Tag Archives: Jordi Franch

Diana Annual 1978

Picture Stories

  • Stand and Deliver (Pages: 2-3, 126-127) [Art: David Matysiak]
  • Samanta – on the Slippery Slopes (Pages: 7-13) [Art: Norman Lee]
  • The Courage of Caroline (Pages: 21-28) [Art:  Martin Puigagut]
  • All for the Love of Lucy  (Pages: 33-37, 40-44) [Art: Michael Strand]
  • You and Your Yuletide (Pages: 38-39)
  • …And Then There Were Three…  (Pages: 52-62)  [Art: Enrique Badia Romero?]
  • Blanche and the Pirate King (Pages: 67-76) [Art: Jordi Franch]
  • Jo and Co. (Pages 83-88) [Art: Brian Delaney]
  • Mirror, Mirror on the Wall  (Man in Black story) (Pages: 97-103) [Art: David Matysiak]
  • Once Upon a Wish (Pages: 117-124) [Art: Tony Hudson]

Text Stories

  • Christmas Magic (Pages: 14-16)
  • A Home for Sheba (Pages: 29,45,66, 89, 96 & 125) [Writer: Valerie Edwards]
  • Little Red-Riding Hood was Never Like this! Or was she? (Pages: 112-113)


  • Are You on the Beauty Map? (Pages: 17-19)
  • Etiquette Emma (Page: 46-47)
  • Let’s Put Things ‘Write’  (Page: 48, 93)
  • Putting on the Syle (Page: 49-51)
  • Star Spangled Christmas (Pages: 77-80)
  • Are You a Christmas Star? (Pages: 90-91)
  • New Holidays for Old… (Pages: 92-93)
  • The Noel File (Page: 94)
  • Martine and the Ghosts in Her Life! (Pages: 95-96) [By Muriel-Jane Smith]
  • Pretty as a Picture  (Pages:104-108)
  • Redcoat for a Day (Pages: 109-111)

Pop photos/pictures/pin ups

  • David Essex (Page: 6)
  • Wings (Page: 20)
  • Mick Jagger & Ronnie Wood (Pages: 30 – 31)
  • David Soul painting (Page: 32)
  • Olivia Newton John (Page: 63)
  • The Dynamic Bionics painting (Pages: 64 – 65)
  • Star-mp Collection (Pages: 114 – 115)
  • Paul Michael Glaser painting (Page: 116)


*Thanks to Helen Fay for information

Diana Annual 1976

Picture Stories

  • Sam and Something Called a Stately Home!  (Pages: 6-11) [Art: Norman Lee]
  • The Love Locket (Pages: 15-22 ) [Art: David Matysiak]
  • Love in Bloom – story without words (Page: 23)
  • Sad September (Pages: 26-32) [Art: Jordi Franch]
  • Jo and Co (Pages: 37-42) [Art: Brian Delaney]
  • Olé! We’re Away or a touch of Marjorcan Magic (Pages: 46)
  • The Manovitch Experiment (Pages: 49-57 ) [Art: Enrique Badia Romera]
  • The Handsome Lad from Old Baghdad (Pages: 67-72)  [Art: George Martin]
  • The Long Lonely Night (Pages: 76-80)
  • The Friday Rocking-Horse (Pages: 82-85) [Art: Shirley Tourret?]
  • Polly Private Eye (Pages: 87-94)  [Art: Jesus Redondo Roman]
  • Skeletons in the Cupboard (Man in Black story) (Pages: 104-110) [Art: David Matysiak]
  • France is Where Her Heart Lies (Pages: 115-121) [Art: Tony Hudson]


Text Stories

  • Twas the Night Before Christmas (Pages: 24-25) [Writer: Valerie Edwards]
  • The Case of the Harassed Heiress (Pages: 34-35,43,66, 111) [Art: Mari L’Anson]
  • Dear Sir (Pages:44-45) [Art: Tony Hudson?]
  • Bea’s Year (Pages: 48,95)
  • I Love you, Bobby Denton (Pages: 61-62)
  • Just Justin & Me (Page:75)
  • Keep Your feet in the Sawdust & a Smile on Your Face (Pages: 122-124) [Writer: Celia Harcourt]


