for them at Hsenwo Valley. Blake slips away to warn the British forces, but the commander does not believe him and locks him up. Blake escapes, but bumps into some of Sado’s goons. He manages to fight them off, but then hears Sado’s signal to the brainwashed soldiers to attack the British forces. Blake stops the attack by taking Sado hostage.

Now the British forces have seen the brainwashed soldiers for themselves, they finally believe Blake. Sado is taken into custody and the brainwashed soldiers are sent to an army hospital in England for deprogramming. Soon Blake and the British are on their way to liberate Sado’s camp.

Then a report arrives to say that Sado has escaped. Blake insists on going after Sado personally and heads for the Bamboo Curtain, figuring Sado has gone there. But Sado corners Blake and is on the verge of killing him. Then Suki trips Sado up and he falls into the same quicksand that claimed Jensen. Sado begs Blake for help and mercy, but Blake rebuffs him, saying he never showed mercy to anyone. Blake leaves Sado to the quicksand while Suki looks on, and departs to rejoin the war that still needs to be won.


Thoughts and Discussion

Although this story is from a boys’ comic, it has come up in many discussions of girls’ comics, with particular reference to discussing the slave story theme and transposing the themes of emotion, suffering, and cruelty used to revive girls’ comics in the early 1970s with Tammy to revive the boys’ titles with Battle and Action. It has also come up in several websites where former creators reminisce on what went on behind the scenes of IPC comics and the writing and editing processes of both boys’ and girls’ comics. And it has been mentioned several times on this blog. So now it is going to have its own entry here as it is related to the context of girls’ comics.

Tammy had led the field in the revival of girls’ comics in the 1970s with its emphasis on cruelty, suffering and deep emotion as opposed to stories on boarding schools, ballet and ponies. Girls were frequently abused and subjected to over-the-top tortures in schools, quarries, factories, abusive homes and other settings. The early Jinty followed in similar vein, but eventually developed her own character with science fiction, sports and fantasy stories. And finally there was Misty, who dared to be a horror comic for girls. Parents hated it, which meant their daughters loved it, and sales for the early Tammy soared.

The same elements of cruelty, emotion and suffering in Tammy were applied to Battle to make it the spearhead in reviving boys’ comics, which had fallen into a similar slump as the girls’. As Pat Mills explains: “…When we did Battle and so on, we followed the girls’ comic role model, and my boys’ comics were, and I take great pleasure in saying this, disguised girls’ comics!” http://www.comixminx.net/comixminx/articles/Entries/2008/5/31_Pat_Mills_at_CAPTION2004.html

Although this approach did make Battle a success, the creators soon discovered that there were differences between the sexes that made some formulas less successful than others. And Terror Behind the Bamboo Curtain is one example where a girls’ comics formula (the slave story) proved less successful in the boys’ because of the differences between the sexes. So much so, in fact, that they never tried it again, which makes Terror Behind the Bamboo Curtain a one-off stand-alone story in Battle. For this reason it is now undergoing reappraisals, with collectors appreciating what a unique story it was in boys’ comics.

The formula that Terror Behind the Bamboo Curtain followed was the slave story theme, which is one of the lynchpins for a girls’ comic. The story had a group of girls (or one girl) who were being used as slaves or prisoners in an extremely harsh institution (reformatories, islands, quarries, factories, boarding schools and workhouses are frequent settings, while more unusual ones have included ships, restaurants, despotic regimes and dystopian worlds). The protagonist refuses to break under the torture, so her tormentors subject her to extra-harsh torture to break her down. Sometimes there is a mystery element involved, such as who is the mysterious masked helper who turns up to secretly help the girls, and solving the mystery is critical to the resolution of the story. This certainly was the case with Bamboo Curtain.

But Pat Mills believes it was the mystery element in Bamboo Curtain that made it unpopular and short lived in Battle:

“Mystery stories – girls, female readers, love mystery stories, say a school where there’s a mysterious headmistress, and girls are disappearing, and other girls are turning up in the dormitory – this gets them going! And the explanation can be complete crap, and it usually was, and it doesn’t matter!

