Tag Archives: No Tears For Molly

Tammy and Sally 1 April 1972

Tammy & Sally 1 April 1972

  • Lori Left Behind (artist Luis Bermejo)
  • School for Snobs (artist J. Badesa, writers Pat Mills and John Wagner)
  • Rona Rides Again (artist Eduardo Feito)
  • Lulu (cartoon)
  • Skimpy Must Ski! (artist Tom Hurst) – final episode
  • The Long and the Short (artist Antonio Borrell)
  • Steffi in the Swim (artist Victor Ramos?)
  • No Hope for Cathy (artist Victor Hugo Arias)
  • Maisie’s Magic Eye (artist Robert MacGillivray)
  • A Special Tammy Portrait – Ryan O’Neal
  • Talk It over with Trudy – problem page
  • The Champion from Nowhere (artist Tom Hurst)
  • Paula on a String
  • No Tears for Molly (artist Tony Thewenetti, writer Maureen Spurgeon)

Easter is coming, so I am bringing out some Easter-themed Tammys from my collection. This is the earliest one I have, and it’s from 1972. It has a very cute cover on making decorated Easter eggs. The date coincides with April Fool’s Day, so it’s not surprising to see Lulu (Tammy’s cartoon strip at the time) play April Fool’s jokes with Easter eggs. But she’s the one who becomes the fool because her April Fool’s jokes all rebound on her. At least the one Mum plays on Lulu is a good-natured one that gives Lulu a happy ending, in the form of a ticket to the circus. Tammy also has an Easter-themed competition. Just find the two Easter eggs that are identical and you are in the running to win a mini-mod wrist watch!

It is part two of “Lori Left Behind”. Lori Danby’s father did not make a wise choice in leaving her in the care of the Jimsons – they are making her an unpaid slave in their café. Lori is trying numerous ways to escape. So far she’s not had any success, but by the end of this episode she has come up with an idea that sounds like a winner. Let’s see if it is next week.

“School for Snobs”, one of Tammy’s classic stories, is on part two as well. Two ultra-snobby sisters, Cynthia and Pamela Masters, have been sent to a special school that reforms snobs. It does so in wacky ways that provide loads of laughs for the readers. Cynthia and Pamela aren’t giving up their snobbish ways that easily, but by the end of the episode headmistress Hermione Snoot is confident that her school is starting to take effect on them. Don’t be too sure about that, Hermione – you’re only on part two, after all!

“Rona Rides Again” was reprinted in Jinty annual 1982. Rona Danby is regaining her nerve for riding with the aid of her new horse Flo. The trouble is, Flo is prone to strange fits, which messes up her gymkhana performance with Rona in this episode. It also has people saying she is a rogue horse that must be destroyed, so Rona has to keep Flo protected from that.

It’s a double helping of Tom Hurst artwork. The first is in the final episode of “Skimpy Must Ski!”, where Skimpy Shaw must win a big ski race. Unfortunately her rival is pulling all sorts of dirty tricks to get ahead. The other is “The Champion from Nowhere”. Ma Sload takes advantage of the protagonist losing her memory to entrap her with lies, make her a slave, and give her the false identity of Mary Spinks. Ma is even using “Mary’s” talent for tennis to enslave her. “Mary” is now beginning to suspect that Ma Sload has told her a load of lies about her identity, but it looks like Ma Sload is about to pull another trick to foil that one.

“Maisie’s Magic Eye” makes Miss Morphit (“Morphy”), the tyrannical sports mistress of the piece, jump in the river after saying “Oh, go jump in the river, Morphy!” to an early gym session. This backfires in the end because it gives Morphy the idea of making the class go swimming in the river instead of gym. Brrrr!

On the subject of swimming, “Steffi in the Swim” is an odd swimming serial. Steffi James is terrified of swimming after a childhood incident, but she’s receiving swimming lessons from a coach who is so mysterious that she keeps in the shadows while giving Steffi swimming lessons and Steffi does not even know her name. Even more oddly, she’s starting Steffi off with backstroke instead of freestyle. As it is, Steffi is now beginning to swim, but now bullies are getting suspicious of her secret.

“The Long and the Short” are two cousins, one tall (Debbie) and one short (Vally), who are in an athletics team. Vally gets dropped because the wrong shoes make her perform badly. She gets reinstated with Aunty Nan’s help, but Debbie is worried because she has not heard from her parents. Then a telegram arrives. Will it have good or bad news about Debbie’s parents?

