The cover is the first thing the potential reader sees when they see the comic book on the shelf. The cover is what catches their eye, draws them in, arouses their interest, and induces them to buy it. Throughout the run of a comic, the cover will change dramatically in accordance with changes in public tastes, artists, levels of sophistication, and even the type of paper. Therefore compiling the history of the cover of a particular comic can tell you a lot about how things have changed in comics over the decades.
In this entry we are going to look at the history of the covers Tammy produced throughout her 13-year run and how they changed to make her a drawing card to the readers.
We begin with the very first issue, 6 February 1971. The girl on the cover is Tammy herself, showing off the bracelet and ring that come with the first issue. It is a very bright, happy cover, which belies the dark content that features in so many of the stories within, especially “Slaves of ‘War Orphan Farm'”. The floral-patterned logo is the one that will stay the same for nine years, though there were some exceptions to its regular layout. It most often appeared in red, but other colours were used on occasion. The floral pattern is unusual when girls’ comics used solid lettering. Perhaps the flowers were intended to be a further contrast to the dark content the early Tammy was known for.
First Tammy cover: original
Successive covers until Sandie merged with Tammy on 27 October 1973 were pretty cover girl covers, showing happy girls engaged in various activities such as leisure and sport. Again they continued to belie the grim content (slave stories, Cinderella stories, bullying stories) that continued to feature with stories like “The Four Friends at Spartan School”. A number of the covers had a flat, stiff, one dimensional look to the artwork, which was probably fine at the time but looks a bit unappealing now.
On occasion though, an issue had a full cover that was inspired by a serial inside Tammy, such as Beattie Beats ’em All on Tammy’s first Christmas issue. It did not take long for the Sally logo to be added to the Tammy cover. Tammy was barely two months old before Sally, a longer-running comic, merged into her. It was most unusual for an older comic to be merged into a barely new one, and says something about the sales figures for both comics: Tammy was already a hit while it is presumed that Sally had lost readership due to a long-standing strike.
The Upper Crust – first episode (Giorgio Giorgetti)
Dancer Entranced (artist Angeles Felices)
Tuck in with Tammy – food ideas for Bonfire Night
One Girl and Her Dog… (artist Mario Capaldi)
Molly Mills and the Tender Trap (artist Douglas Perry, writer Maureen Spurgeon)
Strange Story – The Pied Piper
Edie the Ed’s Niece – cartoon (artist Joe Collins)
Wee Sue (artist Robert MacGillivray)
TEAM in Action (artist Carmona)
Guy Fawkes is coming, so I am taking time out from Scream to discuss fireworks issues, courtesy of Tammy.
This one, from 1978, had the regulars Edie the Ed’s Niece, Wee Sue and Bessie Bunter available to provide Guy Fawkes-themed stories, and they all do so. Tammy’s recipe page, “Tuck in with Tammy”, also has some recipes for Bonfire Night.
In Bessie Bunter Miss Stackpole won’t allow the girls to have Guy Fawkes because it clashes with a concert she booked for the girls for the same night. “Mean rotter!” says Bessie, and we totally agree. Naturally, the girls don’t look very happy at the concert, and Bessie is taking a more proactive stance – sneaking out of the concert with her friend Mary to let off fireworks secretly. As it turns out, this leads to a chain of events that have the girls enjoying a Guy Fawkes celebration after all.
Wee Sue and her friends are on the Penny-for-the-Guy routine, but some boys steal their Guy and leave them with an inferior model. Surprisingly, it’s Miss Bigger who gives the boys their comeuppance when they mistake her for an even better Guy.
Now here’s a twist on The Pied Piper legend in this week’s Strange Story. The Pied Piper turns up at the scene of an accident near Hamelin where a hit-and-run driver forces a coachload of kids off the road. And would you believe it, the Pied Piper helps the injured driver and drives the kids to safety at a carnival in Hanover. But was it really the Pied Piper or just someone dressed up? There was a carnival going on, after all.
Toni, Ellie, Anthea and Maggie (TEAM) have formed the school newspaper editorial team for their boarding school, with the scrapes they get into becoming fodder for the paper. This week it’s Ellie’s turn, with some water gypsies stealing her sacred talisman for good luck. Ellie believes the loss is causing her to suffer terrible misfortune as she tries to recover the talisman, to the extent where the police have nabbed her for her failed bike lights.
Bella is in Australia and has joined Limber, a promotional team for gymnastics equipment. The trouble is, her latest coach, Sergeant Marks, has too much of a military and masculine view of gymnastics, which not only causes clashes between him and Bella but is also detrimental to the way he coaches the team for a competition. When the day comes, Bella is not confident that Sarge’s style of coaching will lead them to victory. His latest is setting the floor routines to military marches, despite Bella’s protests they won’t fit. Fortunately she has managed to set her floor routine to different music secretly. Will it make a difference?
It’s part one of “The Upper Crust”, where the Carrington-Crusts arrive in High Hills, the super-snob area of Cherryton. The daughter, Clara Carrington-Crust, immediately clashes with snobby Mavis Blunt, but in a very odd way. One minute she seems to be taking Mavis down a peg or two, the next she’s as snobby as the rest of them at High Hills. Nobody knows what to make of Clara and she’s baffling everyone at school, even the caretaker. Meanwhile, the Blunts decide there is something about these Carrington-Crusts that they’re determined to get to the bottom of.
A ballerina is under the influence of hypnotism in “Dancer Entranced”. It’s not in the same way as “Slave of the Clock”, but when you think about it, there are some hallmarks. Trina Carr is obliging her father’s dream for her to become a top ballerina like her late mother but she has no talent and doesn’t want Dad to know. Then a hypnotist seems to give her the ability to dance, but only while his metronome is ticking. The metronome has now gotten Trina into a top ballet school, where she is striking problems with a jealous rival and keeping that damn metronome ticking because she believes she can’t dance without it.
In “One Girl and Her Dog…” Kim Robinson is hoofing it all the way to London to claim an inheritance because her daft dog Rumpus ate her train ticket. They’re getting into all sorts of scrapes along the way. Among them is Harry Whelkes, a flunky a relative hired to stop them claiming the inheritance. They have just met Harry in this episode but don’t realise what he is up to. Rumpus almost scared him off for good when he tried out growling for the first time, but the promise of double the money has lured Harry back into the game.
You wouldn’t think anyone could seriously fall in love with that bully butler Pickering in Molly Mills, would you? Well, the district nurse Miss Key has after a misunderstanding has her thinking he is in love with her, and she doesn’t realise his true nature. All Pickering’s attempts to get rid of her have failed. Now the daft woman thinks he has proposed to her, and she has accepted!
