Tag Archives: Tammy

John Richardson: Comics Bibliography

Goof from the Comics UK Forum has kindly supplied a list of the comics work done by John Richardson over the years.


Misty
Serials:
End Of The Line… 12/08/78 – 18/11/78

Short Stories:
Red Knee – White Terror! (Beasts Story) 4/2/1978
Green Grow The Riches – O! 18/2/1978
The Dummy (Nightmare Story) 25/2/1978
The Secret Of Lan-Shi… (Beasts Story) 11/3/1978
The Haunting (Nightmare Story) 18/3/1978
Napoleon Comes Home… (Beasts Story) 25/2/1978
Miranda 22/4/1978
Stone Cold Revenge 6/5/1978
Sticks And Stones 20/5/1978
A Spell Of Trouble (Nightmare Story) 15/7/1978
Titch’s Tale… (Beasts Story) 29/7/1978
Dance Of Death 5/8/1978
Yet Another Teacher For Molly! (Nightmare Story) 16/12/1978
Examination Nerves 23/12/1978
A Girl’s Best Friend 30/12/1978
The Sad Eyes Of Sorrow 13/1/1979
Happy Birthday, Spooky Sue! 20/1/1979
Pot Luck 10/3/1979
The Curse Of The Wolf 31/3/1979
The Choice Of Silence 14/4/1978
The Uglies 14/4/1978
One Hour In Time 12/5/1979
The Disembodied 26/5/1979
A Stain On Her Character 23/6/1979
Framed 14/7/1979
The Writing On The Wall 21/7/1979
Time To Spare 18/8/1979
Inside Story 25/8/1979
Mrs Grundy’s Guest House 29/9/1979
The Pig People 1/12/1979
Smile 5/1/1980
Black Sunday Summer Special 1978
Old Ethna’s House Holiday Special 1979
The Pipe Dream of Marty Scuttle Holiday Special 1979
The Swarm Annual 1979

Tammy
Serials:
The Duchess of Dead-End Drive 2/03/74 – 16/03/74

Short Stories:
Moonlight Prowler 17/7/1982
Shock Treatment 20/11/1982
Carla’s Best Friend 15/1/1983
(Reprint from Misty “A Girl’s Best Friend”)
The Turning Point 12/3/1983
Donkey’s Years 17/9/1983
Fair Shares 24/12/1983?

Strange Stories:
This is Your Life 14/6/1980
The Beauty Contest 6/3/1981
Monster Movie 28/3/1981
Lost for Words 11/4/1981
The House of Leopards 9/5/1981
Water Under the Bridge 13/6/1981
The Carrier Bag 22/8/1981
Quicksilver 16/9/1981
Down to Earth 10/10/1981
Safe as Houses 17/10/1981
Unmasked 20/12/1981
Star Born 26/12/1981
The Burry Man 20/3/1982
All the Fright of the Fair ?
(?) The Pharaoh’s Daughter’s Stand-In (?) ?

Monster Tales:
The Gargoyle 16/1/1982
The Guardian 27/2/1982
Old Bug’s Last Trip 15/5/1982

Series: Wee Sue:
Weekly episodes 14/09/74? – 1982?
(Main artist from September 1974 to March 1977?)
1 story Annual 1977
1 story Annual 1979
3 stories Annual 1982
1 story Annual 1984
1 story Summer Special 1975
1 story Summer Special 1976
3 stories Holiday Special 1982
1 story Holiday Special 1983

Text Stories:
…Through Rose-Coloured Glasses Annual 1982
Star of Wonder Annual 1982

Comic Covers:
The Cover Girls 20/08/1973 – 04/10/1980
Annuals 1979 – 1982, 1984
Holiday Specials 1979 & 1980

Filler Artist:
Eva’s Evil Eye 31/8/74(?) – 07/09/74

Jinty
Series: Could It Be You? (or Is This Your Story?)
(Reprints from the June series) 1976 – 1977

Gypsy Rose Stories:
The White Blackbird (reprinted Strange Story) Holiday Special 1980
The Yellow Dress (reprinted Strange Story) Holiday Special 1980

Bunty
Serials:
Phantom of the Fells 348 (12/09/64) – 358 (21/11/64)

Judy
Picture Story Libraries:
Green for Danger No 237 (January 1983)
Dora’s Dragon No 254 (June 1984)

Mandy
Serials:
The Girl with the Black Umbrella 300 (14/10/72) – 313 (13/01/73)

Other:
Stella Starr – Policewoman from Space Annual 1974
Stella Starr – Policewoman from Space Annual 1975

June
Series: Could It Be You?
Some of the weekly episodes Early 1970’s?
1 story June Book 1973

Series: Lucky’s Living Doll
Filler artist for the weekly series 30/09/1972 – March(?) 1973
2 stories (reprints) June Book 1982

Strange Stories

When the Clock Stopped (1/1/1972)

The Haunted Room (18/3/1972)

Princess Tina
Filler Artist:
Clueless – The Blunderdog 22/4/72, 29/4/72, 27/5/72, 15/7/72

School Friend
Short Stories:
The Misfit (possibly reprint from longer story) Annual 1973
Elfrida of the Forest Annual 1975

Scream!
Serials:
Terror of the Cats 24/03/1984 – 28/04/1984
The Nightcomers 05/05/1984 – 30/06/1984

Short Stories:
A Ghastly Tale! – Green Fingers 7/4/1984

Pink
Short Stories:
Miss Get-What-She-Wants Annual 1975

Mirabelle
Serials:
A Song for Andrella ? 1977 – ? 1977
Later episodes, following Horacio Lalia (serial started 19/02/77)

Buster
Filler Artist:
The Leopard from Lime Street ? – ?