“Paula on a String” is being forced by her uncle and aunt to pretend to be a long-lost granddaughter in order to cheat Mrs Morley out of money. Paula decides to stop the charade and leaves Mrs Morley a note about it. However, her scheming relatives aren’t giving up and are planning something even worse to get what they want out of Mrs Morley. But what is their plan?

Pickering, the cruel butler in Molly Mills, is convinced a ghost is haunting him (the bully does betray a superstitious streak now and then). Meanwhile, Molly is convinced that the caretaker, Carter, is acting suspiciously. Things take a really bizarre turn when Pickering sacks Carter – and then disappears from Stanton Hall. His note says he is quitting Stanton Hall because he can’t stand that ghost any longer.


First Tammy Ever Published: 6 February 1971

Tammy 6 February 1971 reprint
First Tammy cover: reprint
Tammy 6 February 1971
First Tammy cover: original
  • The Secret of Trebaran – first episode (artist Giorgio Cambiotti)
  • The Girls of Liberty Lodge – first episode (artist Dudley Pout)
  • Slaves of “War Orphan Farm” – first episode (artist Desmond Walduck, writer Gerry Finley-Day)
  • Dawn and Kerry Double for Trouble – first episode (artist Giorgio Letteri, writer Maureen Spurgeon)
  • “Our Janie” – Little Mum – first episode (artist Colin Merritt)
  • Betina at Ballet School – first episode
  • My Father – My Enemy! – first episode
  • Courier Carol – first episode (artist Jean Sidobre)
  • Glen (later called Glen – A Lonely Dog on a Quest) – first episode (artist Jim Baikie)
  • Tammy Club Page – Feature
  • Castaways on Voodoo Island – first episode (artist Ken Houghton)
  • No Tears for Molly – first episode (artist Tony Thewenetti, writer Maureen Spurgeon)
  • Cats and Kittens – Feature

Recently we had an entry for the last Tammy ever published. So it is seems appropriate that there should be one for the first Tammy as well.

The cheery blond girl who greets us on the cover (which has far better colouring than its 2009 facsimile reprint) belies the content that is waiting inside. For Pat Mills and Gerry Finley-Day intended that Tammy would revolutionise girls’ comics, which more typically went for stories about ballet, school and ponies. Instead, Tammy would lead a revolution by going for the dark side of comics. She would print stories filled with suffering, misery, cruelty, and pushing the envelope with over-the-top ways to torture the heroines. Parents and teachers hated it, which was a sure sign it was working.

Tammy 4

Tammy’s welcome to her readers stated: “…for the whole gang of us here have tried to make it the kind of picture-story paper we think you want…I just hope we’ve succeeded and that you’ll go on reading and enjoying Tammy every week”.

They must have succeeded – sales of Tammy skyrocketed, and it would blaze the trail for the early Jinty, and Action and Battle.

The first story that readers see when they open the issue is a supernatural story, “The Secret of Trebaran”, which is quite a blend of time travel, evil sorcerer and period story. Trudy Smith thinks her holiday in Cornwall is as dull as ditch water – until she comes across a mysterious medallion that sends her travelling back in time to when the island of Trebaran was a thriving community instead of the ruin it is today, and nobody knows why it ended up that way. Trudy is about to become part of that mystery, of course. But it’s already threatening to get her burned at the stake for witchcraft when Puritans encounter her tape recorder and hear what it can do!

Tammy 1
The Girls of Liberty Lodge

The next story is the first of the stories in the pioneering dark side, “The Girls of Liberty Lodge”. We meet Miss Steele, the bully headmistress of Hardington Hall, whose ideas of discipline are put girls on ‘trial’ in a kangaroo court in front of the whole school. Good grief! Miss Valentine, the only kind teacher in the whole school, is so appalled that she quits to start her own school, Liberty Lodge, which is set up as the antithesis of Hardington Hall. But Miss Steele is not having that, and is determined to bring down Liberty Lodge any way she can.

Story three is the Queen of Cruelty in Tammy’s lineup – “Slaves of ‘War Orphan Farm’”. This story is regarded as perhaps the cruellest strip ever in girls’ comics. Ma Thatcher (named for the future Prime Minister) takes in war orphans, ostensibly to give them a home for the duration of WW2. In reality, she forces them to work in a quarry and contracts them out as slave labour to other farmers.

“Dawn and Kerry” takes a break from the cruelty with two good friends who turn into sleuths when they get caught in a storm and have to take shelter in a creepy hall, Whispering Heights. They meet a girl who seems to be a prisoner of the place, and now they are prisoners themselves!