Olympia Jones (artist Eduardo Feito, writer Anne Digby) – final episode
Stella Stirrer (artist Tony Coleman)
We have already profiled the Jinty Royal Wedding issue for 1981. This time we look at how the Tammy issue for that week did the same.
Tammy did not have quite as much Royal Wedding content as Jinty. We have a competition to celebrate, with Royal Wedding souvenirs among the prizes. There are “Whimsical Wedding” cartoons, a quiz that tests your wedding know-how, and an Edie and Miss T cartoon where Miss T decides to gate-crash the Royal Wedding (below). But Tammy could have done more by having a Strange Story with a wedding theme and a Royal Wedding story in Wee Sue, as Jinty did with Gypsy Rose and Tansy. Instead, they are regular stories. The Strange Story is about a fishing community that worships a spirit from the sea. A girl seeks the spirit’s help for her brother’s chest infection – by offering his cough medicine to the spirit as a gift! Will this odd offering to the sea spirit actually help her sick brother? Wee Sue gets entangled with Miss Bigger’s bird-watching efforts and ends up taking a photo of an extremely rare bird perched on Miss Bigger’s hair bun while she’s fast asleep, and in a most unbecoming position. Now that’s hilarious for us, and embarrassing for Miss Bigger!
The pages I used to read over and over in this issue were of the final episode of Olympia Jones. The Rotts’ frame-up of Olympia for animal cruelty and horse theft unravels last minute. This is because Linda Rott, the real animal abuser, succumbed to temptation to do it again – but she did not know Olympia’s friend Amanda was secretly taking photos of her doing so. The explosive panels where Linda flies into a tantrum and gets restrained by policemen (ha, ha!) when the photographs are presented to the court are the ones I read the most on these pages. Pity the final episode didn’t dedicate more panels to the Olympics where Olympia wins her gold or telling us what happens to the scheming Rotts in the end. An extra page or episode would have helped.
On the letters page, Tammy uses the final episode of Olympia as a lead-in to promote Anne Digby’s newly published circus horse story, The Quicksilver Horse. When the Olympia Jones reprint began, the Tammy team said on the letters page that they hoped readers would like it and don’t forget to vote for it in the favourite story coupon if they did. Tammy bookends this with: “We’re glad that so many of you have enjoyed the serial Olympia Jones again, and you can read the final part later in this issue.”
Another frameup is beginning to unravel in the penultimate episode of “Linda’s Fox”. Linda finds Splinter Mallory trapped under the collapsed house next door and takes advantage of his desperate situation to make him agree to confess that his testimony against Linda’s father was perjured. Meanwhile, the collapsed house catastrophe has Linda’s beloved fox going on the run and taking refuge in a truck. Where will it take him?
It is also the final episode of “Sandy – A Girl Like You”. A holiday romance for Sandy’s friend Kim turns a nasty turn when Sandy finds out the boy is not only a two-timer but also a cad who is pulling the “poor boy” routine to cadge money out of Kim, which he spends on his other girl. After a bid to convince Kim of what’s going on fails, Sandy hatches a plan to catch the rotten swine out in front of both girls, which succeeds. On the way home, Sandy’s train passes by her first boyfriend, Steve, and she calls out to him. But her voice is lost in the wind…
Bella enters her first gymnastics competition in a while, but she isn’t doing too well. So she draws on the tricks she has learned at the circus she is staying at to soup up her beam routine. The applause is thunderous. However, there are already warning signs it was not a wise move where the judges are concerned. Bella’s unpleasant rival calls it “just a vulgar bit of showing-off”, and we may have to give grudging agreement. We shall see when Bella’s marks come up next week, but Bella may be about to learn the hard way that circus tricks should be confined to the circus.
“The Breaking of Faith” was the last story Giorgio Giorgetti drew for Tammy after being a regular Tammy artist ever since “Star Struck Sister” in 1972. Faith Adams does not make friends easily, so she depends a lot on the friendship she has struck with Claire Ellerman. The trouble is, there are constant doubts as to whether what Claire tells Faith about herself is the truth because she is staying at a home for problem children. For this reason Faith’s classmates keep telling her Claire is a bad lot and taking her for a ride. In this episode it looks like Claire has finally been exposed as one big fibber.
Stella Smith uses the kitchen at the boarding school she works in to constantly strike back at the snob who is always picking on her. This week, Stella uses the kitchen to do something nice for a change – but it unwittingly leads to even more trouble because of the snob.
Translations/reprints: Tina 1981-82 as “Belinda boekenwurm”
Belinda Binder has had a very bookish upbringing, by parents who think books and studying are everything and scorn non-bookish things – like sport. Even their jobs are bookish: accountant (Dad) and town hall clerk (Mum). Belinda has excelled at studying and teachers praise her for her academic work. But for some reason Belinda is finding the life of a swot and bookworm increasingly unsatisfying.
Unfortunately, in more modern parlance Belinda is a nerd, and this makes her a target for bullying. Her particular enemies are Janet Jones and Dawn Davis, who are the complete opposite of her. Sport is all they bother with at school and they don’t care about classwork at all. They are the school sports champions and have remained unbeaten. So while the form teacher is full of praises about Belinda’s work, which she contrasts with Janet and Dawn’s sloppy work that they rush so they can go out and train, the PE teacher Miss Jagger praises Janet and Dawn while looking down on Belinda. Belinda does not shine at sport, is always left out of it, and her classmates scorn her for it. Even Miss Jagger does: “Really, Belinda Binder – always sprawling all over the place!” she sneers as one of the bullies trips her up.
At this point the English teacher Miss Milton asks Miss Jagger if Belinda can be spared PE in order to help set up the new school library. While doing so, Belinda surprises herself in doing a perfect forward roll in order to avoid a nasty fall off a ladder. Following this, she begins to wonder if she really is as hopeless at sport as she thinks and maybe she will really show the PE class something next time.
So Belinda is shattered when Miss Milton tells her she is being withdrawn from PE at school because she and Miss Jagger have taken the view it is just a waste of time for her. Instead, Belinda will use those periods to assist in the library. Just when Belinda had decided she wasn’t going to be a bookworm anymore and wanted to be a sports champion instead.
Undaunted, Belinda starts using her time in the library to do secret sports training and copying the sports activities she sees out the window. Fortunately for her the new library overlooks the school sports facilities, so she can see all the PE classes that go on there. She sets up stacks up books as hurdles, uses the library desk for vaulting, the shelves to practise gymnastics, the “silence please” board to practise swimming strokes on, and so forth. She even acquires a false book that can be used to smuggle in sports gear.
At home, Belinda rigs up a dummy of herself with her dad’s reading lamp so she can sneak out and train in the streets. She has to do this as Janet and Dawn regularly pass by her window while doing their training and observe her studying.