Guest post: John Richardson

Comics UK Forum poster Goof has kindly contributed the following appreciation of artist John Richardson, along with a detailed comics bibliography. Many thanks indeed, Goof!

John Richardson, who died earlier this year, was not a Jinty artist. He drew no serial stories for Jinty – in fact, he did few full serials of any kind – and is represented only by a few reprints. Yet for other girls’ comics, especially Tammy and Misty, he produced a body of brilliant and original work across a wide range of stories from the darkest horror to the craziest knockabout comedy.

Like nearly all artists who worked for girls’ comics, he was largely anonymous to his many readers, and information about his life isn’t easy to find. Born in 1943 in the North Yorkshire mining town of Eston, he started working as a commercial artist after studying at Art College. Before this, he once assured an interviewer, he had tried his hand at farm work and professional wrestling.

His earliest work includes what seems to have been his first foray into girls’ comics, the 1964 Bunty serial “Phantom of the Fells”. During the 1970’s, he worked on several IPC girls’ comics such as June and Princess Tina, and did a serial and some smaller items for D C Thomson’s Mandy. He also did a couple of series for Cheeky Weekly comic, and the cartoon strip “Amanda” for the Sun newspaper.

Around this time he also began his long run of work for Tammy, which over the years made a significant contribution to the character of the comic, especially his series of “Cover Girl” covers which did so much to define to look of the comic between 1973 and 1980, and his period as the main artist for the “Wee Sue” series. He continued to produce stories and covers for Tammy until the end of 1983.

He contributed short complete stories to Misty throughout its two year run, as well as the serial “End of the Line“, and took full advantage of the extra space which Misty offered to artists to create some of his most spectacular work.

During the 1980’s, he drew for 2000AD, especially “The Mean Arena”, a science fiction serial that he also wrote, and contributed to the serials “Ro-Jaws’ Robo Tales” and “The V.C.s”. He also drew two serials and a short story for Scream! He drew and wrote the cartoon strip “Flatmates” for the Sunday People newspaper, and strips for specialist car and bike magazines. Most memorably perhaps out of his cartoon work, he created the Goonish comedy science fiction strip “Jetman” for a computer magazine called Crash.

Unlike a number of artists who worked on IPC’s girls’ comics, it seems that he didn’t move over to D C Thomson after the last IPC picture story girls’ comics ceased publication in the mid-1980s, although he did produce two Judy Picture Story Libraries in 1983 and 1984. I have not been able to find any further girls’ comic work after the demise of Tammy, and it looks as if he may have stopped working for comics altogether around this time. The latest comics work that I have been able to trace was in two issues of the Enid Blyton’s Adventure Magazine, published in July and December 1986.

It’s not clear why he did comparatively few full serials during his 20 years drawing for comics. I have seen it suggested that he had no great liking for drawing stories written by other people, and this may have discouraged him from working on long serials, where the artist would normally work more or less under instructions from the writer. It may be no accident that some of his best and most inventive comedy is in the Tammy series of Cover Girl covers, where he was free to interpret the joke in his own way because the jokes were purely visual. Many brilliant examples of this series are illustrated in Mistyfan’s History of Tammy Covers on this website.

He had the kind of style which once seen, was instantly recognisable, and yet this didn’t seem to limit his ability to adapt to almost any kind of story. He once said in interview that his work as a last-minute substitute for other artists had helped him to “learn from other people and gradually evolve something unique”. It’s an interesting thought that imitating the styles of other people can help you develop an original style of your own, but certainly his frequent work as a filler artist didn’t stop him developing a highly individual and spontaneous style, with a good feel for human anatomy and convincingly realistic facial expression.

Although he could turn his hand to almost any type of story, his best work in girls’ comic stories was in horror and farcical comedy. He had a tremendous flair for the grotesque, and he was able to turn this to account equally in horror and comedy. There’s nothing unusual about extravagantly hideous creatures in horror tales, but John Richardson’s had an exuberance which was all his own, like this example from “The Uglies” (Misty 14 April 1978):

John Richardson artwork from Misty

He could handle bizarre comedy with the same panache, even when the subject was something as humdrum as a parking meter (“Stella Starr – Policewoman from Outer Space” from Mandy Annual 1975):
John Richardson artwork from Mandy

But the impact of his work didn’t depend solely on his command of the grotesque and fantastic. He could convey the same chill in a horror story by the power of suggestion, through his flair for facial expression, and ability to compose a powerful page layout. From “Black Sunday” (Misty Summer Special 1978) and “Old Ethna’s House” (Misty Holiday Special 1979):

John Richardson artwork from MistyBlack Sunday

John Richardson artwork from MistyOld Ethna

He was also able to draw on his cartooning experience to enliven slapstick comedy stories, as in the Judy Picture Story Library “Dora’s Dragon”, where a dragon costume brought to life by a witch becomes a boisterous mini-Godzilla enthusiastically devouring anything that moves:

John Richardson artwork from Judy PSLDora’s Dragon

Although his style was so distinctive, he was well able to adapt it when taking over an established series from another artist. The Tammy series “Wee Sue” is an interesting example of this. He succeeded to the original Tammy series artist Mario Capaldi in the issue of 14 September 1974, but unusually, he did so in mid-episode. Here are the first two pages of the episode:

Mario Capaldi/John Richardson artwork from Tammy

John Richardson artwork from Tammy
Page one is clearly in Capaldi’s style, and I would say that the end of page two is clearly by
Richardson, although he has toned down the normal character of his work to harmonise with Capaldi’s. But at what point did he take over? I personally think that Capaldi drew the first three panels of the second page, and Richardson did the rest. The point is debatable, but it certainly shows how well Richardson was able to adapt his style to conform to the very different style of another artist. By way of contrast, here’s a later episode where he has remodelled Sue’s enemy Miss Bigger from the severe and tight-lipped martinet created by Capaldi into a crazed hobgoblin in his own distinctive style (issue of 26 February 1977):

John Richardson artwork from Tammy

I strongly feel that this art should be known and celebrated far more than it is, but as so often with girls’ comics, the first stumbling-block to recognition is simply a lack of reliable information about what work the artist did. Contributors to the Comics UK Forum have compiled a list of the work he is known to have done for girls’ comics, and this will be posted next. Inevitably, it’s not complete, and we would be grateful to hear from anybody who can offer further additions, or spot any mistakes. If you can give us any help with this, please let us know.

The Dream House [1977]

Sample Images

 

The Dream House 1a

The Dream House 1b

The Dream House 1c

Published: Tammy 12 March 1977 to 23 April 1977

Episodes: 7

Artist: Mike White

Writer: Unknown

Translations/reprints: Princess (second series) 26 February 1984 – 31 March 1984 (one double episode); Tina #35 1984 as Het mysterie van het poppenhuis [The mystery of the dolls’ house]

Plot

Jan Dale has taken a temporary job as a nanny to a wealthy family. At first glance the house looks a “dream house”, the sort Jan would buy if she won the pools. Then she is informed Mr Glenn the owner disappeared two days ago; just vanished into thin air while gardening, it seems. His disappearance spooked the staff into leaving except the housekeeper, Miss Royd. Mrs Glenn is a bag of nerves, shrieking, “I won’t go in there! Please! Let me stay outside!” Now what can she mean by that? Elder daughter Diana Glenn is a rude, unpleasant type, and the younger children John and Becky are playing with a dolls’ house that is an exact replica of the house. Later Jan learns the busy parents neglected the younger children, so they turned to spending time with it.

Jan notes there are no dolls in the house, but later she and Diana see a doll outside it that looks just like Mr Glenn. Diana thinks it’s her siblings playing a cruel joke, but later Jan hears a voice calling for help from inside the dolls’ house. Becky says it’s “Silly old Dad!” and John aggressively tells her to shut up.

John and Becky show Jan doll’s clothes in the drawer, saying there will be more dolls in the house soon. Jan is shocked to realise the doll’s clothes are replicas of the clothes she brought with her – but how can that be when she only arrived a few hours ago? John says it’s because the dolls’ house knew she would be coming. Miss Royd tells Jan the dolls’ house is evil. Eventually John and Becky tell Jan they found the dolls’ house in a secret room in the house and show it to her.

Mrs Glenn just vanishes into thin air without explanation. Jan hears her voice calling from the dolls’ house and a hand waves from the window in the dolls’ house. Sure enough, it’s a doll-sized Mrs Glenn screaming for help. But when Jan rouses Diana the doll has disappeared. Diana wants Jan out, but the younger siblings insist she stay, and warn Diana she will be the next for the dolls’ house.

That night Jan has a dream of standing outside the dolls’ house, a voice calling her in, and don’t fight it. At first Jan resists but then calms down and welcomes it; it looks so peaceful in there. Then she wakes up, saying the sun woke her up in time from being snatched by the dolls’ house.

The dream is a forewarning of what happens to Diana. Jan sees her abruptly vanish from the grounds and heads to the dolls’ house, where she sees Diana about to open the house, urging it to let her in. Jan stops Diana in the nick of time, and even Diana is becoming convinced Jan is right. She flees the house in terror, but then she does disappear, as do the doll’s clothes that matched hers. Then Miss Royd and Jan see all three dolls in the house.

Realising she is next, Jan tries to destroy the dolls’ house with an axe, but Miss Royd stops her. Then Jan realises something: there are no doll clothes for Miss Royd, so the house was not planning to take her. Now why could that be?

Caught out, Miss Royd reveals she is behind the dolls’ house. She came with it and lived in it for centuries, and Jan and the Glenns are going to do the same. She was a squire’s wife who sought to discover the secret of eternal life. Frustrated with her constant failures she exclaimed, “Let the devil take anything of mine if I can succeed!” At this, a fire broke out, burning her house down, and the dolls’ house mysteriously appeared. Taking it as a sign, Mistress Royd ordered her new house (now the Glenns’) to be an exact replica. She also ordered a secret room to be built into the dolls’ house and the real one. She had the man who built them murdered, but he made a statement before he died, and the authorities came to arrest her. Mistress Royd and her niece Mary headed for the secret room, but soon realise the authorities had been informed about it. Working through Mary’s mind, Mistress Royd hid in the secret room in the dolls’ house. She stayed there until her mind reached out to John and Becky. Like Mary, they were young children, and her mind can only work through children.

Miss Royd says that it’s not just Jan who is going in there now; John and Becky are going in there too, and they are delighted about it: “It’s lovely being a doll!” She has them believe, and they’ll all be very happy in there. However, Jan manages to turn the power of the dolls’ house against Miss Royd: she persuades Becky and John to let Miss Royd go in first and let the family out, saying this will enable Miss Royd to find out how happy she is being a doll. This sends Miss Royd right back into the dolls’ house and frees the trapped people.

Jan soon finds nobody except her remembers what happened. The parents find they suddenly hate the dolls’ house for some reason and want it gotten rid of. So Jan puts the dolls’ house back in the secret room. She can only hope no other child finds it – Miss Royd is still in there, waiting and calling to be let out.