Tammy 2
Slaves of “War Orphan Farm”

The fourth story, “‘Our Janie – Little Mum!’”, returns to the suffering. Janie Greaves has been mother to the family since Mum died, but now more tragedy is tearing the family apart. Dad has been landed in hospital with serious injuries, social welfare is threatening to split the family up, and now her brother’s being arrested!

The first lineup of a new girls’ comic just wouldn’t be complete without a ballet story, and “Betina at Ballet School” is it. Betina Brooks wins a scholarship to a ballet school. But snobbery is against her – and it’s coming from the teachers. This story would spawn an early Tammy sequel, “Betina and the Haunted Ballet”.

“My Father – My Enemy!” delves into the horrors of Victorian exploitation and child labour with Mr Jeffries, who cares nothing for the suffering of his miners and their families. But his daughter Julie is more compassionate and she goes against her own father to do what she can to help them.

“Courier Carol” is the only story in the Tammy lineup to have any humour. Carol Jones and her uncle run a coach tour with a difference – a vintage coach that picks up a lot of laughs on the way. But they pick up trouble too, in the form of a rival coach business run by the man who had tried to buy them out.

Humour and hijinks are definitely short in the first lineup; there isn’t even a cartoon feature starring a “funny”. If there is one problem with the first Tammy stories, it is that they lean too heavily towards stories filled with suffering, hardship and cruelty. There is little counterbalance in the form of laughs and light relief. The first Jinty, though she would have her share of dark, cruel stories with tortured heroines (especially “Merry at Misery House”), she would include more humour and slapstick in her first lineup than the first Tammy lineup did.

Tammy 3
Courier Carol

And it soon gets back to it with “Glen” (later called “Glen – A Dog on a Lonely Quest”). Glen is an abused dog (yes, more cruelty) who sets out to find the girl who saved him when his abusive owner tried to drown him. And the girl’s name is June – coincidence or what?

The facsimile reprint reproduces only page one of the Tammy Club from the original. The editor knew readers would want one, and Susie is the secretary who presents the details on how to join and what to expect.

The reprint also omits the next story, “Castaways on Voodoo Island”, for some reason. Perhaps it is because this story is considered a weak one. Girls find themselves castaways on an island where they fall foul of a weird witch doctor. At least it makes a change from being tortured and abused by bullies and slave drivers.

Tammy 5
No Tears for Molly

Finally, we come to the story where the heroine would endure no less than 10 years of cruelty, abuse, bullying and suffering in Tammy. These would include being tied up and beaten, locked in a flood dungeon, freezing cold duckings in a lake, and being clamped in the stocks, would you believe? She would end up holding a joint record with Bella Barlow as Tammy’s longest running character. This is, of course, Molly Mills, a 1920s maidservant. She has the bad luck to arrive at the same time as bully butler Pickering, who would become her arch-nemesis at Stanton Hall. Her strip was originally entitled “No Tears for Molly” and the title would stick several years, despite the fact that it is a complete misnomer. Right from the very first episode we see Molly crying. No tears for Molly, huh? And now she’s been sacked too, because of a dirty trick from the other two maids who are destined to give her more trouble in the years to come. As if Pickering wasn’t bad enough!




One-offs, series, returning characters, regulars

The Goods News for All Readers blog has recently done a Halloween post about Misty; in the comments on that post, and on a related post on the Comics UK forum, a few of us have had a brief discussion about one-off stories, series, and regular characters. Different titles create different balances between the various kinds of comics: Misty has always struck me as having a strong focus on one-off (complete) stories in a way that Jinty didn’t, so that is an obvious comparison between the two, but there are other groupings that could be usefully looked at too.

One-off stories / complete stories haven’t ever been a big focus in the pages of Jinty, except for in annuals or summer specials which are by their nature reliant on complete reads. Indeed, I wonder whether the two examples that come readily to mind – “Mimi Seeks A Mistress” and “Holly and the Ivy” – might have been originally written for publication in an annual and for whatever reason then been included in the weekly comic instead?

If you ask someone who was a reader of Misty at the time for specific stories they remember from the comic, they may well mention some key serials but they are perhaps even more likely to remember the spine-chilling stories. Clearly, one-off or complete stories have important strengths: this format allowed Misty to be tougher on the protagonists than an ongoing story would typically be. Indeed, many of the Misty stories featured character death – or even a worse fate! You can also have a huge amount of variety with complete stories, with the rapid turnover allowing creators potentially to experiment with a lot of different themes or plots. On the down side, they don’t allow enough narrative time for much character development, and I suspect that can lead to a focus on clever ‘twist in the tale’ story structures. (I personally felt like Misty placed too much reliance on this at certain points in its life.)

