Tag Archives: Molly Mills

Tammy & Misty 16 August 1980

Cover artist: John Richardson

Bella (artist John Armstrong) – final episode

Running Rosie Lee (artist José Casanovas)

Cut-Glass Crystal (artist Tony Coleman)

Golly! It’s Pressie Time! – Competition 

The Loneliest Girl in the World (artist Jaume Rumeu)

Wee Sue (artist Hugh Thornton-Jones)

Molly Mills and the Green-fingered Runaway (artist Douglas Perry, writer Maureen Spurgeon) – first episode

Edie and Miss T – (artist Joe Collins)

The House Mouse (artist Mario Capaldi) – Strange Story from the Mists (Part 2 of 2)

Plain as Pearl (artist Juliana Buch)

Now we come to 1980 in the Tammy August month round. In this issue, Tammy has some Golly giveaways to celebrate Golly’s 50th. How times have changed for Golly in increasingly PC times since then.

Bella concludes her bid to reach the Moscow Olympics. A shipwreck brings it all to a head, putting her in hospital with a busted ankle, so no Moscow. That’s the second time poor Bella has missed out on the Olympics, and unlike her Montreal story she didn’t even get there this time. Maybe a rebooted Bella will finally get to compete at the Olympics. At least the rescuers brought her back to Britain for treatment, so she’s home and no longer stranded in the US. We’re promised a new story next week while Bella is recuperating. 

In Molly’s new story, it’s time for Lord Stanton’s summer fete. We are introduced to Charlie’s sister Cathy, who has run away from a harsh orphanage, and the police are hunting for her. Molly and Charlie are very surprised when she turns up at the fete, helping Lord Stanton’s gardener. Oh boy, this is going make for one very interesting fete! 

Since Misty joined, several Strange Stories from the Mists have appeared in two or three parts. The current two-parter, “The House Mouse”, has to be the most frightening of them all and is guaranteed to stick with you for years to come (it does me!). The House Mouse is far from a cute, cuddly mouse – it is an evil, possessed monster that drives off prospective buyers of its fanatical master’s house with “accidents”, outright attacks and even murder, as he has vowed the house will never leave his family.

There are a lot of “court” jokes and puns in this week’s Wee Sue story when Miss Bigger ropes Sue into helping her with tennis practice. This ends up “courting” trouble. Ultimately, they find themselves more successful at cricket. 

In a later issue ye Editor informs us “Plain as Pearl” is a very popular story, and there is a lot in it to make it so. Pearl Kent has taken a job as a model to raise money for her sick mother’s holiday. Trouble is, she has to do it in secret because she senses Clare, the daughter of the foster family she is staying with, will be jealous. The secrecy is leading to problems of course, like Pearl not having a guardian’s consent for the job.

“Running Rosie Lee” turns into the bionic woman once she’s had a cup of tea, to the consternation of the snobs at her new boarding school. But this week it is established that the tea must be stirred, or failing that, shaken to get things going.

Karen Chalmers, “The Loneliest Girl in the World”, doesn’t know where she’s coming or going with the weird things that are happening to her, except now confirming that her parents are indeed robot imposters. But all this does is get her committed to a psychiatric hospital. The robot parents say she must never discover the truth, even if she has to stay at the hospital all her life. Now what can the truth be, and is it connected with her nightmares about her house burning down and nobody left except her?

Cut-Glass Crystal is finding out – the hard way – why her mother refused to come to Dad’s hometown of Pitedge after his business collapsed. Pitedge is worlds away from the upbringing she has had, adapting to life in Pitedge is hard for her, the house they live in doesn’t even have proper commodities, she doesn’t fit in, and now she doesn’t even know her own father anymore. Instead of being sympathetic and trying to help – or even grateful Crystal chose to come with him when Mum didn’t – he’s become very harsh with her. Can things possibly sort themselves out, or did Crystal’s mother have the right idea? 

Tammy 4 August 1979

Cover artist: John Richardson

Bella (artist John Armstrong)

The Stand-in (artist Giorgio Giorgetti)

Proud as Punch (artist Tony Coleman)

The Happiest Days (artist Mario Capaldi)

Bessie Bunter (artist Arthur Martin)

Molly Mills and the Charleston Contest (artist Douglas Perry, writer Maureen Spurgeon) – first episode

Pictures from the Past (artist Audrey Fawley) – Strange Story

Wee Sue (artist Robert MacGillivray)

The Wolf at Our Door (artist Bob Harvey)

Edie’s Hobbyhorse: Why Not Make a Shell Collage – feature 

For 1979 in our Tammy August month round, there is a particular reason for profiling this August issue. At times, Tammy made in-jokes about the Tammy team, and the cover makes reference to comic book artist Mario Capaldi coming from a family of ice-cream vendors. Is the ice-cream man on the cover Mario Capaldi? Maybe someone can enlighten us. At any rate, there is a resemblance to Mario the ice-cream man, drawn by Capaldi himself, in a “Life’s a Ball for Nadine” episode. The episode appeared Jinty 27 December 1980.