  • Inside Cover Picture (Pages: 2-3, 126-127) [Art: David Matysiak]
  • Herb Beauty  (Pages:12-13) [Art: Mari L’Anson]
  • Special Day Specialities  (Page: 14)
  • Looking for Luck (Page: 36)
  • Like a Movie (poem) (Page 43) [by Lee Delaney]
  • Sorry, Wrong Show (Pages; 47)
  • Know-How a helpful quiz for you (Pages: 58-59)
  • It’s in the Bag (Page: 60)
  • Sit Tight Sit Bright (Page: 63)
  • TV or not TV game (Pages: 64-65)
  • Pony Express(ions) (Pages: 62, 66, 101, 114)
  • A Touch of Class (Pages: 74-75)
  • A Cracker of a Cross-word (Pages: 81)
  • Ve Vill Ask the Questions (Page: 86)
  • Especially for You (Pages: 96-97, 100)
  • You and Your Yuletide (Page: 99)
  • Marlyn’s (Chain)Mailbag (Page: 102-103)
  • Whats Yours? (Pages: 112-113) [Art: Mari L’Anson]
  • To Top it All! (Page: 114)

Pop photos/pictures/pin ups

  • David Essex (Page: 33)
  • Alvin Stardust (Page: 73)
  • Gary Glitter (Page: 98)
  • Bay City Rollers (Page: 125)


*Thanks to Helen Fay for information

Diana Annual 1981

Picture Stories

  • Sam In the Heart Of The Country (pp 7 – 14)  [Art: Norman Lee]
  • Flight From Versailles (pp 23 – 30) [Art: Jordi Franch]
  • The Good, The Bad And The Not So Ugly… (pp 37 – 45)
  • Man in Black Story: A Secret In Silver (pp 49 – 59) [Art: David Matysiak]
  • Five Days In August (pp 65 – 72) [Art: Jordi Badia Romero]
  • Storm And Helga (pp 81 – 90)  [Art: Hugo D’Adderio]
  • Once Upon A Fancy Dress Ball… (pp 99 – 108) [Art: Tony Hudson]
  • Charlotte Holmes ‘N’ Watson (pp 117 – 123) [Art: Juan Solé Puyal]

Text Stories

Beware The Seven Sisters!:

  • Part 1 Cassandra 1870 (p 15) [Writer: Valerie Edwards]
  • Part 2 Louisa 1895 (p 32)
  • Part 3 Ellen 1915 (p 47)
  • Part 4 Lally 1925 (p 60)
  • Part 5 Brenda 1940 (p 73)
  • Part 6 Nicky 1960 (p 98)
  • Part 7 Sara 1980 (p 125)


  • Have A Happy-Go-Lucky New Year! (pp 16 – 20)
  • Fact File : Ian Dury (p 22)
  • It’s in the Bag (p31)
  • Spot On! (p 34 – 35)
  • Fact File: Debbie Harry (p 36)
  • At Home With Kid Jensen (p 46)
  • Lisa And Friends… (pp 61 – 64)
  • A Sapphire For Christmas (pp 74 – 75) [By Muriel-Jane Smith]
  • Eye Spy (pp 76 – 77)
  • Fact File: Boomtown Rats (p80)
  • A Gift For Everyone (pp 92 – 96)
  • It’s Nice To Go Travelling (p 97)
  • At Home With Jimmy Savile O.B.E. (p 109) [By Rosemary Still]
  • Stranger On The Shore (pp 110 – 111)
  • Beat This Band! (pp 112 – 113) [By J. McFie]
  • Free and Easy Diana Beauty Tips (pp 114 – 116) [Art: Mari L’Anson]

Pop photos/pictures/pin ups

  • Female film stars montage (pp 4 – 5)
  • Debbie Harry (p 6)
  • Ian Dury (p 21)
  • Cliff Richard (p 33)
  • The Name’s The Same – photo montage of famous Davids
  • Boomtown Rats painting (pp 78 – 79)
  • Manhattan Transfer (p 91)
  • The Police (p 124)


