Beryl the Peril - comiccentrals jimdo page! Beryl the Peril click here to go to the beanotown website. Beryl the Peril A frame from an early Beryl strip First Appearence: The Topper issue 1 Other Artist(s): John Dallas, Bob McGrath, Gordon Bell, Bob Nixon, Karl Dixon, Steve Bright Beryl first appeared in the first issue of the Topper in 1953. She was drawn by Davey Law, the Dennis the Menace artist at the time. To start off with, you might think Beryl the Peril was just a female version of Dennis, but this wasn't really meant to be the case. If you read some of the early Beryl strips then it's clear that they're quite different. Beryl was clumsy more than anything else, and not really knowing how badly behaved she was being before it was too late- with Beryl around, you could guarantee that you weren't safe. Beryl was very successful throughout the run of the Topper and by 1958 she had been given her own annual. These were released every two years, each year a Dennis annual was not published, a Beryl the Peril one would be.

As mentioned in Dennis' own page, Davey Law's style changed over the years, with the characters getting gradually taller. The gradualism is very evident in the 1961 Beryl the Peril annual, where in the first strip (Which is actually a reprint of the first ever Beryl strip), the characters are quite short and squat, and as I read through the book the first time round I didn't notice any changes, but if you look at the first strip and skip straight to the last you'll notice how much the style really has changed. The final strip in the annual has tall and thin characters. when you compare this to the artwork made for the book (Such as the cover artwork and the artwork drawn for the odd prose story), you'll see even further changes. In 1970, Law hung up his brush and different artists took over his characters. Bob McGrath drew a few Beryl strips before John Dallas took over. By this time Beryl had changed a bit more. By now her personality had become a little different from what it was when she started. Nevertheless, John kept drawing Beryl for another seventeen-odd years.

By the time John had stopped drawing Beryl, her outfit had changed from Red and Black to Blue and white stripes and Red. She kept this outfit when Bob Nixon became the main artist. Around this time the stories began to get a bit more far-fetched and Beryl seemed to be becoming a Peril in a different sort of way, and this was even more evident when Beryl moved to the Dandy in 1993. Rather than being the clumsy, accident prone girl on the lookout for fun she started out as, she became someone quite different. She was less of an anti-hero and became less naughty, and lacked any trace of surlyness. This all came to an end in 1999. This was when ill-health drove Nixon into partial retirement. The replacement artist for Beryl was Karl Dixon. not long after he had started drawing Beryl, she was given a new look. She went back to her old red and black outfit and had a new hairstyle. this was when Beryl's personality began changing yet again. The storylines were similar to the ones for Dinah Mo from the 1990's.

Beryl's dad once again became the second-main character but with a relationship far closer to the one Mo and her Dad had than anything Beryl and her Dad had ever had beforehand. In 2004, the Dandy was given a re-vamp. This consisted of more pages, glossy paper and new characters. There were more new characters than new pages, so some old strips had to go. Beryl was one of these. However, her absence didn't last too long. In early 2005 she returned and was still drawn by Karl Dixon, but only for about a year, before Steve Bright took over from drawing Beryl. She had a change of outfit yet again, but more or less went back to how she had looked when Davey Law was drawing her. Sadly, one year later Beryl the Peril was no more, after 55-odd years of being perilous. Reprints of Beryl the Peril have occasionally cropped up during the three years when the Dandy was 'Xtreme'. However, she has never appeared in a 'new' Dandy issue. Beryl the Peril | Albion British Comics Database Wiki | Fandom powered by Wikia Juvenile human female.

Notes When creator David Law left the strip, it was taken over by Bob McGrath and later John Dallas , then Robert Nixon . In 1999 she was heavily revamped by Karl Dixon , but in 2006 artist Steve Bright restored her original appearance. In 1958, Beryl was awarded her own annual, a rare honour afforded to only a few other D.C. Thomson characters, including Dennis the Menace and Black Bob . This reflects Beryl's rising popularity at the time. Following the cancellations of Topper and its successor Beezer & Topper , Beryl transferred to the pages of the Dandy and remained a semi-regular feature until that title's cancellation. Some of Beryl's later appearances were reprints. Beryl the Peril : definition of Beryl the Peril and synonyms of Beryl the Peril (English) Publication history Creation and concept Beryl the Peril first appeared in the first issue of The Topper in 1953. She was created to be a female equivalent to The Beano 's Dennis the Menace . Davey Law , her artist and creator, drew inspiration from his daughter, whom would often pull faces during her tantrums.