Belinda seems to be making progress, but has no real yardsticks or overseer to gauge by how much. However, one night something happens that suggests that Belinda may be a more serious rival to Janet and Dawn than she thinks. She found her father left behind a couple of pages of a vital report and needs to be intercepted at the train station fast. As no taxis are available the only option is to run – in pouring rain – so this is the first full test of Belinda’s training. As she sets off, she does not realise she is being tested even more. Janet and Dawn, who have become suspicious of Belinda’s secret training, see her and run to catch up and verify who she is. Belinda does not realise they are following her, but she keeps ahead of them and they fail to catch up. After delivering the papers Belinda finally discovers this, while they say the mystery girl was not a bad runner and therefore couldn’t possibly have been the bookworm.
On another occasion, Belinda has been secretly practising netball throws. Afterwards Janet and Dawn grab Belinda’s false book and start throwing it around. They are astonished when Belinda manages to catch it. Another hint that Belinda is making serious progress.
But of course close calls and slip-ups are inevitable. Eventually Dawn and Janet get so suspicious that they plant themselves in the library (joining the library, ducking out of sports periods) in order to keep an eye on Belinda. So now Belinda can no longer secretly train there.
Then comes sports day. Belinda steals some time to secretly train in the library now that Janet and Dawn are out of the way. However, it is at this time that Belinda gets caught right out. Miss Milton had brought the Binder parents to the library to show them how well their daughter is working there – and they get a horrible shock to see what Belinda has been really using the library for! They take a very dim view of it all, and are not at all impressed at Belinda demonstrating how she has been progressing with sports training using her improvised sports equipment. In their view, Belinda is not an athlete and should stay with books, the way she has been raised.
Belinda goes into outright rebellion at this and decides to prove that she is not a mere bookworm anymore. She breaks away from her angry parents and teacher, runs to the sports field, and demands to enter every event. Miss Jagger is astonished, but allows it. Belinda’s parents are mortified; they think Belinda is about to make a fool of herself in front of everyone. They can do nothing but watch, ironically accepting the invite to sports day they had scorned, but not are not supporting Belinda at all. The whole school expects one big laugh out of the bookworm entering sports day.
However, Belinda’s unorthodox self-training begins to pay off. The pupils are astonished to see the bookworm do better than they expected at the hurdles:
“Hey, the bookworm’s not bad!”
“Not bad at all! She’s only just behind the leaders!”
Belinda comes fourth at the hurdling. She is placed third in gymnastics, and is beginning to earn respect from Miss Jagger. However, the Binder parents remain unmoved.
Ironically, Janet and Dawn are now so worried at Belinda proving more serious competition than expected that they begin to resort to dirty tricks and cheating to stop her rather than their skills and greater experience. At swimming, Janet flashes a mirror in Belinda’s eyes to stop her seeing the turn and enable Dawn to win. However, something makes the reflection flash back into Janet’s eyes, enabling Belinda to see the turn and finish second. Later, Belinda realises it was her mum cleaning her glasses that flashed the light back at Janet.
Finally, there is the 800-metre race, and Belinda is running against Janet. Dawn tries to nobble Belinda by dropping her book under her feet, but is caught red-handed by Miss Milton and the Binder parents. Seeing the dirty trick Dawn tried to play on Belinda, the Binder parents are finally won over and start cheering Belinda on. Encouraged by this, Belinda beats Janet – the first ever to do so – and comes first in the race. Miss Jagger is well and truly astonished at this.
The Binder parents tell Belinda she has taught them a whole new respect for sport and they now see that sports and studies complement each other. Everyone cheers Belinda as she receives her trophy – except for the seething Janet and Dawn.
I have often wondered if this story was the Tammy version of Jinty’s “Tears of a Clown”, which is one reason why I have posted the entry. There are some similarities between Belinda Bookworm and Kathy Clowne: they both wear glasses; they are underrated and friendless at school, which makes them the targets of bullying; they turn to sports training to gain confidence and win respect; they both have indifferent parents and teachers who don’t help them at all until near the end of the story; and they both hope entering school sports day events will get them the respect they want. Bookworm started in Tammy only two months after Clown ended, and Jinty and Tammy shared some writers. So it is possible that Clown was an inspiration for Bookworm.
Whether it was or not, there are huge differences between Bookworm and Clown that make it worthwhile to compare the two stories. While both Belinda and Kathy embark on their respective sports training in order to beat the bullies, Belinda does hers in secret while Kathy keeps striving to prove her talent, but the chief bully (or fate) keeps getting in the way. Belinda is also a more proactive heroine than Kathy, in that her secret sports training is a form of revenge against the bullies a la Revenge of the Nerds. It’s also a rebellion against her bookish upbringing and being labelled a bookworm. There is also an ironic edge to Belinda’s rebellion in that she is using the very thing she has turned her back on – books and libraries. Instead of using them to read she is using them to train, and is showing readers that there is more than one way to use a book.
In regard to the bullying, Belinda does not have it nearly as bad as Kathy. At least the teachers praise Belinda for her academic work. Kathy is bottom of everything at school, because the bullying erodes her confidence and nobody steps in to help her. But when it comes to sport, both Kathy and Belinda want to prove themselves there because that’s where they will earn respect from the people who disparage them. However, it comes in different ways for Kathy and Belinda. Kathy hoped sports day would enable her to prove her talent and win respect. Instead, it is the final humiliation that drives Kathy into running away and setting off a chain of events that redeem the people who bullied or failed her. But for Belinda, sports day is precisely where she proves herself and puts an end to the bullying – by giving the bullies their first-ever defeat at sport and thoroughly humiliating them. The unhelpful parents and school staff redeem themselves in different ways. In the case of Kathy, it’s their realising they have let her down and try to find her after she runs away. In Belinda’s case, it’s foiling the dirty tricks that the bullies start pulling on her, which makes Belinda’s parents more redeeming than Kathy’s.
There are some glaring plot holes that really stretch the story’s credibility. For one thing, no school would withdraw a pupil from PE just because they’re not good at it; only medical grounds would excuse a pupil from PE. Second, when Janet and Dawn get suspicious, they take a rather cut-off-your-nose-to-spite-your-face approach by sitting in the library with Belinda to stop her suspected training. After all, they must loathe sitting in the library when they want to be out there doing sport with Miss Jagger. And how many times can they get away with coming up with excuses to dodge PE in order to sit in the library watching Belinda? And it’s all on mere suspicion – they have no proof. If they had any real sense they would come up with a plan to catch Belinda red-handed in the library. Most glaring of all, how is Belinda able to swim at competition standard on sports day? She is a complete non-swimmer and the only training she has had is practising strokes on the library’s “silence” notice board. The only swimming we see her do in actual water is a few strokes. So how is she able to do competitive swimming against Dawn – hidden power or something? Or did Tammy have Belinda do some actual swimming lessons off panel without telling us?