*Thanks to Helen Fay for information and cover picture

Diana Annual 1980

Picture Stories

  • Samantha At Sea (pp 7 – 14) [Art: Norman Lee]
  • Five For Freedom (pp 23 – 30) [Art: Matias Alonso]
  • Stupid Cupid (pp 33 – 39)
  • The Night Was Made For Dancing (pp 49 – 58) [Art: Tony Hudson]
  • The Gemini Code (pp 64 – 70) [Art: Jordi Badia Romero]
  • Man In Black Story: …Just Another Bus Tour… (pp 73 – 80) [Art: David Matysiak]
  • Charlotte Holmes ‘N’ Watson (pp 81 – 87) [Art: Juan Solé Puyal]
  • Silvertoes (pp 89 – 95) [Art: Hugo D’Adderio]
  • Rose Forever (pp 99 – 108) [Art: Jordi Franch]
  • The Witness (pp 117 – 124) [Art:Edmond Ripoll]

Text Stories

  • My Lady Lisa (pp 15 – 17) [Writer: Valerie Edwards]
  • Katrina [6 parts] (pp 32, 45, 60, 88, 98 & 125)
  • Christmas Comes, Christmas Goes (pp 71 – 72)


  • The Way To His Heart! (pp 18 – 21)
  • It’s In The Cards (p 22)
  • Have Yourself A Capital Time! (pp 40 – 44)
  • A Happy You Year (pp 46 – 48)
  • Send In The Clowns (pp 61 – 63) by M J Smith
  • Cotton On To This! (pp 95 – 96)
  • Five Star Superstar – Leif Garrett (pp109 – 110)
  • “Display It Again, Sam!” (pp 111 – 113) [By Jane McFie]
  • The Travolta File (p116)

Pop photos/pictures/pin ups

  • Montage of female singers (pp 4 -5)
  • Andy Gibb (p 6)
  • Boney M (p 31)
  • Bee Gees (p 59)
  • Aces (male tennis players painting) (p97)
  • Travolta! (painting) (pp 114 – 115)


*Thanks to Helen Fay for information and cover picture

Diana Annual 1979

Picture Stories

  • Double Trouble For Samantha (Pages: 7-13) [Art: Norman Lee]
  • Sixpence For A Broken Heart (Pages: 21 – 31) [Art: Tony Hudson]
  • Charlotte Holmes ‘N’ Watson (Pages: 33 – 38) [Art: Juan Solé Puyal]
  • For Love Of Leni… (Pages: 61 – 68) [Art: Jordi Badia Romero]
  • The Raven (Pages: 73 – 79)  [Art: Jordi Franch]
  • Cinder Nellie (Pages: 85 – 89) [Art: Brian Delaney]
  • Menace By Moonlight (Pages: 97 – 103) [Art: Hugo D’Adderio]
  • The Fair Maid Of Fouroaks (Pages: 107 – 112) [Art: Jordi Franch]

Text Stories

  • It Happened On A Moonlight Clear (Pages: 18 – 20) [Writer: Valerie Edwards]
  • Janie [6 parts](Pages: 32, 45, 60, 84, 106 & 125)  [Writer: Valerie Edwards]
  • First Loves (Pages: 52 – 53)


  • Get Into Gear For Ghost Hunting (Pages: 14 – 17)
  • Spare time Pop Stars (Page: 39)
  • Lip Reading! (Pages: 40 – 41)
  • A Wintery Night, Cosy Fire And You… Puzzle pages (Pages: 42 – 43)
  • The Name Of The Game (Page: 44)
  • Just Imagine (Pages: 46 – 48)
  • Starwish (Pages: 54 – 55)  [by: Muriel-Jane Smith]
  • Sweet Scentsations
  • Charlie’s Magnificent Seven (Pages: 80 – 81)
  • Are You A Super Sister? (Pages: 82 – 83)
  • Have Yourself A Capital Time (Pages: 90 – 93)
  • Sound Yourself Out (Pages: 94 – 96)
  • Keep Your Cool With Cologne (Pages: 104 – 105)
  • I Remember, I Remember (Pages: 113 & 124)
  • The Showaddywaddy Show (Pages: 115 & 118)
  • A Dream Comes True (Pages:119 – 121)
  • Lowdown On Leo (Pages: 122 – 123)

Pop photos/pictures

  • Abba (Page: 6)
  • Rod Stewart (Page: 49)
  • The Discoteers (painting of DJs) (Pages: 50 – 51)
  • David Essex (Pages: 56 – 59)
  • Showaddywaddy painting (Pages: 116 – 117)


*Thanks to Helen Fay for information and cover

Misty Short Stories XI: Slavery

In this instalment of Misty short stories, we look at how she used the concept of slavery. As will be seen below, Misty commented most frequently on the institutionalised slavery of the ancient world. Perhaps it was related to her story on Greek slavery, “A Leap Through Time”, which also brought up a more repugnant aspect of slavery in the ancient world: human sacrifice.