[1] The strips were similar in concept to the Dennis the Menace ones in that she would cause chaos through menacing her neighbours, parents and school teachers. In 1958, Beryl was chosen as one of the few of D.C. Thomson's characters to earn an annual all to herself, consisting solely from reprints in past years. Retirement of Law and rise in popularity When Law retired in 1970 her strip was taken over by John Dallas . Her costume changed at some point in the mid 1980s from her red top underneath a black dress to a blue and white striped jumper underneath a red dress. In 1986 she became The Topper's front page star, replacing Tricky Dicky . Her dog Pearl was also introduced shortly before that time, although before that she had a pet turkey called Gobbler. In 1987 Robert Nixon took over, a cartoonist who followed in the steps of noted cartoonist Ken Reid , and her overall look became smoother and fuller. She also appeared far less like Dennis the Menace and seemed far more individual as a character. She remained with the comic when The Topper merged with The Beezer in 1990.

Move to The Dandy The Beezer and Topper was canceled in 1993, and Beryl joined The Dandy comic. To mark celebration with her joining the comic, Beryl shares the spotlight with Desperate Dan on the 1994 Dandy Annual. In the 1999 Dandy Annual, Beryl's strip depicted her breaking the fourth wall in talking to her artist. In the strip, she requests to become invisible to which the artist somewhat resentfully obliges. She then gets up to 'Perils' but soon finds that being invisible is far more painful than she initially thought. Karl Dixon's Revamp In 1999, the strip was taken over by Ollie Fliptrik artist Karl Dixon as Nixon had to go into semi-retirement due to health problems. A year or two later, Beryl was revamped. She reverted back to her black and red clothes and her hairstyle became much more like that of Dennis the Menace - but her pigtails remained. She regained many of her Dennis influenced traits as well such as the famous "behind the nose" grin and constant scowl.

Beryl also attended Dennis the Menace's 50th birthday party, although she was a latecomer so she didn't actually participate in any of the party games or fights prior. Beryl disappeared for a while after the October 2004 Dandy relaunch. Bar one appearance in December that year, she returned from issue 3302, dated 12 March 2005. As revealed in The Dandy dated 3 March 2006, Steve Bright had taken over Beryl as artist and she had now reverted back to how she was drawn by David Law , and had gone through another costume change - a baggy green and red t-shirt with baggy black jeans and trainers. However, she disappeared when The Dandy relaunched in August 2007. She later re-appeared for four issues, but as reprints from the Nixon era. Pass the Peril In 2010, The Dandy was relaunched, dropping the "Xtreme" from its title and focusing far more on comics. As of yet, Beryl is yet to appear in a strip. However, she has made several cameo appearances.

In a segment entitled "What's in Cheryl's hair," a menacing-looking girl with pigtails is seen peeking out. This was labelled Beryl Cole and so is therefore not deemed as an official appearance. However, she did make a return digitally via the social networking site Facebook . She was involved in an artist event called "Pass the Peril" in which four different artists were to draw four different strips based on the character and the website. The first was drawn by Steve Beckett and saw Beryl informing her father that her adventures would now continue via Facebook in which she, very much in character, smashed her father's face with a book. [2] The second, drawn by Andy Fanton , shows Beryl mocking how it is fine to "write on a Wall" on Facebook but is considered deviant in real life, revealing that she has been tagging all over Dandy town. [3] The third was illustrated by Nik Holmes and consisted of Beryl contacting old friends through Facebook and featured cameos of past Dandy and Topper characters such as Tricky Dicky , Mickey the Monkey and Smasher .