Plot weaknesses are offset somewhat by Georgetti’s caricatured, cartoony artwork, which provides the humour and helps make the story engaging. In the hands of a straight artist the story would far worked less well. But in the hands of an artist like Giorgetti, improbabilities like using torn-up books to practise long jump and high jump, and shelves to practise gymnastics are more forgiving. This is because they have a dash of humour and give the sense that they are not to be taken too seriously.
The Elephant and Castle Case (artist John Armstrong) – Strange Story
Molly Mills and the War Games (artist Tony Thewenetti, writer Maureen Spurgeon) – final episode
Wee Sue (artist John Richardson)
Edie the Ed’s Niece (artist Joe Collins)
Katie on Thin Ice (artist John Armstrong) – final episode
The Dream House (artist Mike White)
We continue honouring the upcoming Easter season with Tammy’s Easter issue from 1977. Strangely, we have just one Cover Girl this week. Her daydream is about to send sticky goo from her Easter egg all over her head, and big sis is not around (for once) to handle the situation – or laugh at it, maybe?
Poor Bessie Bunter does not fare much better. To her mind, Easter is “Feaster”, but what she gets is far from feasting. She does not have enough money for a decent Easter egg. She tries to run away to Easter Island in the mistaken belief she would find one there. But all she gets in the end is a boiled egg because she missed her tea.
Edie goes egg-rolling, and her egg ends up going all over Farmer Grump, who really is a grump. Moreover, she forgot to hard-boil it, so he’s even grumpier. But not Edie, who still has her chocolate Easter egg.
Sue’s school is chosen to appear on a community singing TV programme at Easter. But Miss Bigger is threatening to ruin it and not only with her terrible singing voice – she’s also over-dressed herself in an Easter outfit.
There is no Bella Barlow. Instead, John Armstrong has been drawing a period story, “Katie on Thin Ice”, probably because ice-skating is such a feature in the story. Katie Williams has fallen foul of a Fagin-style racket run by Mrs Winter, who also forces her to use her ice-skating skills to commit crimes. And now Mrs Winter is out for murder by sending the whole ice fair under the ice with salt. Katie has to stop Mrs Winter and save her imperilled friends while keeping ahead of the authorities who are out to arrest her. Katie is replaced by a ballet story next week, “The Dance Dream”, so still no Bella.
John Armstrong is also drawing this week’s Strange Story, which has some reference to Easter, but even more to Sherlock Holmes. Joan Watson is sent to take her mother’s necklace to Baker Street for re-stringing, but she loses it. Then she gets knocked down by a car, and goes into a garbled dream (or something) where Sherlock Holmes himself offers his services to help locate the necklace. When Joan wakes up, the dream has given her enough clues to track down the necklace.
“Witch Hazel” is a Catweazle-type story where a 16th century witch named Hazel comes to the 20th century to learn witchcraft, and does not understand that she’s in the wrong century for witchcraft. Hazel’s first day in a 20th school is taking the science teacher by surprise: she demonstrates alchemy! Then Hazel reacts with horror at the sight of the school gym. Does she think it’s a torture chamber or something?
“Towne in the Country”, which had started out as Tammy’s answer to “All Creatures Great and Small”, took a jarring change of tack when Val Towne sets out to find her father, who had failed to return from an African expedition. This would have been better as two different serials. At any rate, Val and her companions have now been captured by a hostile African tribe. And from the looks of the idol they have been brought to, they are to be sacrificed to the tribe’s god.
Gill Warden has been having a hard time being accepted in the village her policeman father has been transferred to. They call her “copper’s kid”, but now there’s another reason for their hostility: they are hiding a secret from her, and they will only show it to her if she agrees to be blindfolded while they escort her.
Stanton Hall has been taken over by soldiers – but then Molly finds out they are criminals planning to spring their buddies out of jail. It’s Molly’s quick wits and resourcefulness to find a way to outwit them.
“The Dream House” was reprinted in Princess II. It is far from dreamy, though – it’s an evil doll house that is progressively taking away all the older members of the household, and the two youngest children are helping it for some reason.
With many thanks to Christine Ellingham for sending through such detailed and interesting answers to the interview questions below – and of course also thanks to her for getting in contact in the first place!
Question 1 – Can you please give a bit of background context to your time in comics – when did you start doing work for picture strips / comics titles, and what got you into them in the first place? You say that your time as a strip artist was short – what led you to cut it short, if there was anything specific?
As with a lot of the jobs I have done over the years, I arrived at IPC, then Fleetway Publications, purely by accident and good luck.
I had been a staff layout artist plus fashion illustrator on a girls’ teenage magazine called, Go Girl! (This is where I first met Malcolm Shaw.) Go Girl! was part of City Magazines, the magazine division of The News of the World. This was in 1968.
Unfortunately, Go Girl! folded after a very short life and it was suggested that I approach Leonard Matthews, the then Director of Juvenile Publications, not sure of his correct title, at Fleetway. I did, and was offered a job there. In those days it was relatively easy to move around from one job to another.
Initially, I was placed in a department with several other people, not a specific title, where we did odd jobs for different papers, i.e. illustration, lettering, pasteup and, in the case of Alf Saporito, cartoons. I remember John Fernley being one of us, possibly Tony Hunt, though I’m not sure.
After a short period I was moved to the Nursery group, under the managing editor, Stuart Pride, and there I worked on a new publication called Bobo Bunny. This had come from Holland and needed adjusting size wise and certain content adaptation making it suitable for the UK market.
By now John Sanders was the overall editor of the juveniles. I have a feeling I wasn’t the first to be offered the position of art editor of a new girls’ paper called Tammy but I accepted it nevertheless and moved from juvenile to teenage. John Purdie was the editor and Gerry Finley-Day and Iain MacDonald made up the editorial team.
Under John, we gathered writers and artists and the aim was to compete with D.C. Thomson’s Bunty and maybe other titles of that type. I remember John and I made a trip to Rome to talk to the Giorgetti stable of artists and we were wined and dined by Giorgio Giorgetti and his American wife. We also attracted all the relevant artist’s agents, Danny Kelleher and his son Pat of Temple Arts, Linden Artists and Bardon Art for example, and collected together a group of strip artists, writers and balloon letterers.
Eventually, Tammy was launched and did very well. I was able to contribute a small amount of artwork, the back cover of the first edition is mine, but really my job was to get it all together, see the agents and in one case, the artists themselves (I remember Roy Newby used to deliver his own work) but usually the agents would deliver the artwork.
I have to admit, I was not entirely happy in the role of art editor. I had studied illustration at Hornsey College of Art and that was what I wanted to do. I left Fleetway 1971/72. Barry Coker and Keith Davis of Bardon Art represented mainly Spanish strip artists. I thought that maybe I could ‘have a go’ at doing this as a freelance and doing it from Spain. Barry and Keith took me on and my then partner and I moved to Spain. Just like that! This was 1972. Amazing really.