An Eye for An Eye…

Misty: #65

Artist: Jorge Badia Romero

Reprint: Best of Misty #7

In ancient Rome, Livia is a spoiled, cruel rich girl. She has grown extremely bored with Rome, so to relieve her boredom she has two African leopards brutally torn from their mother and brought to Rome for her amusement. They are subjected to cruel methods to break them, but get secret help from Livia’s slave, Esther. Livia has one leopard killed for skin, and the other leopard attacks her when she flaunts it in front of him. Her revenge is to take the leopard to her uncle in Africa to be killed in a gruesome spectacle. However, her ship is intercepted and captured by Arab pirates because of the leopard’s telltale growling. The Arabs reward the leopard by returning it to the wild in Africa. Livia is sold into slavery. She always seems to hear that leopard roaring triumphantly at her, which suggests she never saw Rome or freedom again. Back in Rome, Esther’s own freedom is coming.


Livia is a grim reminder that in earlier centuries, cruelty to animals (and slaves) was all too common and could be extremely bloodthirsty. Animal rights and abolition of slavery are comparatively recent phenomena, and not all parts of the world have adopted them. Livia herself sums up the dark side of ancient Rome: opulent, indulgent, arrogant, decadent, cruel, greedy, selfish, and abusive to slaves and animals alike. Esther is the kindly contrast that provides hope that not all people were that bad in ancient times.

The title itself sums up how the comeuppance will go: what Livia does to the victim(s) in this story will ultimately be done to her. For this reason, two sets of panels have been provided to illustrate the “before” and “after”.

The comeuppance is unusual in not using supernatural forces, which is Misty’s usual pattern. Instead, Livia is brought down by a combination of circumstances and the consequences of her wanton behaviour. There is a hint of spookiness with Livia always having the leopard roaring in her head once she becomes a slave, but this could be psychological.

When the Rain Falls…

Misty: #24

Artist: Eduardo Feito

Reprint: Misty annual 1985

In ancient Rome, Marcus and Amanda are separated when they are sold to different owners in the slave market. They both begin to hear a voice calling their names, and the voice reunites them. Convinced the voice is a call to freedom, they follow it, and notice heavy storm clouds gathering. They meet lions, but the lions do not harm them; the lions also hear the voice and run away towards it. Marcus and Amanda follow the lions and come to Noah’s Ark and sanctuary as the Flood begins.


Even though these two slaves are not as badly treated as some we’ve seen in Misty, the story is really effective in illustrating the horror of slavery by showing the actual process of selling slaves at the market. Unlike the other slave stories discussed here, the story focuses more on how the slaves escape than comeuppance for the slavers. Presumably the Flood is the comeuppance.

Spitting Image

Misty: #79

Artist: Jorge Badia Romero

Princess Rebecca is so vain she keeps only the plainest of servants around so she will look even more beautiful. She gets jealous when one servant, Sarah, starts growing more beautiful. (It’s not clear if Sarah is a slave, but we will say she is.) Sarah says the change in her appearance seemed to start after an artist painted her looking that way. Rebecca orders the same artist be brought to her (in chains) so as to paint her portrait too, and wants it unrivalled for beauty. She is furious when he portrays her as hideous and ugly. He replies he only painted what he saw. She throws him into the dungeon and orders him to be tortured. After days of this, Sarah rescues him and they escape together. The artist explains it is the soul of the person he paints, not the face, and he painted that hideous portrait of Rebecca because that was what he saw in her. When he depicts inner beauty in the sitter, the sitter will start to resemble it in real life. This was the case with Sarah. But as Rebecca finds out, when the artist depicts the inner ugliness he sees in the sitter, the sitter will soon resemble that too.


The old adage “beauty is only skin deep” strikes again, but it’s totally lost on Rebecca. The poor artist cannot help himself in painting Rebecca as he truly sees her, even though it will get him into serious trouble. Even though Rebecca will get her comeuppance once the power of the portrait takes effect, the artist will still be made to suffer for it. He needs to escape for this to be a totally happy ending, and gets it in the form of Sarah. This not only needs to be a comeuppance story but an escape story as well.