‘Storyteller’ / framed stories are stand-alone stories that still fit into some sort of structure or framing sequence. Gypsy Rose is Jinty‘s most obvious example, but I would also classify “Is This Your Story?” and “Thursday’s Child” within this as being complete stories that may not have a narrator but do have a constraining element to them that means you have a certain sense of knowing ‘what you’re getting’. In a Gypsy Rose story you know you’ll have a spooky element, but also a sense of safety; the protagonist won’t herself suffer an awful fate. In 2000AD‘s “Future Shocks” there was no such guarantee, but you did know it would generally be an SF story rather than a horror story or a morality tale (as “Is This Your Story?” was).

Both the entirely stand-alone and the framed stories have the advantage editorially of great flexibility – they can be run in any order so it doesn’t matter if one story is not ready for printing that week, you can try out new artists and writers, you can try out new directions and ideas. This flexibility can also lead to problems – the results can be uneven in quality or interest level, or overly repetitive. I would also say that to my mind they’re a bit too easy to put down and not feel that motivated to pick up again – even if you know that Gypsy Rose or Future Shock stories are generally really good, to me they don’t have the “must read” factor that a cliff-hanger ending to an earlier episode gives.

Serial stories are Jinty‘s bread-and-butter, but if you count up the number of series in a given issue it is not given over totally to them: 23 February 1980, for instance, has 5 serials out of 8 stories in comics format. I am here using the phrase ‘serial stories’ meaning stories that run over more than one week with a beginning/middle/end narrative structure. The way the ‘end’ element works is important because Katie Jinx or the Four Marys also have stories with endings, but they aren’t final – we know that next week they’ll be back with more, which is what makes them ‘regulars’.

A serial story has a lot of degrees of freedom: it can be a story about a ghost or a horse or a superheroine (or maybe a ghost horse or a horse superheroine). What it can’t easily do is change tack dramatically once the story starts; the start of the story sets it into certain tracks and certain expectations. The strength of the serial is the length of time that it has to develop a story and to really hammer it home, or to twist and turn surprisingly. It also has the freedom to change the situation of the characters in the story: it can end with them healed, or vindicated, or with the protagonist growing as a person. A complete one-off story doesn’t have enough length to develop that sense of change, and we often don’t know enough about the character to even care that much if they grow into a better person. A story with a regular character, contrariwise, has to ‘reset’ at the end of each episode or each multi-episode story, so that as the next story starts it can pick up more or less from the beginning again.

There are still weaknesses in the serial story format, of course. It can get too long and lose its way; it can be too short to let itself develop properly while not benefiting from the punchiness of the self-contained story.

Jinty also has a couple of cases of returning characters, where the original series gets a second, follow-up story. There aren’t many of these – “Fran’ll Fix It!” gets a second run, and so does “Daughter of Dreams”. Each story is a complete serial in itself, but because the character or the story was popular, they returned for another go. One option would be to reprint the original story, which Jinty did a few times; but if the story structure allowed it then a whole new follow-up story might also a possibility. Some stories would be better suited to this than others – a sequel to “Land of No Tears” wouldn’t be impossible to imagine but would require quite a lot of changes (someone from the dystopian future travelling back to the past, perhaps?), while a sequel to “The Robot Who Cried” wouldn’t be that hard at all to do (her adventures at school as an acknowledged robot, and how other people reacted once she had no secrets left to hide?).

A regular character may have short complete stories like “Sue’s Fantastic Fun-Bag” or individual longer story runs as in “No Tears for Molly“. Either way there is no real change in or development of the character over the time her story runs. “Merry at Misery House” was also basically a regular, with story arcs; you don’t really get a sense of a planned resolution that Merry was struggling to reach from the start of her story, it’s just… time to wrap up the story so her mum and dad announce that her name has been cleared, bang.

They can be great fun reads, with a real comfort factor – we can get to know the characters well, and look forward to seeing them again, like old friends. That is really the draw of regulars; like reading a beloved Chalet School book, we know what we are getting and that we will enjoy it. The characters can develop some strong external recognition, too – the interviewees in Mel Gibson’s “Remembered Reading” consistently mentioned long-running regulars “The Four Marys”, and “Bella” from Tammy.