The cover also brings a seaside flavour to the issue. This ties in with the craft feature on the back cover (making a shell collage) and the Wee Sue story. Miss Bigger informs the class that “an important coastal company have appointed me as their chairman!” Translation: she’s taken an extra job as a deckchair attendant. Too bad for her Wee Sue was taking a holiday at the same beach. Hijinks ensue, of course, but things end happily for them both. Two serials, “Proud as Punch” and “The Stand-in”, also tie in with the seaside/holiday theme. Perhaps they were published for the very purpose.

We mentioned Mario Capaldi a moment ago, and his current Tammy serial is “The Happiest Days”. It’s an evil influence story, except it’s played for laughs instead of scares, which makes it different. A frightful portrait of a school founder casts such a pall over a school it’s the most miserable school in Britain. The school is due to close because of falling numbers, but how to recruit more pupils with that portrait around?

Molly Mills’ new story is actually the second Molly story titled “The Charleston Contest”. The first appeared in the Thewenetti era. In the first, Molly enters a Charleston Contest to win money for her family (with Betty and Kitty playing dirty tricks, but there’s a last minute surprise save from Pickering). This time, Molly’s doing the Charleston Contest for the crippled Miss Claire.

Bessie’s also being a performer this week, in honour of Stackers’ birthday. Her conjuring act is a real performance, with some things not going quite right, but in the end she pulls one out of her hat. Of course her best trick is making food disappear. 

The Bob Harvey story, “A Wolf at Our Door”, now hits its climax. Jenny discovers who is trying to help her with the wolf pack – the aristocratic Rowena Rufley – and why. It’s because of an ancient prophecy. And now it looks like the prophecy is coming true. 

This week’s Strange Story (below) has a modern photographer meet a Victorian one. The artwork is by the ever-popular Audrey Fawley.

Bella is being fostered by the rich Courtney-Pikes, and it’s nice to see her being spoiled and loved for a change. But when they try to turn her into a lady…well, Eliza Doolittle had nothing on Bella, especially as she can’t resist any opportunity to break into gymnastics!

Tammy 20 August 1977

Cover artist: John Richardson

Bella (artist John Armstrong)

Sharon’s Shadow (artist Hugo D’Adderio) – Strange Story serial – first episode

Melanie’s Mob (artist Edmond Ripoll)

Molly Mills – the final episode (artist Tony Thewenetti)

Bessie Bunter (artist Arthur Martin)

Maisie of Mo Town (artist Giorgio Giorgetti)

Shadow of the Fire God (artist Manuel Benet) – Strange Story

Edie the Ed’s Niece (artist Joe Collins)

Wee Sue (artist Mike White)

Daughter of the Regiment (artist Mario Capaldi)

Now we come to 1977 in our August Tammy month round. And there’s another reason to bring out this August issue – it is the issue with the final episode (below) of Molly Mills. Yes, the great Molly Mills debate has finally come to a head. On the letters page (below), ye Editor makes an open call for letters – with monetary incentives of course – on whether or not to bring her back. But really, this would have been a whole lot more fair and representative of readers’ wants if the final episode had ended with a definitive conclusion (Molly sailing off to India with the others). Indeed, if this really was to be Molly’s final bow, they should have done that. Instead, it’s a tantalising cliffhanger (Pickering’s infamous frame-up of Molly at the docks, which makes her a fugitive, on the run from the law). This would surely have skewed the response from readers in favour of Molly’s return, to see how she sorts out her predicament. Indeed, ye Editor later informs us that the response was overwhelmingly in favour of Molly’s return, and return she did, on 31 December 1977. Would the response have been the same if Molly had been given a proper send-off? Incidentally, seeing as Molly returned with a different artist (Douglas Perry), I suspect the clincher for this sudden end of Molly was not the Molly Mills debate – it was Tony Thewenetti no longer able to continue with Molly for some reason. 

Meanwhile, Bella is at a Russian gymnastics school on a scholarship, and it’s good to see she’s getting a lot out of it this time (last time she was at a Russian gymnastics school, she was wrongly expelled before she’d hardly begun). Of course the school not without problems, and boy, does her strict Russian coach have a face to remember! John Armstrong must have had a great time drawing inspiration from gargoyles or something. This week, Bella loses her memory after an accident in the gym and strays from the school. 