Garden of Evil

Misty: #53

Artist: Jordi Franch

Reprint: redrawn in Misty annual 1981 as “The Evil Garden”. New artist was Jose Canovas.

In a medieval fairytale setting, Tansy Fuller, a herbalist, is kidnapped and enslaved by the evil Lady Ruella to work in her secret garden. The garden is filled with nothing but poisonous plants. Hearing rumours that those who cross Ruella don’t live long, Tansy soon guesses the purpose of the garden. She secretly plants a white rose, a symbol of goodness and purity in the garden, in defiance of Ruella. Ruella gets jealous when Lord John Piers falls in love with her younger, kind sister Grizelda, and plots to kill her with one of her poison garden concoctions, which she tests on Tansy. It proves sublethal, but Tansy is in no state to warn Grizelda. Then Ruella sees the white rose and attempts to pull it out. It pricks her, and she falls mysteriously ill and dies. Tansy believes the purity of the rose acted like poison to her “black blood”. Grizelda takes over the castle, marries the lord, and Tansy becomes her lady in waiting. The poisonous plants in the garden are replaced with wholesome ones, with the white rose taking pride of place.


Here we have an example of personalised slavery rather than the institutional one, and Ruella could get away with it with impunity because of her rank. When we see its purpose – commit murders – we definitely want it brought down. Kidnapping a girl for slavery is bad enough but forcing her to be complicit in murder is too much. We don’t want the evil Ruella marrying that lord either. It’s worrying, because Ruella is the elder daughter and therefore the first in line to marry under the customs of the period. But we can pity any husband who marries that black widow. It’s ten to one she will murder him with her poisons at some point.

Ruella’s comeuppance is one of the more puzzling in Misty because it is not clear what killed Ruella after she got the rose thorn. We are not so inclined to believe that its purity reacted with her “black blood” to lethal effect. One explanation is some sort of bacterial infection entered her bloodstream after she got pricked. In fact, there have been real life cases where people died of infections after being pricked by rose thorns (check out Google). In any case there can be little doubt that planting the white rose was not only the instrument in bringing down Ruella but in Tansy getting her revenge and ultimate triumph over her as well.

Closing Thoughts

In her short stories, Misty used the slave theme as a comeuppance on slavers, slave owners, and commenting on the evils of slavery in general. For this reason she tended to draw on slavery in historical periods, particularly in the ancient world. There were no stories using the black slavery of later centuries, but some might have appeared if Misty had lasted longer. “When the Rain Falls…” is unusual for putting the emphasis on escape rather than comeuppance.

Lonely Lucy [1976]

Published: Spellbound: #01 (25 Sep. 1976) – #10 (27 Nov. 1976)

Episodes: 10

Artist: Jordi Franch


The splash page of the first episode of this story immediately establishes that it is set in the days of highwaymen. It’s also set in the days of lingering witch superstitions, as our protagonist Lucy Pilgrim is to find out.

Lucy’s mother has just died and her cruel aunt and uncle have a bombshell for her: her mother adopted her as a baby after she was found abandoned, and her real parents are unknown. Aunt and Uncle don’t want Lucy and are taking her to an orphanage. At least they allow her to retain her bracelet, which has strange marks her adoptive mother never explained. It brings Lucy comfort, and we can guess it’s the key to finding her true parents.

On the way to the orphanage their coach is held up by a highwayman, Gentleman John. When John see how the cruel relatives are making Lucy sit outside the coach with the driver in drenching rain and without any rain protection, he is appalled at their treatment of her. He forces them at gunpoint to take Lucy’s place and has Lucy take their place in the coach. John also reacts oddly to Lucy’s bracelet. He allows her to keep it, saying “Where you’re going ‘tis best kept hidden” and wishes her luck.

The orphanage is just as cruel as Lucy’s aunt and uncle. Even the other children in the orphanage pick on her once they see she comes from a higher-class background, there are a few kinder exceptions. Their bullying grows worse when they see Lucy is left-handed. They call it the mark of evil and brand Lucy a witch. When Lucy faints from her ill-treatment, the staff throw water over her and throw her out on the street for a while, anticipating she will come crawling to be let back in.