Thoughts

Surprisingly, Tammy didn’t often run serials on evil dolls, objects or influences, which makes the theme quite refreshing here. By contrast, DCT ran such stories with great abandon, which is another peculiar difference between IPC and DCT. Maybe one of these days we should have an analysis on how IPC and DCT had such differing emphases on serial themes and why this might have been.

The story establishes the theme and the mounting evil very quickly, which is not surprising as it has only seven episodes. So there is no padding or drawing out of the plot. The plotting is tight and well paced, and the evil is closing in fast like a tightening coil, which makes it even more gripping and scary. Unlike some evil doll/toy stories, it does not take long for Jan to realise the evil of the house and what’s progressively happening to the people who disappear. After all, it’s pretty obvious, what with the dolls’ clothes matching the people in the house, the dolls being replicas of the vanished people, the cries for help from the house, and what everyone else in the household is saying about the dolls’ house.

Unlike many protagonists in evil influence/object stories, Jan does not have a frustrating time trying to convince anyone what’s going on, only to find everyone thinks she’s nuts. Miss Royd already says the dolls’ house is evil (but of course she knew that all along). The young children know what’s going on but embrace it and even facilitate it. Mrs Glenn can already sense it coming and is scared out of her wits. Only Diana rubbishes it, but deep down she has her doubts, and it’s not long before her doubts turn into terror.

The family dysfunction (neglectful parents, unpleasant big sister) clearly made John and Becky easy targets for the dolls’ house and falling under the power of Miss Royd. It appeared to offer them happiness, comfort and peace, and would make them all one happy family once they were all inside, as dolls. From what we gather from Jan’s dream and how Diana almost got enticed in, this is how it lures them all in and gets the children into its power. Like its real-sized counterpart, it appeared to be the dream house. But once they were all inside, they would soon find it was really the nightmare house. Once released, Dad’s remark that he now hates the dolls’ house for some reason gives the impression that although they don’t remember anything, they will be wiser for the experience and work on being a better family unit.

Miss Royd is clearly a cautionary tale in the consequences of dabbling in the dark arts and tempting the Devil. Though the Devil does not seem to be after souls – after all, what he gives Miss Royd offers eternal life – any gifts from him will have strings attached. The dolls’ house is no exception. It grants eternal life – but from the look of it, it’s eternal life as a doll. Is that really the lovely and happy thing Miss Royd says it is? We don’t think so from the way the Glenns keep screaming once they are trapped in the house. Or Miss Royd herself once she is returned to the house. She screams at Jan to let her out, in the way Mrs Glenn did. Aww, poor diddums Royd – don’t you like it in the dolls’ house, even if it does give you the eternal life you wanted?

The Dance Dream [1977]

Sample Images

The Dance Dream 1

The Dance Dream 2

The Dance Dream 3

Published: Tammy 16 April 1977 – 4 June 1977

Episodes: 8

Artist: Douglas Perry

Writer: Anne Digby

Translations/reprints: Girl annual 1982; Tina in 1980 as ‘Dans, Diana, Dans!’ and in 1984 reprinted in Tina Dubbeldik Superalbum 14.

Plot

In 1938, orphan Diana Watts dreams of becoming a ballerina and she idolises famous ballerina Diana Oberon. She has moved to London to get close to Oberon and whenever she sees Oberon it always seems like Oberon has always known her, though the two have never met. Oberon just seems to act like some spiritual guide and mentor to Watts, offering encouragement and help, no matter how hard things get. It certainly is hard: no money to pay for lessons or proper ballet gear; cribbing all she can from books; no space to practise except in the attic room she rents; no music; and scrimping to buy a gramophone.

Oberon lends her mysterious hand to help Watts get the gramophone, and some music to go with it. (Once the music is introduced the story keeps making a glaring error: it repeatedly says The Dance of the Dying Swan is in Swan Lake; it isn’t.) However, practising to music gets Watts evicted for being too noisy. Watts manages to find other accommodation, but it’s not very nice (basement room, rats). It’s more expensive – so less money for ballet lessons – and less room to practise. But after meeting Oberon, who says good things are going to happen to her, Watts feels encouraged again.

Soon after, Watts’ dingy new room looks better and she realises the basement area outside makes a ready stage for her to practise on once cleaned up. This gets her noticed by Mr and Mrs Hartley who own a ballet school. Upon seeing her talent they offer her private lessons, and don’t worry about fees. After this, Watts is convinced Oberon has strange powers and she arranged all this.

Watts strikes another problem at dance class: no ballet gear of her own and her ballet shoes are too tatty. But not for long: Oberon turns up in her mysterious manner with a bag full of everything Watts needs. Soon Watts’ ballet lessons are going so brilliantly that she is accepted by the London Company.

Suddenly Watts is shocked to find Oberon not appearing because she is indisposed. Then she has a horrible vision of horrible black hands reaching out for Oberon and realises it is a premonition. While rushing to Oberon’s house to warn her, Watts gets knocked down by a car.

Watts regains consciousness at a Swiss clinic and seems to hear her gramophone playing. Her legs are paralysed. Oberon appears, and tells Watts she has a destiny to fulfil, but is not specific on what that destiny is. Oberon puts Watts through a series of tests to get her to walk and eventually to dance again. Watts’ final test is to dance before an audience while every muscle in her body still gives pain. Oberon tells Watts to forget the pain and just dance for her audience. She does so, finding the music just seems to drive the pain away. The applause is thunderous and Watts tells Oberon she is cured.