[4] The final strip was drawn by Nigel Auchterlounie and finished with Beryl deciding to un-Like her father on Facebook. This causes a chain effect in which other famous characters from The Dandy - including Korky the Cat , Desperate Dan and Bananaman - also unfriend her father, much to his dismay. [5] Beryl made her first appearance in the revamped Dandy comic in a Justin Beaver strip. She, alongside Minnie the Minx and Toots , appeared in the comics title card chasing after Justin. She made yet another appearance in a "Harry and his Hippo" strip, drawn by Andy Fanton. In this strip, she is enjoying the Dandy swimming pool alongside other famous past Dandy characters. Pass the Peril returned to Facebook mid-2011, this time focusing on Beryl attempting to maker her own film. Also, the character returned in the 2012 Dandy Annual, once again drawn by Karl Dixon. Beryl returned to the main Dandy in February 2012 as reprints from the mid-80s from The Topper.

Reception and legacy Beryl could be seen by some as an important female role model; she was certainly not "sugar and spice and all things nice". When the staff of one rape crisis centre decided that they should all use the pseudonym "Beryl Thomson" when dealing with officialdom, one of them wondered later if they had been subconsciously thinking about Beryl the Peril.[ citation needed ] Initially, the character was to be honoured on the Woman's History Trail in Dundee but was rejected at the last minute due to their decision to not include fictional characters.[ citation needed ] She has also caused criticism and controversy as British politicians have deemed her a bad role model for young girls. A familiar criticism was garnered for male counterpart Dennis the Menace. One MP claimed that Beryl should "be given an ASBO rather than a plaque". [1] Personality traits Although Beryl is often perceived as a troublemaker similar to Dennis the Menace and Minnie the Minx , her personality changed several times. In the David Law strips, she is quite mischievous but also fun-loving and rather clumsy, whereas she became a more malicious character after John Dallas took over.

However, after Robert Nixon took over, she became a much less menacing character, while the stories in the Karl Dixon era largely focused on the relationship between Beryl and her Dad. In the Karl Dixon stories, she shows little respect to her father, often referring to him as 'Beak-Boy' due to his abnormally large nose. See also Peter Gray's Comics and Art: The Topper comics -Beryl the Peril does The Avengers! The Topper comics -Beryl the Peril does The Avengers! 1966 Topper Nice seeing this... 1961 Topper ghosted by Bill Ritchie! Its always fun seeing how well an artist can do different styles...this is a good Davy Law style...notice the horizon lines and different perspectives...Bill must of seen that in his work. Posted by Subscribe to: Post Comments (Atom) Labels Peter Gray I'm a free-lance Pet Artist, Cartoonist and Big UK humour comic fan My main website If you would like me to draw your pet please email me at peterspetportraits@yahoo.co.uk I use your photo and will draw it on High Quality The Langton watercolour A4 paper and using Faber Castell black pencil.

Commissions in black and white I like to draw close ups of the pets face and body rather than drawing the whole pet. My fee for this service is £30. Postage and Packaging £5 It was be presented mounted. For other sizes or you want it in colour using acrylics please email me. Perfectly Claire - Continuing my Sunday run of Jck Sparling's second adventure strip. 3 hours ago YAAAAAAA! - Taking a look at *Master Comics* #43! I said yesterday's issue was #43, but it was #42 and you all were either too polite to correct me on it or just did... 3 hours ago Comic Cuts - 16 December 2016 - On Monday, I started work on the next issue of Hotel Business, and have spent the remainder of the week keeping a lid on e-mail related to the title. Norma... 4 hours ago ‘Sea Child’ by Minha Kim - On the verge of becoming a woman, Sora is woken by a nightmare and decides to follow a group of men into the city in the hope of finding her mom. The pos... 7 hours ago 12 POSTS OF CHRISTMAS: SURPRISE ENTRY!!