On the down side? If the reader just isn’t that interested in the character in the first place, or doesn’t find their antics funny, it ain’t likely to change for the better… The main counter-example I can think of in this area is 2000AD and Judge Dredd in particular: he is a regular who has turned into a proper, fleshed-out character with a backstory, a life, and unpredictability. Through him now, all sorts of stories can be told. The Four Marys changed their uniforms and were updated to become more modern on the surface, but never changed their fundamental natures – and that is much more the usual case with regulars.

At the end of the day, a weekly publication needs a balance of different types of story, not just thematically, but also structurally. There are other types of story structure that I don’t know of within girls comics: is there an example anywhere of the Buffy tv story structure, where individual self-contained stories build up in an overall arc to a series finale? I’m sure there are other kinds of structure in girls’ comics and elsewhere: what can others think of?

Edited to add: I have thought of another kind of story structure – Worldbuilding, or Shared worlds. This is where the reader is shown an imagined world that is developed in story after story. Perhaps one set of creators are mostly responsible for writing and drawing that world, or maybe a number of different creators add their own influences to the world. In traditional British comics, I guess that Dan Dare inhabits this sort of built world, though I’m not that sure as to how much of the world we see outside of stories focused on Dare himself; it is at least a strong enough world in itself for Grant Morrison and Rian Hughes to develop their own take on it in Revolver’s “Dare“. 2000AD does a lot of this worldbuilding: what else is Judge Dredd’s universe of Megacities, isocubes, and the Cursed Earth? But in traditional girls’ comics I’m not sure I can think of any examples. This is a big shame I think as this would provide not only very fertile ground for telling stories but also a lot of ongoing reader loyalty in the way that 2000AD has seen over the years – eventually even moving into mainstream acceptance.

Edited further: Lorrbot points out in the comments that there are also examples of Spin offs, where the characters in the original story generate stories with further characters from that setup. It may not be the same case as Worldbuilding, if there is no very obvious effort to invent a whole new world different from ours, but it shares some characteristics with this.

Tammy & June 22 June 1974

Tammy & June 1974 Cover artist – John Richardson

  • Bella at the Bar (artist John Armstrong, writer Jenny McDade) – first episode
  • Secret of the Supermarket – The Strangest Stories Ever Told (artist Douglas Perry) – first appearance in Tammy
  • Sadie in the Sticks (artist Juliana Buch) – first episode
  • Wee Sue (artist Mario Capaldi)
  • It’s Great Here! – Competition
  • Bessie Bunter – first appearance
  • Summer Madness! Competition
  • Swimmer Slave of Mrs Squall (artist Douglas Perry, writer Gerry Finley-Day?) – first episode
  • Jeannie and Her Uncle Meanie (artist Robert MacGillivray, writer Terence Magee)
  • No Tears for Molly (artist Tony Thewenetti, writer Maureen Spurgeon) – new story
  • Eva’s Evil Eye (artists Charles Morgan and John Richardson, writer John Wagner) – first episode

As we have a June theme running at present, I thought I may as well discuss the issue where June merges with Tammy. The title hails it as “a great get together” and I certainly agree. In this merger, everything starts either new or anew. This makes a nice change from the usual annoyance of mergers starting with stories from both comics that are still unfinished, so new readers are irritated to start reading stories half-way through.

What comes over from June – Bessie Bunter and the Storyteller – will last for many years in Tammy. In fact, Bessie and the Storyteller are going through their second merger; they originally came from School Friend, which merged with June. Many of the Strange Stories that appear in Tammy would later make their way into Jinty with Gypsy Rose replacing the Storyteller. Some of them even turned up in June annuals during the 1980s – talk about reciprocation. Their appearance in Tammy also gave her more regulars in addition to Molly Mills and Wee Sue.

Molly Mills starts off with a great story that hooks you in immediately (well, it did me). Molly takes pity on Ada Fellows, a girl who seems to be bullied by her ex-employer and brings her to Stanton Hall for a job. Pickering the resident bully butler thinks Ada should be got rid of. And for once he has the right idea. Molly soon discovers Ada is big trouble – especially for her.

Sadly, Lucky’s Living Doll proved less durable. Although she had lasted for years in June, she did not make it to the merger. Maybe the editor decided her time was done or there was no room for her because Tammy was to retain Wee Sue and Uncle Meanie from the Sandie merger? If so, Wee Sue proved the most durable and would go through the most diverse range of artists before ending in 1982.

It would be nice to know which of the new serials were originally meant for June or Tammy; they could have appeared in either of them.