Tammy takes us into the world of politics with the new Strange Story serial, “Sharon’s Shadow”. Joe Brown, outraged by the rundown housing conditions in Leechester, which led to the death of his grandfather, is running for MP so he can turn things around. But his chances of election could come under threat when his sister Sharon challenges a witch’s curse at her grave and then has a strange accident there. Never, ever, challenge the supernatural, Sharon. Meanwhile, in the regular Strange Story, the horrors of human sacrifice in pre-Christian days threaten to resurface with an erupting volcano, and superstition and hysteria get the better of people.

In “Maisie in Mo Town”, it’s been a barrel of laughs (though maybe a bit un-PC today) with Maisie pretending to increasingly exasperated kidnappers that she’s a dumb wild girl from Africa who doesn’t know the first thing about civilisation and can only speak pidgin English. But now things take a very serious turn as the kidnappers make plans to smuggle her out of the country. To this end, they lock her in the attic, ready for someone to collect at midnight!

“Daughter of the Regiment” Tessa Mason has recruited a gang of mudlarks to help clear her father, who was shot for cowardice at the Charge of the Light Brigade. But one, Dick, has been bribed to help lead her into a trap! And Melanie has recruited her own gang, “Melanie’s Mob”, to train as athletes. Dad would have a fit if he knew they were the Canal Mob, and now someone has reported something to the police about it.

At a regatta, Stackers is finding a mermaid costume problematic, and it leads to hijinks. In the final panel, Bessie doesn’t think much of mermaid costumes either, as she can’t raid the grub in the one she’s forced to wear.  

Nobody in class believes Miss Bigger when she shoots a big line about how her big WAAF days in World War II helped to win the Battle of Britain. So nobody’s surprised when she comes unstuck at a Battle of Britain exhibition at a flying club: “Bigger? We had a waitress of that name in the mess. Butter-fingers Bigger we used to call her…she was always dropping the crockery.” Miss Bigger’s looking very red, and then she’s green, as she can’t take a flight in a WWII plane without feeling airsick. The real heroics belong to Sue, who scares off robbers at the club with a phoney WWII bomb.

Tammy 7 August 1976

Cover artist: John Richardson

Bella (artist John Armstrong)

Towne in the Country (artist John Armstrong)

The Good Old Days (artist Bill Baker) – Strange Story

Tag Along Tania (artist Giorgio Giorgetti)

Bessie Bunter (artist Arthur Martin)

Molly Mills and the General Strike (artist Tony Thewenetti, writer Maureen Spurgeon)

Wee Sue (artist John Richardson)

Drawn to Destiny (artist Tony Higham) – Strange Story serial

Odds on Patsy (artist Eduardo Feito)

We come to 1976 in our Tammy August month round, and the cover confirms what we always suspected – teachers took sneak reads of the comics (Tammy, Jinty, whatever) they confiscated, and they enjoyed them as much as the girls themselves. We have to wonder how many closet Molly, Bella or Jinx from St. Jonah’s fans were created that way. The sight of the teacher reading her Tammy must be worse than the lines for the poor Cover Girl. 

Parents also enjoyed reading their daughters’ copies of Tammy, as one letter to Tammy this week shows: “I have been reading Tammy for nearly five years now…I think it’s the best comic around and so does my mother who always insists on reading it…” 

The Olympics were huge in Tammy in 1976 because of Montreal, and the Bella story for that year used the theme. Bella is determined to reach Montreal although she can’t compete and has no passport. It got left behind when she fled from her cruel aunt and uncle, and her flight is leading to all sorts of misadventures in Continental Europe, with Montreal seeming to get further and further away each time. Right now, she’s stranded in France with a stage troupe who are taking advantage of her. Added to that, there are jealous girls in the troupe playing nasty tricks on her. Yes, it never rains but pours with our Bella. Later on in 1976, Tammy continued the theme of the Olympics with the classic “Olympia Jones”.

By popular demand, 1976 had a stab at publishing some Strange Story serials. The current one is “Drawn to Destiny”, where jealousy between twin sisters over artwork is leading to ever-frightening results. And this week’s Strange Story (below) may have you think twice about comparing the present to “the good old days”.

In “Towne in the Country”, Val discovers what necessity can drive you to do. She is scared at the thought of administering an injection or touching animals, and then she has to do both when her father’s life is endangered and it’s up to her to save his life. Yep, Tammy’s clearly out to toughen up this one all right.