Oberon tells Watts her destiny is to take her place as “Britain’s foremost ballerina”. She then says goodbye to Watts forever.

Watts regains consciousness in the hospital. She has been in a coma all the time and the Hartleys were playing the gramophone music in the hope it would wake her. The doctors are baffled as to how Watts, who was completely paralysed, has recovered, and is now dancing even better than before. It turns out that Oberon, who was taken ill, died at the precise moment Watts woke up from her coma. Watts vows to fulfil her destiny to carry on from Oberon as Britain’s leading ballerina, starting with the London Company.

Thoughts

This is quite a charming story. It is likeable and enjoyable to read. Nobody would call it average or boring. The writer remembers it fondly. We like the period setting, the hot chestnut job, the supernatural elements, struggling to dance in lousy accommodation, and Watts’ ultimate battle to overcome her paralysis and learn to dance again. We even like the touch of the mean landlady who offers Watts the basement area, which we suspect the landlady is overcharging for.

However, we feel that Watts does have it a bit too easy compared with other dancers in girls’ serials. Her story is not given enough episodes to really flesh things out or put more tribulations in her path. For example, we never see how Watts gets on at the London Company. And the obstacles Watts faces do not feel all that much of a threat. We get the impression they are only superficial and fleeting because they will be overcome the moment Oberon appears, which she always does.

Oberon acts too much like a deus ex machina who is always bailing Watts out of every fix she gets into. Yet it’s never in person. It’s always in a vision or appearing with dark glasses and a hood, like some fairy godmother. This also creates a bit of overdependence on Oberon. We are left wondering how Watts is going to cope now Oberon is dead and said her goodbyes. Is it here that her real tests of character will begin?

There is a real mystery as to how the power of Oberon over Watts actually works and it’s one of the most baffling in girls’ comics. Unlike the “Spirit of the Lake” she is not a ghost and is not dead (until the end of the story). There is no evidence of Oberon having actual powers. The two women are not related, nor are they twins. The only things they have in common are their love of ballet and having the same Christian name. Yet both women sense there is some sort of link between them and one is destined to follow on from the other. Perhaps everything can only be left to the readers’ imagination.

Tammy 21 January 1984

Tammy cover 21 January 1984

Cover artist: John Armstrong

  • Foul Play (artist John Armstrong, writer Ian Mennell)
  • Julie’s Jinx (artist Julian Vivas, writer Nick Allen)
  • Pam of Pond Hill (artist Bob Harvey, writer Jay Over)
  • The Crayzees (artist Joe Collins)
  • First Term at Trebizon (artist Phil Gascoine, writer Anne Digby)
  • The Button Box (artist Mario Capaldi, writer Alison Christie, sub-writer Linda Stephenson)
  • Fashion Flashback – feature (Ray Mutimer)
  • My Terrible Twin (artist Juliana Buch)
  • Fun Time – feature
  • Swansea Jack (artist Douglas Perry, writer Linda Stephenson)
  • Queen Rider (artist Eduardo Feito, writer A. D. Langholm aka Alan Davidson)
  • Warm as Toast! Feature (Mari L’Anson)

The issue for 21 January 1984 has been chosen for 1984 in the conclusion to Tammy round robin.

Foul Play is unusual for being a non-Bella story drawn by John Armstrong. Katie Johnson received a serious hand injury during a hockey match. Her friends and family are convinced one of her own team mates deliberately caused it because they had always resented her. Katie doesn’t believe a word of it, but now someone is doing nasty things against the team. This week one gets her room vandalised and another gets her heart broken over a hoax call that her father was going to visit. Katie takes on the job of unravelling the mystery, and it must begin with the heartbreaking task of investigating her own friends and family as suspects.

My Terrible Twin is being reprinted by popular demand. The episode this week has already been discussed here, so we will move on.

In Pam of Pond Hill, a flu strain is causing chaos in town. It only seems to target the adults, which is giving the kids a bit of a free rein at home and school. But it’s not all fun for Pam. Cherry Laurence, the big-headed bully bossyboots who was unwisely appointed as a prefect, has now been put in charge of her form!

Tammy had always been running TV and book adaptations but now she is running two at once: The First Term at Trebizon and Queen Rider. Both the authors are former writers for IPC girls’ titles.

This week’s Button Box tale is a rags-to-riches story that centres on the Mexican art of dressing fleas. Swansea Jack, probably the last story Douglas Perry drew for Tammy, gives us the story of Swansea Jack, the dog who gave his name to a tavern by saving the lives of children at the docks of Swansea.

Julie Lee (who keeps her Romany background secret) gives her friend Gloria a Romany charm, but her horse has been acting strangely ever since. A nasty girl is spreading a rumour it is a bad luck charm. Julie is trying to find a way to deal with the problem quietly while not knowing what to make of it herself. Is the gift really “Julie’s Jinx”?

Tammy 23 April 1983

ITammy cover 23 April 1983

  • Bella (artist John Armstrong, writer Primrose Cumming)
  • Different Strokes – first episode (artist Santiago Hernandez, writer Charles Herring)
  • Nanny Young (artist Phil Gascoine, writer Tom Newland)
  • The Button Box (artist Mario Capaldi, writer Alison Christie)
  • This is Your Road to Fame! – Quiz (artist John Johnston, writer Maureen Spurgeon)
  • Menace from the Moor – complete story (artist Peter Wilkes)
  • Pam of Pond Hill (artist Bob Harvey, writer Jay Over)
  • Fame at Last! (artist Tony Coleman, writer Marianne Nichols)
  • The Secret of Angel Smith (artist Juliana Buch, writer Jay Over)
  • Make Your Own Container Gardens – feature (Chris Lloyd)

 

April 23 1983 has been selected for 1983 in Tammy round robin. Fame is big in this issue because of the Fame gifts attached. Tammy accompanies the Fame theme with a “Fame” quiz and the complete story “Fame at Last!” Kirsty Brown’s school is having a talent contest but she does not think she is talented at anything. But helping the other contestants gets her a special prize and they tell her she has a gift after all – for starmaking. Maybe Kirsty will become an acting agent when she leaves school?