First of all my work was for D.C. Thomson; they waited for a whole series to be complete before publishing so as I was a novice and slow, this suited me. Fleetway needed an episode completed in a week, too much for me then. I am hazy about the titles, there may have been something called, “Warning Wind Bells” and another with an Egyptian theme with a character or a cat called Nofret, or these could have been later for IPC. I have a few old diaries of that time and one story I worked on I have only the initials of the title, S.O.S. I wonder what that stood for! 1972. There was “Topsy of the Pops”, “Vet on the Hill” and “Lindy Under the Lake”, all for Thomson’s circa 1973. (This is the date that I drew them, not necessarily of publication.)
As agents, Barry and Keith were superb. They made sure I was never without work, one story followed immediately after another, that I was paid promptly and they gave me such good advice regarding page layout, technique and story interpretation.
While I was still working on Tammy I started to have problems with my right hand (I am right handed), it not functioning properly. This continued to get worse when we were in Spain and instead of speeding up and refining my style the opposite was happening, my work deteriorated. Bardon Art kept me going but eventually we had to return to England in 1974, where I continued to struggle depressingly.
During the Spanish time I illustrated at least two Annual covers, Tammy 1972, including the front endpapers depicting National Costumes and Sandie Annual 1973, plus various spot illustrations. I still have these annuals. Or I could have done these before Spain.
After inconclusive tests that found nothing terribly wrong with my hand or me generally, the GP at the time suggested I learn to use my left hand. After thinking initially, he doesn’t know what he’s talking about, I realised this was my only option. I remember one ten-part story for Thomson’s started with me using my right hand and gradually with training, ended using my left hand. I can’t remember which story that was.
From then on things got better. I speeded up and developed my style. Bardon got me the first IPC job. I’m not one hundred percent sure but it could have been, Cove of Secrets or Secret Cove, something like that, for the Jinty Annual possibly 1974. Also The Whittington’s Cat Princess, DCT, around the same time. To this day, I draw, paint and write using my left hand.
“Concrete Surfer” came later. That particular story stands out for me because it was such fun to do. It was all action with hardly any background, it was very modern and I love doing figure work. I remember we bought a skate board so that I could see what it looked like from all angles, a helmet too, still got them!
I cannot remember how many strip stories I worked on after “Concrete Surfer” but at some point I felt the need to move on, that I wasn’t being stretched any more. Bardon Art were no longer able to represent me, as strip was their speciality, and sadly, we parted company. I started contributing illustrations to Oh Boy, Loving and other IPC papers for older teens.
After a few years I moved on again and, as an illustrator, contributed to national newspapers, women’s magazines, house magazines, mail order publications, coin design, greetings cards and so on.
The work was still there after my retirement but the need to move on again got the better of me and now I paint, back in Spain.
Question 2 – On the blog we are always very keen to try to establish any creator credits for artists and writers, as these are otherwise very likely to get lost in the mists of time. As far as we can tell from the art style, it looks like you drew three stories for Jinty (“Race for a Fortune” (1977-78), “Concrete Surfer” (1978), and “Dance Into Darkness” (1978) plus some covers and spot illustrations, as well as a story in the Lindy Summer Special (1975) and in the Jinty Annual 1978. It may be asking too much at this distance in time, but what other work do you recall doing and in which publications?
I would have to look at these stories that you mention to verify that I actually drew them! As I have said, Concrete Surfer stands out because for me it was a joy to do. The others, some I have managed to see on line and they do look vaguely familiar. At the time I used my partner as a model. I found men more difficult to draw than women and girls and I have noticed him in certain frames even though I tried hard to make them not look like him! When I see him I know that I did that one!
Question 3 – At the time it was very usual for artists and writers to work quite separately from each other, particularly freelance creators. Was this the case with you, or did you know others working in the same area? I ask partly in case there are any interesting stories or anecdotes that you can relate at this distance in time, but also in case you remember any names of people on the creative or publishing side that can feed in to our information of who did what.
Yes, this was the case for me. Artists do lead a solitary life and being freelance meant I would be at my desk not wanting to be interrupted. The deadlines, especially for IPC, were pretty tight. In my case the work would be delivered to Bardon Art and they would take it to the publication in the case of Fleetway, a few minutes walk away. Though in Spain I posted it directly to DCT. Nevertheless, Barry and Keith were very much involved and would add their comments sometimes.
While we were in Spain the work was rolled into a tube and posted. The tubes had to be open at both ends, some string threaded through and tied and a description of the contents had to be stuck to the outside, or left with an official at the post office.
I did meet one artist in Spain, Miguel Quesada. It was he who told me how to send artwork to England. He and some of his very large family, (a lot of mouths to feed), visited us unexpectedly. He was one of Bardon’s and a contributor to Tammy. I never met any of the other artists apart from Roy Newby, but that was before I was a contributor myself.
I did meet John Jackson when he was the art editor of Jinty and of course, Mavis Miller.
Question 4 – I am keen to understand more about the creative and publishing processes of the time. Presumably the writer supplied a script, and the editor chose the artist, but I don’t know how everything interacted. Did you get any guidance (say as part of the written script) or conversely any interference from the editor or art editor, or was the published page pretty much under your design control including the composition of the page?
Yes, the editor would choose the artist, art editors didn’t have much say in the matter, (Though this is just from my experience of working on Tammy.) And I think the editorial team would have suggested an idea for a story to the writer, again, this is how it happened on Tammy.
The artists were given a lot of guidance. Before even starting, we would be briefed on the content and theme of the story, to get to know the main characters. In the case of IPC the scripts would come one at a time, having only just been written, probably. The artist would receive a document containing the dialogue for each balloon and the positioning of the balloons had to be in that same order in the frame, also, there would be instructions on the action and mood in the frame, i.e. the heroine to look sad, the bad girl to look vindictive; a closeup and so on. The composition of each frame would be influenced by the order and size of the balloons and the overall design of the page would have had input from the editor. Quite a lot to work out, now I come to think of it! [An example of a script has been previously sent in by Pat Davidson, wife of Jinty story writer Alan Davidson: see link here.]
I always had to submit pencil roughs that would be shown to the editor for his/her comments. In Spain there were many visits to the post office, pencils going off to Stan Stamper in Dundee, coming back with comments, a finished, inked episode flying off, the two passing each other on the way. Also, we artists had to work ‘half up’ so there was a lot of ground to cover. [‘Half up’ means using a larger piece of art paper – half as much again as the finished size, so that for instance if the finished publication is 10 inches by 12 inches, half up would be 15 inches by 18 inches – with the artwork being photographically reduced in size during the production process.]