In “Eva’s Evil Eye”, Eva Lee pretends to have the evil eye to stop girls from bullying her because she is a gypsy. But what will the consequences be – especially if someone sees through Eva? “Sadie in the Sticks” belongs in the time-honoured tradition of an amnesiac girl being exploited by unscrupulous people who take advantage of her loss of memory. Sadie Wade’s only joy as she slaves in the Scraggs’ household and chippie is a talent for making matchstick models. Pretty odd considering she has a fear of fire. The start of the mystery that has to be unravelled if Sadie is to regain her memory and be free of the Scraggs. In “Swimmer Slave of Mrs Squall”, Sue Briggs is a difficult pupil at school who seems no good at anything or even try. Then, when she trespasses at the reclusive Mrs Squall’s house, her talent for swimming is discovered and Mrs Squall offers to train her as a champion. But the title warns us that her motives and methods are not all that noble.

And the best for last. The Tammy & June merger issue is a milestone in Tammy history for another reason – it marks the debut of Bella Barlow. She starts off as a serial here, “Bella at the Bar”. Like Sadie, Bella is a Cinderella story (minus the mystery). Her aunt and uncle make her do all the work, both at home and at their window-cleaning business. The only thing that makes her life worth living is gymnastics. Her talent is spotted, but her mean uncle won’t agree to training unless there’s money in it. Bella is determined to find a way, but of course there will be even more obstacles. However, this would not be just another Cinderella story. Popular demand would bring Bella back again and again until she held a joint record with Molly Mills for Tammy’s longest-running character – ten years. It is appropriate that Bella is the first serial we see as soon as we open the issue. Bella is also indicative of how topical gymnastics had become at the time with Olympic champions like Olga Korbut. Up until then there had been only one gymnastics story in Tammy – the 1972 story “Amanda Must Not Be Expelled”. But the popularity of Bella – not to mention the fluid, anatomical artwork of John Armstrong – would make gymnastics a regular feature in Tammy.

That’s it for my June contributions to this blog. My next entry will be back on topic with Jinty.

The Best of 70s Girls’ Comics Annual

(Thanks to Lew Stringer for alerting me to this new annual of IPC Fleetway girls comics material: it is sold exclusively in Sainsbury so there is little information on the internet about it.)

Best of 70s Girls Comics Annual


  • Jokes: Fun Spot and Fun Time
  • Bella at the Bar (artist John Armstrong)
  • At the Midnight Hour (text story)
  • Fancy Dressing Up? (feature)
  • Bessie Bunter
  • Good news for the birthday girl! (feature)
  • The Strange Story: Called to Save
  • Jokes: Fun Time
  • Friend of Alison (text story)
  • See Yourself – In Your True Colours (feature)
  • Sally Was A Cat
  • Tammy Jokes
  • How To Make Baubles, Bangles, & Beads (craft feature)
  • Beattie Beats ‘Em All! (artist John Armstrong)
  • Holly Takes The Plunge! (text story)
  • Beauty From The Fridge (feature)
  • No Tears For Molly (writer Maureen Spurgeon, artist Tony Thewenetti)
  • Bag of Tricks! (craft feature)
  • Crocodile, Crocodile! More Fun With Minna From Mars (artist Colin Merritt)
  • Put Your Cards On The Table! (feature)
  • The Osmonds (pin-up)
  • Jokes: Fun Spot and Five More Fun Spots

As a reader of British girls’ comics, overall I think this is reasonably well-balanced as a selection; I’m not that fond of text stories generally but they do give you something chewy to go back and read once you’ve devoured the comics (always my primary focus), and it includes a reasonable range of kinds of comic story too, as well as some of the usual kinds of features. As a particular fan of Jinty, with my Jinty-blinkers on, I was pretty disappointed with how little material from ‘my’ title showed up in this annual – the cover image is from the Jinty annual of 1975, and it is possible that some of the jokes or features are taken from an issue that I don’t recall, but none of the stories do*. Fans of Tammy will find more in it that they remember.

That aside, it is a publication that I will be happy to share with my young daughter even if it doesn’t trip the nostalgia-button that the publishers may have been expecting. It’s not that large a book – 72 pages is thinner than the usual run of annuals – but it has some fun items to look through with her, without me needing to trust fragile forty-year-old paper to her tender mercies.

* Edited to add: “Minna From Mars” is taken from the 1976 Jinty Annual, but there is no representation of any of the stories from the regular Jinty weekly issues.