The issue reprints “Menace from the Moor”, a recycled Strange Story. At this stage in Tammy’s run we get recycled Strange Stories where boring text boxes and drawn-in panels replace the Storyteller and his dialogue.

In new story “Different Strokes”, when teacher hears new girls Jacintha and Samantha Carwen are twins she is dismayed, as that usually means trouble. It does, but not in the way she thinks. The twins are as different as chalk and cheese. The only thing they share is an intense sibling rivalry, and they squabble and bicker all the time. Next door neighbour, Tracy Maine, who befriends the twins, is caught in the middle, and she soon suspects there is a mystery attached to the twins’ rivalry as well.

Bella keeps her savings in her suitcase instead of banking them, saying she does not understand “cheques and things” (insufficient education), despite warnings it is not wise to keep her savings like that. But at the end of the episode she pays the price when a burglar breaks in and her savings are stolen. Well, you were warned, Bella.

Goofy has been having enormous difficulty in shooting a film of Pond Hill for a competition. But now he is well out of it when the school bully vandalises his camera.

Nanny Young has been having problems with a young girl, Barbara, who is jealous of her new baby brother. But in this episode she hits on the solution: get Barbara to take an interest in the baby by allowing her to help with minding him.

In this week’s Button Box tale, Lily hates wearing button boots. Then she encounters a crippled girl who changes her mind about them; she realises she is lucky to be able to wear them because she can walk.

“The Secret of Angel Smith” was Tammy’s last circus story. Abby Fox has always resented Angel Smith, the girl who pushed her way into her father’s trapeze act while Dad won’t allow Abby in it because he does not want to lose Abby the way he lost his wife. Abby has ended up in hospital because of it all, but ironically it is Angel who talks Abby into getting fit again, saying she is going to find a way to help her into the act. When Abby gets back to the circus, she discovers this means taking advantage of Dad being absent on an international tour.

Tammy & Jinty 27 March 1982

Tammy cover 27 March 1982

  • Bella (artist John Armstrong)
  • Danger Dog (artist Julio Bosch)
  • Pam of Pond Hill (artist Bob Harvey, writer Jay Over)
  • The Crayzees (artist Joe Collins)
  • Dance of Death – the Strange Story (artist Hugo D’Adderio)
  • Little Sisters (artist Mario Capaldi)
  • Nanny Young (artist Phil Gascoine)
  • Bessie Bunter – Old Friends
  • The Human Zoo (artist Guy Peeters, writer Malcolm Shaw)
  • Sandy – A Fresh Start… (artist Juliana Buch)

 

Bella is in the finals for the Superkid Contest, and will receive advanced coaching if she wins. But she has problems with the press sniffing around her and then being asked to sign a form endorsing Superkid products. The trouble is, she has never used them and can’t in honesty sign the form.

This issue has one of my favourite Pond Hill episodes: the episode that concludes the St Dorrit’s storyline, and it appears below. Pam’s form has been temporarily housed at St Dorrit’s, a super-snob school, when Pond Hill’s foundations collapse. But from beginning to end the snob school, staff and pupils alike, did not make the Pond Hill pupils welcome and did everything possible to make their lives miserable and uncomfortable. In the conclusion, Pond Hill reopens and Pam & Co get their long-awaited revenge on St Dorrit’s. Mind you, I still can’t figure out how the snobs actually fell for the trick Fred and Terry pulled on them. Maybe they can’t either.

(Click thru)

 

When Misty merged with Tammy, Strange Stories changed to “Strange Stories from the Mists” with the Storyteller alternating with Misty in narrating them. After the Jinty merger it went back to Strange Stories, with the Storyteller alternating with Gypsy Rose. It was a total delight to see that the Gypsy Rose stories during this run were 100% new material; no tired reprints from Jinty or recycled Strange Stories. This one, “Dance of Death” (or should that be “Dance with Death”?) is so creepy and atmospheric that I can’t help wondering if it was originally scripted for Misty. Anyway, the story is worth reproducing here for the Hugo D’Adderio artwork.

(Click thru)

 

It is part two of “The Human Zoo” reprint, brought about by popular demand. Presumably this included “Pam’s Poll” way back in 1980. Shona and Jenny Lewis, plus other captured people, find out what it is like to be Mary Celeste when they fall into the clutches of the aliens who are hinted to be responsible for Mary Celeste. The aliens think humans are just animals – and they treat animals like animals too. They take them away from Earth to the cattle market on their home planet. For Shona and Jenny it is extra anguish as they get sold to different owners, and are forcibly separated. Now it’s not just survival and escape but also finding each other again.

In Nanny Young, Nanny is not deemed suitable for turning Cockney girl Charity Ogden into a refined young lady. Though Nanny still has her job, the task of refining Charity has been given to a Miss Hooper, who is a real bully. But that’s only the start; Charity overhears a conversation that warns her Miss Hooper is some sort of criminal, but she can’t even convince Nanny of this.