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With issue #1440 the comic's dimensions shrank to the same size as Beano and Dandy , and the title was eventually cancelled after 1963 issues in September 1990, in the same week as its sister title Beezer . The two titles were relaunched as a combined title, Beezer & Topper , the following week, and this ran for a further 153 issues until August 1993. Other prominent characters and strips to have appeared in Topper include Foxy , Figaro , Captain Bungle , Tiny , Send for Kelly , The Whizzers from Ozz , Desert Island Dick , Splodge , Thor Thumb , The Inky Top Imps , Whistling Billy , Julius Cheeser , Nancy , Big Fat Boko , Big Uggy , Willy Nilly , Tricky Dicky , Danny's Tranny and The Topper Twins .

Although the central premise of the comic offered up evergreen cartoon creations lapped up en-masse by the comic-reading public, it has to be said that Topper shared with Beezer a desire to release truly epic tales of devastation and destruction right from the outset, and such thrilling melodramas were by and large penned by Ron Smith and Ken Hunter in the main. Typical examples within this richly-mined field included the prehistoric high-jinks of a pterodactyl unleashed into Sixties Britain in the shape of Back to Zero! and also the hyper-highjinks of Smith's Three Eggs in a Basket , which illustrated much danger and mayhem high above the Old West in 19th-century America. These spectacularly-rendered tales were always depicted as free of word-balloons, with older-style captions inserted along the bottom of the frames.

Much of the credit to the sheer quality of much of Topper's output throughout the Sixties and beyond must surely go to Smith and Hunter: their epic artwork injected a real patina of high-jinks and hyperdrama into the mix, with astonishing visuals unmatched by many other comics of the era, with the exception, perhaps, of TV 21 , which benefited from vastly improved paperstock and photo-gravure technique (and a hefty sevenpenny pricetag to boot!) Ken Hunter in particular was adept at both high drama and slapstick comedy, and his highly accomplished and polished work on Big Fat Boko and Sir Laughalot upped the quality stakes, ensuring excellent value for money for Topper readers. The Sixties in general may be regarded as the peak of the comic's powers, with many talented artists like Charlie Grigg (Foxy) and George Drysdale (Big Uggy, a prehistoric comedy complete with Dopeydocus the dinosaur) at the summit of their creative powers. Topper clearly benefited from the sterling work of Paddy Brennan, whose Whizzers from Ozz strip in particular still strikes a chord with many original readers.

The first series of this strip (with searing, dramatic visuals of Krik and Krak's soaring 'flying hovercar' serving up much dynamic visuals) debuted in 1966. The comic was never backwards at flirting with surrealism, with outer-space/time-travelling pastiches like Old Batty (1966-69) providing diverse, stream-of-conciousness thrills and eccentric spills, easily on-par with much of Odham's output during the same decade. Delightful diversions continued to appear via more lesser-remembered contributions, like the Viz-soundalike Whiskery Dicks and the charmingly whimsical Toad in the Hole , both lucidly entertaining sixties entries from the pen-nib of Michael Barratt . In Dec 1973, Topper unleashed its most bizarre concept in the name of Plum Duffy , a low-key but astonishing recounting of the trials and tribulations of a humanized, walking, talking Christmas Pudding, forever on the run from desperado mercenary pursuers. The fact that the central character spoke directly to the reader in a matter-of-fact manner simply added to the welcome unreality.

This hyper-bizarre strip ran for around 6 months. The early seventies yielded another memorable strip: Ghastly Manor , a luridly comical horror pastiche, rare within D.C. Thomson output of the period, and more along the lines of IPC comic-horror fare of this era. Unlike the full-blooded horrors of Shiver and Shake , Monster Fun , etc, this strip was more cuddly and appealing in its depiction of cartoon horror, but nevertheless produced unforgettable horror-icon imagery in the shape of salivating ogres and manically leaping skeletons. This was another typically skewed concept unique within the pages of Topper. Further unique and unusual strips manifested in the shape of Jiffy and the Glyphs (a slightly disturbing 1969 entry depicting the unleashing of tiny, Egyptian-like figures from within an ancient parchment) and 1970 wrought the queasily-memorable Lumbering Jack , an eerily comic depiction of a 19th-century bobby brought back to life to deal with the social problems of yobbish youths in the very early 70s.