Tania “Tag Along” Foster is trying to stand up to the girls she hangs out with and stop being their dogsbody, but they aren’t giving up their power over her that easily. They’re pulling dirty tricks to keep her as their doormat. It always backfires on them in the end, leaving Tania with the last laugh, but she still has a fight on her hands to win respect.

Tennis trouble for Stackers when she pushes Bessie onto the tennis court this week – she soon finds having Bessie try tennis is courting trouble of the Bessie blundering kind. At least everything ends happily when it’s refreshment time.

Sue is trying to help a pupil lose weight, which turns into a very weighty problem when Miss Bigger makes a bet with the Head over whether or not the girl can lose weight. So the hijinks ensue when Miss Bigger turns to dirty tricks to keep the weight on and Sue steps into foil them. 

Eduardo Feito is the artist who really brought horse stories to life in Tammy. He has a number of strong Tammy horse stories under his belt already, such as “Halves in a Horse”, “The Uxdale Urchins” and “Rona Rides Again”. His current horse story is “Odds on Patsy”, about a racehorse and a girl who wants to be a top jockey. Now that’s a nice change from stories about show jumping and gymkhanas.

Politics is an unusual topic in a girls’ comic, but here it is in Molly’s story, “The General Strike”. Lord Stanton dispatches Molly and Pickering to keep the buses running during a workers’ strike (something IPC knew a lot about), which is being conducted in sympathy for a miners’ strike against a wage cut. Readers must have enjoyed Molly and Pickering’s change of uniforms and jobs: Molly as the bus conductor and Pickering as the (hee, hee!) bus driver. Unfortunately, Lord Stanton’s move to keep the buses running during the strike is understandably pissing off the strikers and they’ve turned on him. Now Lord Stanton’s gone missing, and his car’s come a cropper in the quarry! Could it be connected with the strike?

Tammy and June 2 August 1975

Cover artist: John Richardson

Bella at the Bar (second Bella story) (artist John Armstrong, writer Jenny McDade) – final episode

Waifs of the Wigmaker (artist Mario Capaldi, writer Bill Harrington)

Ella’s Ballet Boat (artist Jim Eldridge)

Aunt Aggie (artist J. Badesa, writer Pat Mills, creator Gerry Finley-Day)

Carol in Camelot St. (artist Douglas Perry)

Typewriters for Writer Types! – competition 

The Truth about the Treasure (artist John Armstrong) – Strange Story

Bessie Bunter (artist Arthur Martin)

Wee Sue (artist John Richardson)

No Tears for Molly (artist Tony Thewenetti, writer Maureen Spurgeon)

Now we come to 1975 in our Tammy August month round. 

Inside, Bella’s second story comes to an end, and readers finally see how she clears her name after being framed and publicly disgraced by the jealous Natalia Orlov. This Bella story drew lots of letters from readers, including ones trying to guess how Bella would win out against Natalia. As it turned out, they were not bad guesses. But none of them anticipated Bella damaging her back (while saving Natalia, and Natalia confessing in return) and becoming wheelchair-bound as the cost of clearing her name. And so the scene – Bella’s road to recovery – is set for her third story, which readers are informed will be starting soon. So now Bella is on her way to becoming a recurring regular in Tammy instead of a serial. Meanwhile, readers will get a new tennis story, “Backhand Billie”.

Aunt Aggie (the TV star with the sweet persona on screen, the scheming one in real life) is also doing another sequel. In this week’s episode, how much does it take to get Aunt Aggie jealous? It’s Helen getting a bit of fan mail of her own. Just a few letters for Helen, and Aunt Aggie brings out her big guns. But, as usual, Helen finds a way to make it all rebound on awful Aunt Aggie. 

In “Waifs of the Wigmaker”, there’s no more slaving in the wig factory for Moira, says Ma Parting. She’s training Moira up for something bigger, and Moira is to take on another identity for it. Sounds ominous. On the plus side, while dodging the authorities, Ma Parting was forced take Moira through a secret tunnel to the factory. Moira’s got the escape route from the wig factory at last, and Ma Parting showed it to her herself! 

This week’s Strange Story is a treasure hunt story, which leaves the hunters with a moral: there is more than one kind of treasure. In “Ella’s Ballet Boat”, the floating ballet company is dogged by more sinister treasure hunters, in search of a treasure chart hidden on their boat. 