Question 5 – A slightly self-indulgent question but with a point to it – how did you come across the Jinty blog? Was it a case of happening to suddenly remember something you worked on years ago and searching for it, or being sent to it? (I ask because I would love to hear from other creators from the time, and if there is anything I can do to increase the chances of someone posting a comment saying that they wrote or drew a story from the time, I will certainly consider it.)
I’m trying to think. How did I find it? I get carried away on the internet sometimes. I think I was looking up an old friend of my now husband’s, the two of them used to work together on Eagle, Swift, Robin and Girl papers, as balloon letterers and layout artists. I started looking at Girl artwork as I do have a couple of Girl Annuals, No.3 and No.5. I noticed that the writers and artists all got a credit; one name I recognised was the artist Dudley Pout, I wonder if he contributed to any of the Jinty stories? Though he was probably of another generation.
The friend of my husband had died but in reading his obituary I found links to other sites and by then I was interested to see if any of my work was featured anywhere, the only title I could think of was, “Concrete Surfer”!
Stella Weekes is a girl born with the golden touch. She comes out top at everything she does, she is always a winner, and she has never lost at anything. At her old school Gatecombe Comprehensive, Stella was the star pupil and even the headmistress virtually hero-worships her; there are displays of Stella’s school achievements everywhere. Now Stella is the star of a TV sports series, Goldengirl. Stella’s parents just never stop bragging about her and they “kill the fattened calf” for her whenever she shows up.
This causes huge problems for Stella’s younger sister Wendy when she starts at Gatecombe. Wendy has grown up in the shadow of Stella’s success, and at Gatecombe she becomes overshadowed even more. Everyone, including the school staff and Wendy’s parents, expect Wendy to be another Stella and keep comparing her with Stella. On Wendy’s first day alone, she is constantly embarrassed and humiliated because the school staff make a huge fuss over her, push her to the front at everything, and give her all the plum roles and expect her to be just as brilliant at doing them as Stella. The headmistress even compares Wendy’s appearance with Stella’s – and it’s not a favourable comparison either. They only see Wendy as “Stella’s sister” instead an individual, and they expect her to be just like Stella. At home, Wendy’s parents, who are just too full of pride about Stella, are just as bad at expecting Wendy to be just like Stella. At least they do it in a somewhat more light-hearted manner. But they are too consumed with pride over Stella to even take in interest in what Wendy tries to do or lend her any support. For the parents, Wendy always takes second place to Stella. Nobody will respect Wendy for herself.
But Wendy does not have a golden touch like Stella. She suffers from poor self-esteem because she is being constantly expected to follow in Stella’s footsteps when she considers herself the opposite of Stella. Worse, it does not take long for the other girls to pick up on how Wendy pales in comparison to her sister. They understandably resent how the big fuss over Wendy is not giving them a chance, while not understanding that Wendy does not like it any more than they do.
As a result, Wendy becomes a target of bullying, with the girls constantly teasing her because she isn’t living up to Stella’s reputation while all adults around her keep expecting her to do so. Wendy’s worst enemies are Angela and Honey, who also like to play dirty tricks on Wendy whenever she tries to prove herself, so as to make her the laughingstock again. Furthermore, they have the whole class send Wendy to Coventry and they call her “weak sister Wendy”. Even their families get in on the act; Angela’s brother Adam helps them play a trick on Wendy to get her into trouble with the headmistress. There seems to be no limit to their bullying; at one point they cause Wendy to take a fall during a bar exercise and land on top of the gym teacher, and then they have the nerve to blame Wendy when the teacher has an attack. Fortunately for Wendy, the doctor sorts them out. At least there is one person who is sticking up for Wendy, but nobody else is there to talk to the parents or help sort out the bullies.
Following a misunderstanding, Angela and Honey think Wendy tricked them out of their chance to meet their heartthrob Gregg Vanderley, who is Stella’s co-star. After this, their spite grows even worse. They try to frame Wendy for stealing exam papers. When this fails, they trick Wendy into an old tower and intend her to have a nasty accident. Wendy breaks her wrist because of this. The doctor has her stay off school until further notice.
But even while laid up in bed with a broken wrist, poor Wendy gets no respite from being constantly compared to her sister. Instead of offering sympathy, Wendy’s mother scolds her for missing out on the end-of-term school exams because of her injury while Stella always came out top in them. All the same, it is just as well the bullies’ trick had Wendy miss the exams, because the constant comparison with Stella and the bullying had inevitably impeded her progress during the term. From the sound of things, the parents have been getting reports that Wendy is not doing well at school.
While in bed, Wendy ponders over another thing she has noticed: Stella has not contacted her family of late, not even when she was in the neighbourhood recently with Vanderley. Also, the TV network is running repeats of Goldengirl instead of the new season, which Wendy finds suspicious. So Wendy takes advantage of her remaining time off school to go to London and do some investigating.
Wendy’s suspicions are confirmed when she discovers Stella has lost the Goldengirl job and been evicted from her exclusive flat because she could no longer afford the rent. At the TV studio Wendy learns Stella lost the job because she became a victim of her own success: viewers got bored of her and lost sympathy with her because she kept winning all the time. It looks like Stella’s replacement is having similar confidence problems to Wendy, which explains why the new season has not screened.
Stella disappeared instead of going home, because she was too afraid and ashamed of what the parents will say because they’re so full of themselves about her. Also, Stella has not experienced disaster before, so Wendy realises she must be taking it extremely badly. Furthermore, Stella is completely broke; Wendy later learns Stella frittered away her salary on the high life instead of investing it, except for a trust fund.
At Vanderley’s suggestion, Wendy investigates a derelict house that other out-of-work actors are using to squat in. When Wendy sees the house, she cannot believe her sister would even set foot in such a smelly, run-down, graffiti-smeared place that is falling to pieces. But Wendy soon finds that this is indeed where Stella is shacking up now. Moreover, Stella, who once earned a top salary as Goldengirl, is now working at a grotty café for an obviously very low pay. Wendy finds Stella working there, and she looks absolutely miserable.
Despite the depths she has sunk to, Stella cannot bear the thought of going home and facing her parents, or what people are going to say behind her back. But it is here that Wendy finds a whole new confidence when she persuades Stella to do so. She gets very bold and assertive in not taking “no” for an answer and insisting on taking Stella home. And screw what people are going to say; Wendy loudly describes what she has been through at school to illustrate that if she can put up with that sort of treatment, Stella can too. Stella listens, and begs Wendy to go on helping her. Wendy does more in that regard when their prideful parents start whining about what the neighbours will say when they hear what happened. Wendy retorts, “Bother the neighbours!” She describes the situation she found Stella in and says, “Would you rather I’d left Stella where she was, Mum?” The parents are humbled at this and offer comfort to Stella. Once Stella recovers, she becomes determined to work her way out of her bad patch.