In “Little Sisters”, gran complains that she’s hard up. Inspired by the loss of her own tooth, dear little Samantha comes up with an idea that might help: give gran’s false teeth to the Tooth Fairy in exchange for money. The trouble is, she does not advise anyone first, and gran’s in a flap when her teeth go missing. But that’s nothing on big sister Carol, who is assigned the role of Tooth Fairy to Samantha. She gets the false teeth on her arm and screams the house down!

Bessie Bunter is not keen on a cross country run until she hears that there is a feast waiting at the other end. All of a sudden she’s off at breakneck speed. Of course there are difficulties along the way, including Bessie getting stuck in an oak tree and mist arising, but she ends up saving a driver from a nasty accident. This makes the feast even more of a reward for her.

Crunch time for Beth, who is trying to keep her dog Sammy hidden from the authorities, who suspect he is contaminated from a laboratory experiment. Beth didn’t believe it, but now she finally realises it is true: Sammy causes all sorts of weird effects in humans who get too close to him for too long. He is a danger dog after all.

In the Sandy Rawlings stories, Dad has a long history of causing complications for Sandy by shoving her towards boys he thinks are suitable for her instead of giving her freedom to try things out for herself. To make things worse, his choice of ‘suitable’ boyfriends are directed by his snobbishness and business contacts, not compatibility or what Sandy wants. In this episode, it leads to such a horrible tangle of complications (no going into details) that Sandy is not only in deep trouble with Dad but with the whole school as well. Sandy, who has only just got out of being the school outcast (also because of Dad), is now the school outcast again.

Tammy & Misty 26 January 1980

Tammy cover 26 January 1980

Cover artist: John Richardson

  • Bella (artist John Armstrong)
  • Cindy of Swan Lake (artist Ana Rodriguez)
  • Sister in the Shadows (artist Giorgio Giorgetti)
  • Spider Woman (artist Jaume Raumeu)
  • Wee Sue (artist Robert MacGillivray)
  • The Witch in the Window – Strange Story from the Mists (artist Tony Higham)
  • Miss T (artist Joe Collins)
  • Make the Headlines, Hannah! (artist Tony Coleman) – final episode
  • Daughter of the Desert (Mario Capaldi)

Part two of the Tammy & Misty merger has been chosen for 1980 in the Tammy round robin. For the second – and last time – Misty shares the cover with the Cover Girls. Afterwards the cover returned to the Cover Girls and Misty never occupied a cover spot again. Poor Misty.

To further commemorate the merger, next week we are getting the House of Mystery game, where we become one of our favourite Tammy characters (Molly, Sue, Bessie or Bella) and try to escape from the House of Mystery. Which Tammy character would you pick for this game? Misty readers would probably go for Sue or Bella as they haven’t seen Molly or Bessie yet in the merger.

Tammy is working on clearing out her older stories so she can make way for the new ones she has already indicated are waiting in the wings. “Make the Headlines, Hannah!” finishes this week. Hannah not only succeeds in making a name for herself at long last but also gets on television. Funny – the possibility of appearing on television was something she fantasised about way back in part 1. And it wasn’t for the money her Uncle promised as her mean sisters thought. It was winning respect and proving to everyone she was not a born loser.

“Daughter of the Desert” looks like it is heading for its conclusion. The episode itself says as much: the protagonists reckon everything is coming to a head and they are about to find out why the school has been plagued by strange desert phenomena ever since the Arabian princess Aysha arrived. What makes them think that? The mystery “Arab” behind it has cut off the water’s school supply for 24 hours and now they are all going as dry as the desert.

“Cindy of Swan Lake” still has longer to go, though its conclusion can’t be far off either. Jealous Zoe Martin is still playing on Cindy Grey’s worries about her sick swan, who is dying from pollution. This week she allows Cindy to get the lead in Swan Lake. Why? She calculated Cindy would get too upset at doing the Dance of the Dying Swan in it to continue with the role and she would get it, and she was right…oh for #^%@’s sake! Will someone please tell the Tammy editor the Dance of the Dying Swan is not in Swan Lake? It’s a separate solo dance!

Like Hannah, Wendy the “Sister in the Shadows” is overshadowed by a successful sister (Stella) and trying to prove herself against comparisons, bullies, lack of self esteem and sabotage. This week, Wendy’s debut is on stage is a disaster because of nasty tricks from the bullies, but there is insult to injury as well. Wendy’s parents totally forgot to come and watch her, but as far as they are concerned, Stella phoning to say she might visit for the weekend (which she doesn’t) was far more important anyway. Not exactly making things up to Wendy for letting her down, are they? From this, we can see Hannah definitely had it easy compared to Wendy in proving herself and winning respect. And at least Hannah had some friends to help. Wendy has none at all.

Bella has a long history of getting stranded in foreign countries. She’s only two episodes into her new story and it’s happening again: she is stranded in the US, trying to win a championship to qualify for the Olympics, but her wealthy guardians fail to show up. They abruptly cancel and don’t even send a message to Bella to explain why or arrange help. Now this is really irresponsible, even if something bad happened to them back there. They’ve really left her in the lurch and Bella is not getting much help from the coaches either. It’s no wonder she gets off to a bad start when the event gets underway. The vault, which was never her strong point, is already down – in flames.

Spider Woman has discovered witnesses have stumbled onto her evil plan. To deal with them she strands them on a deserted island that used to be a leper colony. Too late they discover it was a trap. And they have to live in rundown huts. As if that weren’t bad enough, the former occupants were the lepers and there are rumours their ghosts still haunt the huts. Then they discover the boat Mrs Webb used to bring them to the island is now covered with spiders, so there is no getting off the island with it. But what about Mrs Webb herself? Where has she got to? Did she get off the island on another boat…or what?