Carol Clancy finds King Arthur is being taken a bit far at her new school in Camelot Street. Her school carries on the Round Table and the Camelot tradition, complete with quests and defending the weak and poor against fairytale threats of dragons, ogres, robber barons and such. You couldn’t possibly find things like that in the modern world? Well, they are up against “dragons” this week – a motorcycle gang by that name. But there’s a more pressing threat from Mordred. No, not the witch – the deputy head who wants the head’s position, which would bring down the Round Table. 

In the Tammy regulars: Bessie takes advantage of bob-a-job week, but it all blows up in her face. She also meets a boy scout who’s just like her. Miss Bigger’s cousin is giving a lecture about his game hunting in Africa. Sue badly wants to see it, but Miss Bigger won’t let her. When Sue wins in the end, “even that hyena [on photo slide] don’t look so wild as Miss B.” Molly is the only one standing by a new tenant farmer, Mark Travers; everyone else has turned against him because of claims he’s a fraud. Even his wife has doubts. And now Pickering swings by with an invitation that sounds like a plan to catch him out altogether.

Tammy and June 31 August 1974

Cover artist: John Richardson

Bella at the Bar (artist John Armstrong, writer Jenny McDade)

Swimmer Slave of Mrs. Squall (artist Douglas Perry, writer Gerry Finley-Day?) – final episode

Sadie in the Sticks (artist Juliana Buch)

Wheels of Fate (artist John Armstrong) – Strange Story

Bessie Bunter (artist Arthur Martin)

Jeannie and her Uncle Meanie (artist Robert MacGillivray)

Wee Sue (artist Mario Capaldi)

Cat Stevens – feature

No Tears for Molly (artist Tony Thewenetti, writer Maureen Spurgeon)

Eva’s Evil Eye (artist John Richardson, writer John Wagner) 

In the 1974 issue in our Tammy August month round, three of the four serials (Bella, Sadie and Eva) that began in the Tammy and June merger issue are now on their penultimate episodes, and the fourth (“Swimmer Slave of Mrs. Squall”) finishes. That means readers will soon have a huge lineup of new stories to look forward to. It’s always great to see a big lineup of stories begin in one issue. 

On the cover, one of the Cover Girls is outbouncing kangaroos with her pogo stick. But the cover’s let down a bit by how cardboard the kangaroos look, as if a kid drew them. Surely John Richardson can draw far better kangas than that? 

Ghost stories in the Strange Stories are by no means unusual, but the ghost certainly is – a ghost lorry. It starts haunting Gail Hawkins when she holidays in a village where heavy traffic has been diverted after a fatal lorry accident. But why is it haunting Gail, and why is a voice telling her to get the hell out? 

You would think teachers would have no problem with pupils stopping at a cafe for a coffee on the way home from school, would you? Not when the teacher’s Miss Bigger, who makes a big fuss over such a trivial thing – Sue and Co stopping for some coffee before starting homework, and turns it into yet another weekly round of Miss Bigger trouble for Sue to sort out. 

Molly’s caught up in one of the complex mysteries she’s ever tackled, and the more she probes it, the more questions it raises than answers: a wounded war pilot whose face is bandaged, and he won’t speak or give his name; a community that clams up about him; a strange couple have taken over his old home, Poppy Farm, and try to hold him prisoner, as they have done with his wife Emily for years; a boy says Poppy Farm is cursed; and now nothing’s left of the pilot but his uniform and bandages. Gets weirder by the minute, doesn’t it?

Jeannie and Aunt Martha do something that is long overdue – walk out on Uncle Meanie because of his skinflint ways. Unwisely, they say Uncle Meanie will foot their hotel bills, so he’s on their tail like a shot with more scheming to get them back. He does get them back, but in the end is forced to give in the demands that sent them packing in the first place: fork out the money to replace the dilapidated furnishings he been too mean to replace. 

Bessie Bunter and her class offer to help out the youth orchestra when their van breaks down by bringing the instruments to the hall. But things get horny when Miss “Stackers” Stackpole has them take a shortcut through a field, which for some reason has no “Beware of the Bull” sign on the gate. Someone should have a word with the farmer about that! Bessie, after a bit of trouble with Stackers earlier in the story, gets a happy ending by saving the day. 