“We tried this with male readers, we only did it once, and they hated it! That was Terror Beyond the Bamboo Curtain… You could see the thinking; we had the sadistic Japanese commander of the prisoner-of-war camp, and prisoners are disappearing, and strange things are going on, and the readers DID NOT CARE! They weren’t bothered about the mystery, they just wanted to see the action! What was the Terror Behind the Bamboo Curtain? Who cares, bring on the violence! A female readership, even if you’ve got a mystery as simple as “What’s inside that box?”, that’ll keep them going for weeks! It’s a fundamental difference between the sexes”.


But co-writer John Wagner has a different opinion on what made Bamboo Curtain less than successful:

“… It wasn’t that popular a story, I think because they were prisoners and they weren’t proactive. They were having it done to them, rather than doing it themselves”.


Less-than-proactive prisoners are a typical element of the slave story, even with the protagonist who refuses to be broken and is a constant rebel against her tormentors. And although Bamboo Curtain has its share of Blake striking back against his Japanese jailers (slugging guards and Sado, shooting out watch towers, fighting the masked man), he does fall into the same vein as his female counterparts when he throws away his escape from the Bamboo Curtain and returns voluntarily to the camp to solve the mystery, although he knows he is risking death at the hands of Sado. Boys must have been outraged because they had expected a more proactive approach, such Blake turning jungle commando or something to bring down Sado once he had escaped. And the cowering prisoners in the first episode must have left them less than impressed either. And they must have been used to oppressed men rising up against their oppressors and bringing on the ass-kicking action that boys wanted to see.

But now Bamboo Curtain is attracting comment and reappraisal online for daring to be different. And it is not just because it was a brave, if unpopular, attempt at transposing the slave story formula into a boys’ comic. The story also dared to break clichés:

“[Comics] had been too safe, samey, sanitised. Characters never died, nothing ever changed, nothing progressed. Like Captain Hurricane went on episode after episode, the same formula, he’d throw a raging fury and rip tanks apart, and in his raging fury always win the day. It was so unreal and we were fed up with it. We wanted to kick some butt”.


The biggest kick in the butt has to be where Jim Blake actually fails to save Jensen from the quicksand trap. As Pat Mills explains:

“My favourite [great moment in the story] – Blake trying to rescue his buddy who is sinking into a swamp. “Will Big Jim save his friend? Find out next week!” Next week Blake fails to save his friend, who sinks and dies. I took such pleasure in writing that scene, because it raises truths we all have to deal with, that heroes don’t always arrive in time. And it mocks the cliché ending! Even today, in comics, we don’t challenge the clichés enough – although I do my best in Marshal Law”.


The cliché gets mocked again right at the end when Sado falls into the same quicksand. You expect the hero to do the noble thing and extend a hand to save his/her enemy, as Patti does in “Children of Edenford”. But Blake does not. Instead, he leaves Sado to die, saying he never showed mercy to anyone. This is a most shocking and unexpected thing to see a hero do in comics and readers must have been wondering about Blake after reading the ending.

While the story turned some clichés on their heads, other clichés were hammed up. This is the case with Sado. He is cast in the model of the stereotyped Japanese, and he certainly is evil, sadistic and loves inflicting torture. Yet he is so campy that he is such an engaging and colourful villain, and he is the source of all the humour in the story, with lines like:

  • “See Fearnly run! He think he okey dokey, but he no get far – you see!”
  • “Englishman sing! He too tough for sweat box. Sado lose much face!”
  • “See – Suki like. Big boy like, too! Please to eat.”
  • “Sado have way of making prisoners talk. Work them double chop chop. Soon someone break – talk turkey with Sado.”

“Bouncie, bouncie! Big boy bounce along path like rubber ball!”