In Wee Sue, it’s charity fundraising time at Milltown Comprehensive. Sue’s idea is bash up one of the old bangers from the council tip and see who can guess the correct number of parts. Of course Miss Bigger and Wee Sue get into all sorts of scrapes towing the old banger to the event, but they do foil bank robbers with it before finally getting it to the banger-bashing ceremony.

In Strange Story from the Mists, the Witch in the Window makes a profitable living out of causing bad luck to girls unless they give her money. She meets her match in one girl and flies off in a rage. But beware – there are plenty of other girls in the windows out there for her to take her revenge out on.

 

 

 

 

 

Tammy 20 January 1979

Tammy cover 20 January 1979

Cover artist: John Richardson

  • Mouse (artist Maria Dembilio)
  • One Girl and Her Dog… (artist Mario Capaldi)
  • My Terrible Twin (artist Juliana Buch)
  • Edie the Ed’s Niece (artist Joe Collins)
  • Thursday’s Child (artist Juan Solé, writer Pat Mills) – first episode
  • Bessie Bunter
  • Molly Mills and the Haunted Hall (artist Douglas Perry)
  • Menace from the Moor – Strange Story (artist Peter Wilkes)
  • The Moon Stallion – television adaptation (artist Mario Capaldi)
  • Wee Sue (artist Robert MacGillivray)
  • The Upper Crust (artist Giorgio Giorgetti)

 

Time for the 1979 issue in our Tammy round robin, and the issue chosen is 20 January 1979. It is three weeks into (at the time) the New Year, so naturally Tammy’s January issues are focused on new stories and clearing out old ones to make way for more new ones. The New Year also continues Tammy’s adaptation of the TV serial “The Moon Stallion”.

Bella is not part of the new lineup for the New Year though. When her story does start we learn that she’s been sailing home to Britain all the while.

We sense “The Upper Crust” is heading for its conclusion. Snobbish Mavis Blunt, of a snobbish neighbourhood, has had her nose put out of joint ever since the Carrington-Crusts moved in. She also suspects they are not all they appear to be. Now Mavis and her father suspect the Carrington-Crusts are criminals and set a trap for them, which appears to prove their suspicions. Or does it? We find out, in what we suspect is the final episode, next week.

“One Girl and Her Dog” looks like it is on its penultimate episode too. Kim Robinson and her dog Rumpus have finally caught up with Harry Whelkes, the man who has been hired to stop them claiming their inheritance in London. As a matter of fact, it’s brought the force of an entire circus down on Harry!

The circus also features in Wee Sue. Sue wants to go to the circus, but having no money, tries odd jobs there. The trouble is, two scheming girls from school have the same idea and are making sure she doesn’t get anything. They almost succeed, but the clowns decide Sue’s size will make her ideal for their act, and Sue gets the last laugh on those schemers.

“Thursday’s Child”, written by Pat Mills, starts today. It went on to become one of Tammy’s most popular stories and best-remembered classics. Life has always been good to Thursday Brown – but the splash panel on the first page tells us that will only be until she meets “the stranger” and her tears begin. And who might this stranger be? It’s the girl who mysteriously shows up in Thursday’s bed the night she starts using the family Union Jack as her bedspread. Looks like Thursday should have paid more attention to her mother’s misgivings about using the flag that way. Not to mention the strange red stuff that comes out when the flag is washed – it feels like blood. Is this a clue as to the reason why Mum was so unnerved?

“Mouse” and “My Terrible Twin”, the first Tammy stories to start in the New Year, take dramatic plot developments. Mary “Mouse” Malloway learns the reason for her strange, stranger-wary upbringing is her mother’s fears she will become the victim of an international child abduction at the hands of her estranged Sicilian father (the marriage soured because of the tyrannical mother-in-law). In the same episode, Mum’s fears come true. The father succeeds in catching up to Mary, abducts her, and is dragging her off to Sicily.

“My Terrible Twin” (Lindy) is on parole from a remand home after a shoplifting conviction and getting into a bad crowd. Her fraternal twin Moira is desperate to help her reform, which the remand home didn’t have much success in doing. However, Lindy gets off to a bad start in stealing lipsticks from the store Moira sets her up in. In this episode Lindy quietly returns them, settles into her job, and things seem to be going better. But there are clear bumps: Lindy has little sense of responsibility, and she is vain, conceited, which makes an enemy out of another employee, Helen. But that’s nothing compared to the real problem Lindy is now facing – her old crowd turn up and make trouble! Incidentally, My Terrible Twin was so popular she spawned a sequel, and her first story was reprinted by popular demand in 1984.

In the Strange Story, “Menace from the Moor”, Dad is trying to start a market garden business, but a horse from the moor keeps turning up and trampling all over his plants. It does not take long to realise there is something strange about the horse. It is getting in despite fencing, seems to just vanish, only appears on moonlit nights, and has a missing shoe. Could there be a link to the horseshoe in the house? Which, by the way, is hanging the wrong way up – the bad luck position.

Molly’s new story is “the Haunted Hall”, but it’s not really haunted. Molly is trying to hide her kid brother Billy in the hall while the family see to a sick relative. But Molly will lose her job if she is found out. Naturally, Billy’s high spirits make it hard to conceal him. His antics, plus ghost stories, are getting Pickering wound up about the hall being haunted. Pickering always did have a track history for being haunted, whether the ghost is real or fake.

Don’t talk to Bessie Bunter about birds this week! Mary Moldsworth tries to encourage Bessie to share her food with birds. But all poor Bessie gets out of it is bird bother and unfair lines.