Tammy 9 June 1979

Cover artist: John Armstrong

Bella (artist John Armstrong, writer Primrose Cumming)

The Happiest Days (artist Mario Capaldi) – first episode

100 Tammy Leotards To Be Won! – Contest 

Get Your Skates On, Katie (artist Diane Gabbot(t))

Karina and Khan (artist Jordi Franch)

Bessie Bunter (artist Arthur Martin)

Molly Mills and the Grim Governess (artist Douglas Perry, writer Maureen Spurgeon)

Wee Sue (artist Mike White)

The Peasant’s Prophesy (sic) (artist Carlos Freixas) – Strange Story

The Wolf at Our Door (artist Bob Harvey)

In our previous entry we discussed how Bella had become so powerful in Tammy that she sometimes ran Bella-inspired competitions. Here is another case, which appeared in 1979. Tammy is running a Bella-inspired contest with 100 Tammy leotards up for grabs. It’s a “spot the difference” contest, using a panel taken from the first episode of Bella’s current story. Also, Tammy announces that over the next four issues she will be running a pull-out Bella poster in four parts.  

And the Bella story itself? It’s one of Bella’s grimmest. It’s another unjust public disgrace story. After a complicated misunderstanding she can’t prove, Bella is wrongly convicted and sent to a remand home. Now she’s discovered the sensationalist treatment she’s getting from the press over it, and it’s really getting to her. 

Bessie Bunter dream sequences sometimes seem to be as thought-provoking as they are funny. This week, pollution is the theme. The episode has been posted up for you to judge how prescient it was in today’s climate (or might be in the future). 

After the status quo at Stanton Hall was restored to the Molly strip in 1978, there was a definite change. The excesses with Pickering were toned down, and the beatings and torture devices (particularly the lake, the stocks and the dungeon) were dropped, but he still remained the bully butler. In Molly’s latest story, Mistress Clare’s new governess is Pickering in female form. In fact, the servants suspect she’s Pickering’s secret wife! Heh, heh, unlikely, but they ought to get married – they’re a perfect match!

The new story, “The Happiest Days”, is an evil influence story with a difference. It could have been done the usual creepy way, but instead it’s done the funny way. Great Aunt Aggie’s frightful portrait casts such a pall over the school she founded that everyone is in a constant state of depression and weeping (yet they still make us laugh). Her descendant, Sunny Smyles, is the only one immune. Once Sunny realises what’s going on, it’s war between her and her grim ancestor, with sobriety versus cheerfulness.

Bob Harvey artwork began to appear in Tammy in 1978 with the Strange Stories, but now Harvey is drawing a serial, “The Wolf at Our Door”, a story that strongly hints the wolf is not as extinct in Britain as people think. A pack appears to have survived in a pocket environment, and it is threatening a budding kennel business. Bob Harvey artwork would become regular in Tammy when “Pam of Pond Hill” came over from Jinty near the end of 1981.

“Karina and Khan” brings some Jordi Franch artwork to Tammy. It’s essentially a horse story, with Karina fighting all odds to stay with her beloved horse, Khan, but the storyline also brings a dash of politics and the Iron Curtain with it. 

A magic pair of skates gives Katie the power to ice skate, as previous owner Katrina Freeman’s talent is channelling through her. Now, when the protagonist gains talent this way (which could be considered a form of cheating), the ending will have to show if she has gained enough from the power to do fine on her own, the power has brought out the talent she had all along and just needed confidence, or she has to quit because her talent is not genuine. A power that gives the protagonist the talent she wants is never allowed to last on a permanent basis.

Wee Sue is one strip that gets the most rotation of artwork in Tammy, and we don’t mind as she is one strip that can work well with a variety of artists who can do humour. Her current artist is Mike White. 

Carlos Freixas never drew a serial for Tammy, but his artwork appeared in the Strange Stories and, later on, in complete stories. This week he draws a Strange Story set in the French Revolution. The Duvalles rule their estate in a humane manner (unlike most French aristocrats), but this does not make them exempt from the threat of Madame La Guillotine. However, it makes people willing to help them escape, and one gives a prophecy. When the Duvalles flee, it looks like the prophecy can never be fulfilled – except for the strange thing that happened just before they did so.

Tammy 10 June 1978

Cover artist: John Richardson

Bella (artist John Armstrong, writer Primrose Cumming)

Prince of the Wild (artist Veronica Weir) – first episode

Betta to Lose (artist Tony Coleman)

A Champion Time for All! – Results of Bella Gymnastics Competition

Down to Earth Blairs (artist José Casanovas)

Bessie Bunter

Molly Mills (artist Douglas Perry)

The Witch Wind (artist Hugo D’Adderio) – Strange Story

Wee Sue (artist Hugh Thornton-Jones)

Circus of the Damned (artist Diane Gabbot(t))

Fun at Your Summer Fete (artist Joe Collins, writer Maureen Spurgeon) – feature 

For the 1978 Tammy issue in our Tammy June month round, here is a June Tammy issue with a cover that is sure to make you smile. 