Instead, Lucy runs away and bumps into Gentleman John again. John and his horse Midnight got shot in a clash with some soldiers. Lucy, who has been taught nursing by her adoptive mother, tends to both of them. John is outraged to hear what people are calling her because she’s left-handed, but unfortunately for Lucy that’s not the end of it. John also needs food, and the only way Lucy can get it is…to go back to the orphanage. She also finds they’re looking for her as the Governors are coming. She pretends to have fallen ill from the way they treated her earlier, which gets her special treatment and good feeding – with a bit of blackmail she applies on them while the Governors are around. Once they’re gone, Matron has Lucy sleep in the outhouse as punishment for the trouble she caused.

At least the outhouse makes it easier for Lucy to slip back to John. John is recovering, but Midnight is suffering from infection and needs special care. Lucy insists on using the orphanage as the place to get food and supplies from despite its cruelties, as she refuses to use John’s dubious highwayman contacts on principle.

But when the resident black cat seems to protect Lucy from the children’s bullying and becomes friendly with her, her witchy reputation escalates to the point where the children actually believe she’s a witch and become really frightened of her. Matron decides Lucy has to go. She has Lucy boarded out to another position – and pocketing her wages – so she will make a profit into the bargain.

Trust Matron to have Lucy boarded out to a coal mine, with all its horrors, dangers and dreadful working conditions. And again rumours spread that Lucy is a witch once her fellow workers see she is left handed. At least Lucy is not far from John and can slip away to tend to Midnight, who is on the mend. She stays on at the coal mine because she fears running away will lead her pursuers to John. But she gets into big trouble when she speaks out at the colliery owner, Mr Tranter, when his nasty daughter insults her. Tranter orders that Lucy be roundly beaten in front of everyone, much to the delight of his daughter – and then straight back to work without any medical treatment. None of the workers offer Lucy any sympathy because of her left hand, and she’s on the brink of collapse.

But one of John’s men has seen everything and makes a full report to him. John retaliates by holding up the Tranters. But instead of robbing them he deprives them of their coach so they have to make a very long walk, and warns them to repent how they mistreated the “left-handed lass”.

Repent? If they had any brains they would realise there was a link between Lucy and the highwayman and have her arrested. Instead, when word gets back to the mine, the idiots actually think Lucy used witchcraft to summon Gentlemen John! Well, at least their fear prompts them to release her from the mine (so that’s the end of Matron’s profit there) and she is free to nurse Midnight. However, she begins to wonder if John actually knows something about her past because of the way he reacted to the bracelet when they first met. And now there’s no sign of him.

So Lucy goes in search of John, and fortunately Midnight is now well enough for Lucy to ride her. Unfortunately the constables spot her riding John’s horse, so now she is wanted as his accomplice. She traces John to a derelict inn, and is horrified to see he is in league with some cut throats. They are planning a big gold bullion robbery, which John is going along with rather reluctantly as he does not like their talk of murder. They just say, so what? They will be hanged anyway. John says he won’t help them without Midnight, so for this reason Lucy decides not to reveal herself or Midnight to him. She heads out to Hartford Hall, where John said he was hanging around, but hears some talk that suggests Hartford Hall has a sinister reputation.

Then gypsies steal Midnight and threaten to put a curse on Lucy when she tracks them down. She decides to use her left-handed reputation to her advantage and claims she has her own powers with it. When she puts on a witchcraft act with their fierce dogs they fall for it and return Midnight. But as they do so, they say that’s no wonder she has such powers above the ordinary with that bracelet of hers. But they refuse to elaborate and tell her to get the hell out.

As Lucy nears Hartford Hall she hears more sinister rumours about it: it has been taken over by “nameless forces” ever since a tragedy occurred there. She reckons John started those rumours to scare people away from the place. At Hartford Hall she finds John, and tells him what she overheard, and tries to talk him out of it. Instead, he holds her prisoner and leaves her in the care of Nursie Kate.

When Kate sees Lucy is left-handed she says someone very dear to her and John was too. She also says John is a Robin Hood type – he steals only ill-gotten wealth and does not keep it for himself. Lucy tries to escape from the hall and warn someone about John’s plot, only to fall into a deep pool of water and John finds her. He pulls her out and takes her back to Kate for nursing. Kate also reacts strangely to the sight of Lucy’s bracelet.