Then Stella expresses concern about the bullying Wendy is experiencing at school and how it is bound to get worse once the bullies hear about her losing the Goldengirl job. Wendy, emboldened by her new assertiveness, says she has the confidence to deal with them now.
Sure enough, Angela and Honey get a real surprise when Wendy returns to school. When they try to bully Wendy over Stella’s dismissal, she comes right back at their teasing. She also threatens to go to self-defence classes if there is any more of their bullying (a bluff). To reinforce her point, Wendy pulls an arm lock on Angela that Stella had taught her, who in turn had learned it from Angela’s idol Vanderley. Wendy tells the girls she is going to try out for the school choir (she hopes that will help her become respected in her own right) and she jolly well hopes she will have more fun next term than she has had so far. Angela and Honey are humiliated, especially when the other girls begin to laugh at Angela’s humbling.
This is a Tammy story I have come to appreciate more upon revisiting it. It’s not that I disliked the story initially; it’s just that I was more taken with other stories in Tammy at the time.
Girls’ comics have frequently run stories where a girl suffers because she is compared unfairly and unfavourably with a more successful sibling, or, in some cases, a parent. This one is a bit different than most. The more common formula is for the protagonist to constantly strive to prove herself and win some respect, which she eventually does with some talent she discovers or an act of heroism (e.g. “Make the Headlines, Hannah!”, also from Tammy). Of course things don’t go smoothly and she frequently comes up against an enemy who is always trying to sabotage her.
This serial has that theme, but runs it to a slightly lesser extent than most. And the ending breaks the formula completely. The heroine does not prove herself at long last with some talent/heroic act, winning respect and everything ends happily. Instead, Wendy gains confidence by learning to stand up for herself. This starts with standing up to the sister who has always overshadowed her, and using everything she has short of physical force to stop hiding in that miserable run-down hovel, come home, get back on her feet again, face up to those parents of theirs, and deal with what people are going to say about her. Wendy’s new assertion continues with the parents when they start to whine about what others will say, and it gives her a whole new confidence in standing up to the bullies. And instead of school changing overnight for the protagonist, which is the more common ending, the story ends on the hope that school will improve for Wendy, but whether it does so remains to be seen. This is a more realistic ending that avoids the clichéd “new improved school ending”, which makes a very nice change.
It is easy to understand why Tammy went with this ending when we examine Wendy’s home life. Having Wendy prove herself somehow just would not have been enough, because the parents were just too consumed with pride over Stella to even notice what Wendy does. They need to have that pride of theirs deflated before they start taking Wendy more seriously. And they get it when they find out about Stella’s job loss and Wendy tells them off for thinking about what people will say about Stella’s downfall instead of thinking about Stella and what she is going through. We sense that they will become better parents to Wendy after this.
Stella, too, needed a lesson, and she gets it from the story’s resolution. There is no evidence in the story that Stella’s success turned her into an insufferable big head, which has happened in other stories e.g. “Last Chance for Laura” from Bunty. It is possible that Stella had become a big head, but there is no evidence of it. But even if Stella was not big headed, it sounds like she was in serious need of a fall if she was squandering her salary on high living instead of using it wisely. Further, she had never developed the emotional and psychological tools to deal with failure because she had not encountered failure until she loses the Goldengirl job. Wendy’s whole new assertiveness not only saves her from the miserable squatting but also helps her find the courage and inner strengths to rise above her bad patch. In so doing, we sense Stella will emerge an even bigger success than ever because she gained strength, new coping skills and lessons from that bad time.
Stella had also neglected Wendy because she was always too busy. So Wendy rescuing Stella and helping her to get through her trouble would definitely get Stella finally paying more attention to Wendy. Stella in turn becomes the one to help Wendy stand up to the bullies, by teaching her self-defence techniques, and being a more thoughtful sister towards her.
Winning Ways #29: The Forehand Volley (writer Benita Brown)
Child of the Rain (artist Phil Townsend)
This week we’ve got a very nice go-kart cover from Mario Capaldi. Jinty sure didn’t hesitate from showing girls in sports and activities that are considered venturesome and daring, which is a nice touch of feminism.
Pam of Pond Hill and nine other classmates are gearing up for the school trip to France. But Diana’s younger sister Alison is so jealous that she’s throwing tantrums and pulling dirty tricks to stop them getting there. It looks like she might actually succeed when she locks one of the chaperones in a storeroom and throws the key down the drain. What a horrible kid, but it’s the parents’ fault for spoiling her and being overprotective of her instead of disciplinary.
Shona risks life and limb to rescue her dog Scuffer when he gets bowled over a cliff and lands on a ledge. Next, she and Scuffer sail off on a makeshift raft to hopefully get rescued and see if her parents did survive, which she does not know one way or other.
Kathy the clown is on the run after the relentless bullying drove her away. If only she could see the effects it’s having on her tormentors. It has shocked them all into guilt and shame, and they’ve turned against Sandra, the ringleader of all it all. Sandra, once she’s had a taste of being the class outcast herself, is also remorseful and her redeeming qualities are coming out after being nothing but spiteful.
Meanwhile, Kathy has made a friend, a mutt she has named Mutt. Then Sandra spots them from the train and will set out in search of them next week. But how will that work out? After all, Sandra cruelly tricked Kathy once before with a false show of friendship and remorse.
“Child of the Rain” tries to run away too, in order to get to a place in Britain where rain is forecast. Luckily for her, the drought breaks at home and she’s got rain again.
Tansy tries out a conjuring book. Unfortunately she ends up doing a disappearing trick (not one from the book) after one of her tricks backfires, and she doesn’t have a trick to make her wrathful father disappear.
In “Sue’s Daily Dozen”, real magic creates a house cleaner that makes every speck of dirt fall off in one big black curtain that goes right down the walls and disappear. Now that can be called a disappearing trick!
The Gypsy Rose story is another recycled Strange Story, drawn by Giorgio Giorgetti. Ruth Newton moves into a new house, but there seems to be some sort of weird time travel thing going on when she finds a boy who keeps crying because his parents are always squabbling over painting: Dad wants to pursue art while Mum nags at him that it won’t pay the bills, so go out and get a real job. It turns out the boy is none other than the real estate agent who sold them the house, but now he’s a grown man!