Tammy posts the results of a Bella-inspired competition. Bella featured in several Tammy competitions, a four-part pull-out poster and even her own book, which showed how powerful she had become. This competition shows she was being used to help aspiring gymnasts as well. 

The new story, “Prince of the Wild”, is Veronica Weir’s first and only serial for Tammy. Her artwork was seen more often in Tammy’s Strange Stories and complete stories. 

“Betta to Lose” has brought Tony Coleman artwork to Tammy, and Coleman was a regular artist on the Tammy team right up until her final year in 1984. 

Douglas Perry has taken over the Molly Mills artwork since Molly’s return in December 1977. Sometimes I wonder if one reason why Molly was put on hiatus in 1977 and her fate put into the hands of readers was her original artist, Tony Thewenetti, no longer continuing with her for some reason. The change in artist does suggest something like this might have happened. 

The structure of the Molly Mills writing has changed completely. The story that sent her on hiatus was a tantalising cliff-hanger where Pickering frames her for theft, forcing her to go on the run from the law. Since her return, it’s been nothing but life as an unjustly wanted fugitive, and her stories are in continuous serial format. Molly’s now back at Stanton Hall, which is now under a new owner who seems to be something of a fugitive herself. An American gangster is on her tail, and now he’s caught up and holding Molly and the other servants hostage! We suspect this is all part of the build-up to the resolution of Molly’s frameup.

Bella’s latest story has taken her to Australia, as a coach to introduce gymnastics to an Australian town. Even before Bella started, things were not off to a good start (the man who hired her regrets his offer, which he made without thinking), and her arrival got delayed as well. Now she’s finally made it, she’s told the job is no longer available. And Bella has a long track record of getting stranded in foreign countries. Is it going to happen again? 

Wee Sue’s latest artist is Hugh Thornton-Jones, and a continuity problem has struck. In earlier years Miss Bigger’s first name was given as Lillian, but this episode says it is Amelia, and it sticks.

Hugh D’Adderio artwork featured strongly in the Tammy Strange Stories, particularly with period settings ranging from ancient Babylon to Victorian England, as well as modern times. This week it is Elizabethan England, with a Strange Story on how witchcraft (indirectly but foretold) defeated the Spanish Armada.

Down to Earth Blairs was obviously inspired by “The Good Life”, and proved so popular that its sequel is now running. No doubt the ever-popular José Casanovas artwork sealed its success. In the original, Betsy Blair had a hard time adapting to self-sufficiency after her father’s redundancy drove the family to it. Now she accepts and enjoys it, and her sequel now follows “The Good Life” format of handling snobby neighbours and coming up with new forms of self-sufficiency and money-making, some of which don’t always go as expected.

“Circus of the Damned” is a welcome return to Tammy’s old days of dark stories laden with misery and cruelty, which now seem to have faded. A whole circus is enslaved by a fanatical circus boss who uses blackmail, animal abuse, kidnapping, and possibly murder to create the greatest show on earth. One of his tactics is forcing trapeze artists to leap over deadly snakes without a safety net.

Tammy 11 June 1977 – Jubilee Issue

Cover artist: Audrey Fowley

Bella (artist John Armstrong)

Babe at St. Woods (José Casanovas)

What’s Wrong with Rhona? (artist Eduardo Feito)

25 Years Ago This Week – Jubilee feature

Wee Sue (artist Richard Neillands)

Bessie Bunter (artist Arthur Martin)

Molly Mills and the Comic Capers (artist John Johnston, writer Maureen Spurgeon) – final episode

The Caliph’s Jewels (artist Hugo D’Adderio) – Strange Story

Witch Hazel (artist Giorgio Giorgetti)

Time Trap! (artist Tony Higham) – first episode

For the 1977 issue in our Tammy June round, it just has to be the Jubilee issue, seeing as the Queen’s Jubilee is topical this year. For the commemorations, Tammy takes a flashback look at the Coronation, and Wee Sue and Bessie both plan Jubilee pageants but run into obstacles that threaten to derail everything. It takes a bit of quick-thinking, determination and strokes of luck before things work out happily. The Bessie Bunter episode looks like it was a reprint, with a bit of new text bodged in to give it the Jubilee context.

The Crown Jewels cover also adds the theme of jewels to the issue, which carries on in the Strange Story, “The Caliph’s Jewels”, in which the Storyteller retells the Dutch folktale of The Lady of Stavoren, a cautionary tale about treating food with respect. So it’s not about jewels, then? The arrogant Lady of Stavoren discovers too late that food becomes as precious as jewels when you face starvation. There are over 27 versions of the tale. The Tammy version appears below. It is illustrated by Hugo D’Adderio, whose artwork is always popular.