With lines like those you just have to laugh, even at the lines that show just how evil Sado is. Pat Mills says “It was even funnier when John and I were acting these lines out to each other”. It is small wonder that “Sado was popular in the company while we were writing it. One guy made and wore a ‘SAVE SADO’ badge”.


But it seems that either the writers or editor did not agree, because Sado is not saved in the end.

The glasses Sado wears serve to heighten his role as a humorous villain and help dilute his evil to less extreme levels (it seems to be something about comic book characters who wear glasses). His cat Suki does fall into the cliché of the villain having a soft spot. Yet the Siamese does add a subtle sinister note to the story. For example, it knows all the safe routes in the Bamboo Curtain, and it gives the impression that it is deliberately luring Blake into a trap when he follows it. Blake knows the cat will lead him to Sado without falling into any booby traps, but what he does not know is that Sado is planning another trap for him – leaving a gun for him to find that is rigged to fire backwards.

The campiness of Sado was deliberate because: “This story didn’t work until we hyped up Sado. It was sitting there. We kept going over it and over it and couldn’t see what was wrong with it. Decided to hype up Sado”.


Even with Sado hyped up, writing the story proved extremely problematic:

“I’m sure we wrote the first episode of this one [Bamboo Curtain – Herring, Wagner/Mills, Tully?]. Anything you see with Charles Herring on it, it was rewritten and rewritten and rewritten. He had lots of good ideas. You had to take one of Charles’ scripts and pick out those good ideas. This story didn’t work until we hyped up Sado. It was sitting there. We kept going over it and over it and couldn’t see what was wrong with it. Decided to hype up Sado. But it wasn’t that popular a story, I think because they were prisoners and they weren’t proactive. They were having it done to them, rather than doing it themselves”.

Here’s what Battle staff editor Dave Hunt had to say about how Mills & Wagner worked…

“Pat and John wrote the initial episodes and then farmed them out to other writers. GFD was the author of D-Day Dawson. Lofty’s One-Man Luftwaffe – that was John and Pat. Their brief was not only create a new title but bring in new talent into the industry. We’d worked with a bed-rock of people. When you launched a new title, you rang up Tom Tully, he would do four of the new strips, Ted Cowan – people of that era – Ken Mennall. A lot of the people in Battle #1 were new to me.

“John and Pat always listened and got what they wanted from you. They would see a glimmer of an idea in a script and the writer would get paid for it. John and Pat would shape that glimmer. You’d re-read it 14 attempts later and the idea would still be there but developed. I was full of admiration for them. Being freelance themselves, they always felt they shouldn’t destroy a contributor, they felt that was the last thing they should do. They wanted to train them more into their way of thinking. Often it didn’t work…I had absolutely no idea where the story was going. I’m sure we hadn’t thought past the first episode. We knew it was something pretty awful, believe me! [Sadism, violence and black humour?] That’s what happens when you put a couple of freelancers in a room together! They just egg each other on. Part of it all was a reaction to the way comics had been up until then. They had been too safe, samey, sanitised. Characters never died, nothing ever changed, nothing progressed. Like Captain Hurricane went on episode after episode, the same formula, he’d throw a raging fury and rip tanks apart, and in his raging fury always win the day. It was so unreal and we were fed up with it. We wanted to kick some butt”.


Despite these problems, the end result is a story that is gripping and filled with themes (brainwashing, struggle for survival, fighting adversity, war, black humour) that are guaranteed to grab the reader. The structure is well paced and the plot holds together extremely well. There is a discrepancy or two (such as Blake losing his boots in the minefield, but suddenly wearing boots again when he leaves the pagoda). But the overall product is strong, with its greatest strength perhaps lying in the characterisation, particularly of the villain. Nobody reading it would have guessed the problems the writers had in drafting it. Terror Behind the Bamboo Curtain deserves to have more appreciation than it received when it was first published. But the attention it is getting on the Internet indicates that it is getting that appreciation now.