Gaye needs help with improving her gymnastics because of an upcoming school display. Sir Roger helps out, but he thinks that what Gaye really needs is confidence. It looks like he’s right there, but then things go a bit wrong…
Pam of Pond Hill (artist Bob Harvey, writer Jay Over)
Gaye’s Gloomy Ghost (artist Hugh Thornton-Jones)
Tears of a Clown (artist Phil Gascoine) – first episode
The Last Leap (artist Giorgio Giorgetti) – Gypsy Rose story
Tansy of Jubilee Street (artist Ken Houghton)
Rinty ‘n’ Jinty
A Spell of Trouble (artist Trini Tinturé)
Behind the Screen – Dr Who
Minnow (artist Peter Wilkes)
Winning Ways #20: Headstand (writer Benita Brown)
Blind Faith (artist Phil Townsend)
This week’s issue is one for Doctor Who fans because it has a feature on the show and Tom Baker, the fourth Doctor.
The cover informs us that “a great new story starts today”. That story is “Tears of a Clown”, which, like “Waves of Fear”, is a hard-hitting Phil Gascoine story about the evils of bullying and people in authority handling it badly. Here neither the parents nor the school are picking up that the protagonist, Kathy Clowne, is being bullied, much less step in to help. Instead, they all write her off as a no-hoper who’s no good at anything, not realising that the bullying is responsible for her poor school performance. It sounds all too familiar.
The shoplifting storyline in “Pam of Pond Hill” wraps up this week. It turns out the reason Hazel Bayley resorted to shoplifting was to use the stolen items to make the friends she didn’t have. That sounds all too familiar as well. Poor, foolish girl, who realised too late that it was not the way. She makes friends at Pond Hill in the end once they understand and sympathise, but her foolishness landed her in juvenile court and now she has a criminal record.
Minna finally sorts out her problem with bully Sharon, but now there is a new problem: her secret is in danger when a photographer takes a photograph of her at the swimming club.
Clare makes a new friend in Angie, who helps hide her and Cromwell. But Angie’s Dad has guessed what’s going on and is shadowing her.
This week’s Gypsy Rose is a Strange Story reprint that brings some Giorgio Giorgetti artwork to Jinty. The story is about a window where anyone who approaches it always seems to fall out of it. The doctor says it’s vertigo from the chequered pattern from the path below. However, there is another theory – and more evidence – about an aggrieved spirit of a mistreated servant girl who also fell out of that window. The story has been uploaded into the Gypsy Rose section in the panel gallery.
Tansy is surprised to find everyone in Jubilee Street is turning nice. Ah, so it’s a contest to find the kindest neighbour in the district. Yes, it sounded too good to be true – and so is the contest, which turns out to be as phony as the niceness in Jubilee Street.
Making Angela a witch becomes even more pressing when the Blacks receive a letter to make her one by next Halloween or have their powers removed. Carrie thinks she’s got it in the bag this time when Angela accepts a bet that if she can’t make a friend by the end of the day she’ll agree to be a witch. We shall see…
Sir Roger has sprained his haunting muscles and now he can’t vanish. We have to wait until next week to see if he recovers.
Important News for All Readers! (merger announcement)
The New Girl – Strange Story
Edie the Ed’s Niece (Joe Collins)
Molly Mills and the Promotion – last episode (artist Douglas Perry)
Wee Sue (artist Robert MacGillivray)
Make the Headlines, Hannah! (artist Tony Coleman)
Everything in the Garden – Strange Story (artist Tony Higham)
Edie’s Hobbyhorse – Tie ‘n’ Dye
This is the Tammy that came out the same week as the final issue of Misty. So what did the issue have to say about the Tammy & Misty merger and how did it prepare for it?
The first hint of it comes on the cover, with the Devil in a sandwich sign announcing “there’s exciting news in Tammy – on sale now!” I’ve always been struck at how that Devil character bears a striking resemblance to Pickering, the bully butler in Molly Mills. Is Tammy having a bit of an in-joke here?
As far as room goes, there is not much space to make room for a reasonable proportion of Misty stories. All the serials are still running and one, “Sister in the Shadows”, is only on its second episode. The announcement about the merger informs Tammy readers that not only will all their regular favourites be there but there will also be a new Bella story starting. In other words, Tammy isn’t reducing any of her own features to make room for more features from Misty, such as “Beasts”, “Nightmare!” and (we suspect) “Monster Tales”. There must have been great disappointment among former Misty readers that the proportion of Misty was miniscule compared to the Tammy one. I myself hoped that once the current Tammy stories finished more Misty stories would take their place, but I was disappointed there. Why couldn’t Tammy have done some double episodes of Hannah, the serial closest to finishing, so she would be finished off by the time of the merger and there would be more space for Misty stories in the merger issue?
In discussion of the stories, in part two of “Sister in the Shadows” Wendy continues to have what must rank as one of the worst first days at school in history. On top of the king-sized collywobbles she came with, she is encountering constant embarrassment and humiliation as teachers keep comparing her to her sister Stella, who was once the star pupil at the school, and Wendy can’t live up to their expectations. It’s not endearing her to her fellow classmates either and the stage is clearly set for some bullying.
“Daughter of the Desert” features a school that is strangely reverting to a desert pattern after an Arabian princess comes to the school. In an exciting but very odd episode, the two protagonists find themselves in a quicksand trap, which is supposed to be part of the strange desert pattern. Then the quicksand mysteriously disappears into a hard concrete road when the girls return with their headmistress to investigate.
Cindy decides to throw away her ballet career for the sake of her swans, who are being poisoned by chemical pollution. Despite the pollution the swans find the strength to persuade Cindy to continue, much to the chagrin of Cindy’s jealous rival Zoe. Now Zoe is now back to scheming against Cindy to become the star dancer of their village.
Molly Mills gets promoted but deliberately sets out to lose it once she decides she was happier with the status quo as a servant. Miss Bigger buys a sedan chair for charity – but trust her to lumber Wee Sue and her friend with the job of carrying it to her place! Then thieves steal the chair, and it’s up to Wee Sue’s big brain to sort them out. The promise of a hamper lures Bessie out for ice-skating practice, but of course there have to be hijinks.
Hannah’s latest attempt to hit the headlines fails again because her prop got vandalised. At first she suspects her sisters, who have been sabotaging her every effort so far, but now she isn’t so sure. Sounds like a mystery to tie up, and will it have any bearing on Hannah’s campaign to prove herself?
There is a double-up of Strange Stories this week. The first is about a new girl named Stella who is perfect at everything. But Tracey Roberts thinks there is something odd about it all, and about the star on the bracelet Stella always wears. Then, when the star falls off Stella’s bracelet she falls mysteriously ill and Tracey gets strange visions from her parents urging her to find the star. The second is a parable about how beauty can be found even in the most unexpected places. Once Chris Dale learns this lesson she agrees to have the eye surgery she had refused before.
Incidentally, the blurb announcing the new Bella story says she will have a crack at the Moscow Olympics (which of course will be a “struggle”). Older Bella readers would know that she had never succeeded in competing at the Olympics. Her 1976 Montreal bid only got her as far as performing in the opening ceremony. Will Bella succeed in competing at the Olympics this time?