The new story this week, “Time Trap!”, is a gem too. Tammy takes on the subject of reincarnation and hypnotic regression, which is a novel thing for her to do. Another gem, now on its penultimate episode, is “Witch Hazel”, which looks like it was inspired by Catweazle. A 16th century apprentice witch comes to the 20th century to learn witchcraft, but she doesn’t understand that witchcraft is not exactly on the curriculum of 20th century schools, nor can she grasp how the 20th century works. Another jewel in Tammy’s crown is the hugely popular “Babe of St. Woods”, starring a gangster’s daughter who uses all her gangster know-how to get herself and her friends out of all sorts of scrapes at boarding school. And “What’s Wrong with Rhona?” is a sparkler. Rhona has been acting very strangely ever since she picked up a strange doll. Things hit their nadir this week when her odd behaviour makes her steal a calculator, and now the police are on her doorstep! Help, is she on her way to juvenile court? 

The Bella story takes a surprise turn this week. Bella is giving us her origin, as told to her American Indian friend Oona Tall Tree. She tells Oona (and us) how she started on gymnastics before her orphaning (which doesn’t quite fit her first story on how she discovered gymnastics while window-cleaning for Jed and Gert) and how she lost her parents. It’s a surprise to see the flashback shows Bella did not have her trademark pigtails or overalls back then.

The latest Molly story, the “Comic Capers”, is Molly’s funniest story ever. It takes the unusual twist of parodying itself through a satire of Stanton Hall and its staff, which Pickering submits to a magazine, and it is drawn by a comical artist (John Johnston), who has been doing a number of Wee Sues of late. Sadly, it ends this week, and Molly will be back to business as usual with her usual artist next week. 

There has also been a notable change in the artwork of Wee Sue. It used to be an artist doing a long stint (Mario Capaldi, John Richardson), but now there is a trend towards more variety of art work in her strip; artwork from John Johnston and Richard Neillands is now appearing. This trend in a variety of Wee Sue artwork would continue, with Hugh Thornton-Jones, Mike White, Jim Eldridge and Robert MacGillivray added to the mix. 

Tammy 12 June 1976

Cover artist: John Richardson

Bella at the Bar (artist John Armstrong)

Secret of the Skulls (artist Mario Capaldi)

The First Mystery (artist John Armstrong) – origin of the Storyteller

Odds on Patsy (artist Eduardo Feito)

Bessie Bunter

Molly Mills and the Lucky Visitor – complete Molly story (artist Tony Thewenetti, writer Maureen Spurgeon)

Wee Sue (artist John Richardson)

The Sungod’s Golden Curse (artist Douglas Perry)

Lord of the Dance (artist Miguel Quesada)

We now come to Tammy’s June month in 1976. The Olympics were a strong feature in Tammy that year because of Montreal. That year, Tammy ran her Olympics classic, “Olympia Jones”.

Meanwhile, the Olympics logo has been added to the Bella logo. Bella, of course, is trying to reach Montreal. Jed and Gert have just returned to Bella after a much-deserved stint in prison (though not for the cruel way they’ve always treated her). They’ve now been released for good behaviour and say they’ve reformed and will help Bella all the way to Montreal. So far they’re treating Bella well, but they have a track record of phoney niceness to Bella when they believe it’s to their advantage (like getting out of prison, maybe?).

Molly has now switched from the title “No Tears for Molly” to individually titled storylines, most often “Molly Mills and the [name of the story].” Molly takes the unusual step of having a complete story this week. 

By popular demand, this week the Storyteller tells his origin story and how he became to be the Storyteller. The story appears below, and we also see the one and only appearance of his daughter. It seems a shame Tammy did not also take advantage of this popular demand to reprint the Storyteller’s very first story, “The Haunted Bank”, way back in his debut in June (the comic, not the month) on 30 January 1965, to show us how he started. Enough time had passed to allow for the reprint. 

In 1976, there was a definite ebb in the slave story/Cinderella story theme that had featured so much in the earlier Tammy. Other genres were gaining more currency. Animal stories were strong in the 1976 Tammy, such as “A Lead through Twilight”, “Towne in the Country”, the current “Odds on Patsy”, and the smash-hit Olympics-themed serial, “Olympia Jones”. The scary and the supernatural were strong that year too, and this issue has two alone: “The Sungod’s Golden Curse” (but is the curse real or a fraud?) and the macabre “Secret of the Skulls”.

The ballet story “Lord of the Dance” is the last Tammy serial drawn by Miguel Quesada, a Tammy stalwart since her early days.