Although the comic undoubtedly tried out modern and contemporary fare in this period, more traditional entries like Danny's Tranny were also introduced in this era, and this concept proved to be another long-lasting winner. Indeed, this idea proved successful enough to warrant promotion to the prized front cover for a while in the mid-seventies. Around 1971, Topper underwent a noticeable change in overall comedy direction, with several of its characters addressing the readership directly. This approach had been the subject of sporadic experimentation in the past, but newer strips like Splodge positively thrived on this outlook. It gave the paper an identity wholly separate from Beezer within the same period: the latter seemed a tad stale and conservative in comparison over 1971-3. Possibly the loss of Watkins and Davey Law over the 1969-70 era necessitated a direct change of approach in the reincarnations of Mickey the Monkey and Beryl the Peril during this point in time.

Topper excelled in updating many of its previous successes during the early seventies, with the likes of The Whizzers from Ozz striking out into new tangents, introducing newer threats from villains from their home planet, and the selfsame artist Paddy Brennan turning out the Amazing Peet , another deliciously eccentric diversion which debuted in 1973. Send for Kelly also upgraded from the previous back-page slot, occupying the coveted and desirable centre-pages, in expanded widescreen-like frames that clearly differentiated this work from the more compactly-realized Beano and Dandy of the same timeframe. Send for Kelly diversified into memorable close-up characterizations of exotic — if often racially stereotyped — villains as a result of this experimentation , and this spy-strip also scooped the highly-prized front-cover status at some point in 1973. Lesser-remembered (but suitably manic nevertheless) entries from this era included Vic Neill's demented piggery-farce Piggy Banks , Andrew Christine's very topical Top of the Flops , and also George Martin's comically inventive Dreamboat Bill .

Although these creations could hardly be described as 'household names' within Topper's proud history, they do, however, represent a period of healthy experimentation that sustained much of the comic's 'reason-to-be' during this chequered period. All throughout these trial-and-tribulation years ran the curious phenomenon of an imported US strip, Nancy (by Ernie Bushmiller). Even when seen today, this strip appears highly incongruous and decidedly jarring within a comic from the D.C. Thomson stable, as the company was so clearly independent — internal adverts in these early days promoted other D.C. Thomson comics only. Nancy stuck out like a sore thumb, being clearly an American 'intrusion' into this uniquely British comic. It was also signed by Bushmiller in the opening logo, another noticeable departure from the accepted D.C. Thomson way of doing such things. This strip always looked noticeably bland, possibly deliberately so. However, there was often a clever and imaginative visual punchline in the final frame, so all was certainly not lost within this strip's existence.

Nancy was also remarkable in its depiction of the central character's decidedly well-endowed guardian, depicted as a sexually attractive, alluring young woman, Aunt Fritzi, in a manner that would surely be deemed as unacceptable by a 'regular' D.C. Thomson cartoonist. Another highly-memorable facet of Topper's output was the long-running 'three-in-one' multistrip page, the most successful of which was in all likelihood the Julius Cheeser/Desert Island Dick/King Gussie version which ran during the latter sixtie. Julius Cheeser by George Martin was a sort of cut-price Tom and Jerry with short, sharp gags. For some reason, this extremely simple concept has proved an unforgettable entry, though not quite as memorable as Tom Bannister's Desert Island Dick, which, even when revisited today, exhibits a charm and zest that is totally endearing. Winning elements include hyper-imaginative intrusions from such imaginative diversions such as flying saucers, endless variations on this apparently limiting theme, and Dick's loyal, but sometimes mocking sidekick Olly, who often 'thought aloud' to endless comic delight.

Again, here was a very simple concept handled with sufficient skill to make it truly unforgettable to many original readers. The final of the three strips of this colour page was King Gussie, probably the most down-to-earth of the three entries: the landed gentleman Gussie resided in a spacious, draughty castle complete with footmen, yet this surrounding world seemed to consist of mundane neighbours, and the gags depicted were invariably of the domestic, everyday type.

Question: The character of Beryl the Peril originally appeared in which comic ?
Answer: TOPPER