Lucy falls asleep and dreams of a woman, and she calls her “mother”. Lucy explores the hall and finds a portrait of the woman. The woman in the portrait is left-handed and wears the bracelet, and Lucy realises the woman must be her mother. She then overhears a conversation between John and Kate and learns that John is her father! Her mother had been a gypsy, and her tribe never forgave her for marrying the non-Romany John. When the mother died giving birth to Lucy, John could not bear to set eyes on his infant daughter. So Kate handed her over to the gypsies, who must have abandoned her.

Lucy tries to escape again and give warning, but gets into trouble when she tries to climb a ledge. John saves her. He says he turned to being a highwayman because he was “crazed” by his wife’s death. He knew from the first who Lucy was, but her disapproval of him being a highwayman prevented him from revealing himself to her. He agrees to give up being a highwayman if Lucy will live as his daughter, and she says she knew he was not a highwayman at heart.


The splash panel of the highwayman in the first episode would immediately have anyone hooked into this story. There is something so romantic about the highwayman (though I’m sure the reality must have been very different), and possible spooky connotations as the highwayman is often associated with ghosts and hauntings. The story has a lot to keep the reader engaged. It’s a tight, engrossing plot with a heroine who not only suffers cruelty but also superstitious prejudice, a mystery to be solved, fugitive elements, exploitation, dastardly plots, and an animal to be nursed back to health. The heroine is determined to keep up her nursing of Gentlemen John and his horse even when she is collapsing from a hard day’s work at the mine or enduring the severities of the orphanage. But will she be cut down by a witch-hunting mob or something the way they think about her being left-handed?

The scary thing is, this story is not far wrong in the superstitious prejudice Lucy encounters because she is left-handed. In earlier centuries, being left-handed really could get you accused of witchcraft and burned at the stake. Lucy also has other skills that could also get her accused of witchcraft, such as her skills with nursing and herbal remedies, the way she handles the gypsies’ dogs, and how the black cat at the orphanage befriends her. It is fortunate for Lucy that she was born too late to become a victim of the witch persecutions themselves or be charged with witchcraft, but the witch superstitions still linger among the lower and less educated classes. And they are enough to make Lucy’s life an additional misery to what she suffers at the orphanage and the coal mine. If not for those superstitions regarding her left hand Lucy would have some helpers and friends among her fellow victims at those places. Ironically, that same reputation also helps Lucy to get out of those same situations by making her oppressors too frightened of her to bother her much further.

From the moment we meet Gentleman John and the kindness he shows Lucy we know he is not a bad sort, even if he is a highwayman. He’s the hero in the story while everyone else Lucy meets (the aunt and uncle, the orphanage staff and children, the coal mine people, the gypsies and the cut throats) is villainous, and he dishes out comeuppances to several of them. We have to wonder why he is a highwayman at all and what made him one when he clearly has no criminal mind. It isn’t hard to guess that it’s something to do with Lucy’s the bracelet from the way he reacts to it, and unlocking the mystery of the bracelet will also unlock the mystery of the highwayman. Like Lucy, we want him to give up being a highwayman, especially when he starts plotting something downright criminal with the evil conspirators. It is at this point we begin to despair of him, and even more so when it looks like he will proceed with the plan when Lucy catches up with him. It becomes even more imperative to unlock that mystery.

It’s certainly a bombshell when Gentleman John is revealed to be Lucy’s father, and he rejected her as a baby because of a bad reaction to his wife’s death. However, this being the reason for him becoming a highwayman sounds less plausible if he using it as a form of crusade, to get ill-gotten gains off unsavoury types. Some other explanation would have worked better, such as him being cheated and robbed by an unscrupulous type who got away with it. But it’s a relief all around when Lucy finally succeeds in getting her father to stop being a highwayman. Let us hope the law does not catch up with him all the same.


Peril on Paradise Island


Kay and Marion Digby along with Jean Ritchie, a friend, had set sail to an uncharted area of the Caribbean Sea in search of their father Professor Digby, who was unaccountably missing. After being caught in a tornado, the girls found them-selves on a strange exotic floating island of weeds and flowers.

peril on paradise island


  • Art: Jordi Franch


  • Peril on Paradise Island – Spellbound: #61 (19 Nov. 1977) – #69 (14 Jan. 1978)