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Wednesday, April 18, 2018

Rebellion Releases (2000AD)

Rebellion releases for 18 April 2018.

2000AD Prog 2077
Cover: Raid71
JUDGE DREDD: FLAWS by Michael Carroll (w) Staz Johnson (a) Abigail Bulmer (c) Annie Parkhouse (l)
JAEGIR: IN THE REALM OF PYRRHUS by Gordon Rennie (w) Simon Coleby (a) Len O'Grady (c) Ellie De Ville (l)
SINISTER DEXTER: THE DEVIL DON'T CARE by Dan Abnett (w) Steve Yeowell (a) John Charles (c) Annie Parkhouse (l)
ANDERSON, PSI DIVISION: UNDERTOW by Emma Beeby (w) David Roach (a) Jose Villarrubia (c) Simon Bowland (l)
STRONTIUM DOG: THE SON by John Wagner (w) Carlos Ezquerra (a) Ellie De Ville (l)


Judge Dredd Megazine 395
Cover: Brendan McCarthy
JUDGE DREDD: KRONG ISLAND by Arthur Wyatt (w) Jake Lynch (a) John Charles (c) Annie Parkhouse (l)
THE RETURNERS: IRMAZHINA by Si Spencer (w) Nicolo Assirelli (a) Eva De La Cruz (c) Annie Parkhouse (l)
CURSED EARTH KOBURN by Rory McConville (w) Carlos Ezquerra (a) Simon Bowland (l)
CHOPPER: WANDERING SOUL by David Baillie (w) Brendan McCarthy (a) Ellie De Ville (l)
DREDD: THE DEAD WORLD by Arthur Wyatt & Alex De Campi (w) Henry Flint (a) Chris Blythe (c) Annie Parkhouse (l)
BONUS STORY: RAZORJACK - THE GLIMPSE OF SUMMER by Michael Carroll (w) John Higgins (a) Sally Hurst (c) Ellie De Ville (l)
Features: New Comics: 2000 AD Regened
BAGGED GRAPHIC NOVEL: Nemesis the Warlock: A Monograph by Matt Smith

Charley's War: Definitive Collection Volume 1 by Pat Mills & Joe Colquhoun
Rebellion ISBN 978-1781-08619-3, 18 April 2018, 323pp, £19.99. Available via Amazon.
Considered by many as the most important war story to appear in comics, Charley’s War follows the working class Charley Bourne who eagerly signs up to fight on the Western front in 1916. The idealistic sixteen-year-old experiences a hellish world of trench warfare where every day is a bitter fight for survival. Charley and his friends soon realise they have been thrust into a conflict where ordinary people are expected to throw away their lives to serve the selfish interests of those in power! Written by British comics legend Pat Mills and featuring the breathtaking artwork of Joe Colquhoun, this first volume of Charley’s War includes Charley’s harrowing participation in one of the bloodiest encounters in human history - The Battle of the Somme.

Monday, April 16, 2018

Michael Storme cover gallery

Michael Storme is one of the authors featured in my new book Forgotten Authors Volume 3.

Make Mine a Shroud
Archer Press, (May 1949), 96pp, 1/6. Cover by Heade

Unlucky Virgin
Archer Press, (Sep 1949), 96pp, 1/6. Cover by Thorpe

Make Mine a Harlot
Archer Press, (Oct) 1949, 128pp, 1/6. Cover by John Pollack

Make Mine Beautiful
Archer Press, (Nov) 1949, 128pp, 1/6. Cover by John Pollack

Make Mine a Virgin
Archer Press, 1949 (Jan 1950), 128pp, 1/6. Cover by John Pollack

Make Mine Dangerous
Archer Press, 1949 (Feb 1950), 128pp, 1/6. Cover by John Pollack

Make Mine a Corpse
Archer Press, (Jun) 1950, 128pp, 1/6. Cover by John Pollack

Sucker for a Red-Head
Archer Press, (Aug) 1950, 128pp, 1/6. Cover by Heade

Dame in my Bed
Archer Press, nd (1950), 128pp, 1/6. Cover by Heade

Satan Buys a Wreath
Archer Press, 1950 (Mar 1951), 128pp, 1/6. Cover by Heade

Hot Dames on Cold Slabs
Archer Press, (Dec) 1950, 128pp, 1/6. Cover by Heade

Elvira Digs a Grave
Harborough, nd (Mar 1952), 128pp, 2/-. Cover by Heade

Chicago Terror
Harborough, nd (Apr 1952), 128pp, 2/-. Cover by Heade

Lovelies are Never Lonely
Harborough, nd (Apr 1952), 127pp, 2/-. Cover by Heade

Stella Buys a Shroud
Harborough, nd (Apr 1952), 128pp, 2/-. Cover by Heade

Make Mine a Redhead
Harborough, nd (Oct 1952), 128pp, 2/-. Cover by Heade

Kiss the Corpse Goodbye
Harborough, nd (Nov 1952), 128pp, 2/-. Cover by Heade

Baby Don’t Love Hoodlums
Harborough, nd (Mar 1953), 128pp, 2/-. Cover by Heade

Dragons Come Expensive
Harborough, nd (Mar 1953), 128pp, 2/-. Cover by Heade

You’ll Be Better Off Dead
Harborough, nd (Mar 1953), 128pp, 2/-. Cover by Heade

Sweetheart with a Wreath
Harborough, nd (Jul 1953), 128pp, 2/-. Cover by Heade

Me and My Ghoul
Harborough, nd (Aug 1953), 128pp, 2/-. Cover by Heade

Tiptoe Thro’ a Graveyard
Harborough, nd (Aug 1953), 128pp, 2/-. Cover by Heade

Baby Don’t Say Goodbye
Harborough, nd (Oct 1953), 128pp, 2/-. Cover by Heade

The Devil Has a Racket
Harborough, nd (Jan 1954), 128pp, 2/-. Cover by Heade

(* Some of the scans here are from Stephen James Walker's The Art of Reginald Heade.)

Saturday, April 14, 2018

Comic Scene #0 (August 2018)

Comic Scene is a very welcome newcomer published by ComicFlix.org Publishing. The new monthly is due to come out in August, but before that we have an issue zero to promote subscriptions. To be published on 1 May, this 64-page magazine has a lot of top-notch content that will make fascinating reading to anyone with an interest in British comics and annuals.

We have not had a UK comics' magazine since Crikey! folded in 2011 and suddenly we have two: Fanscene was released earlier this year as a free-to-download study of British comics' fandom, a megalithic 328 pager; and now Comic Scene, an actual printed artefact that picks up the baton of those old fanzines and carries it into 2018.

British comics have a history dating back 150 years if you count that history from the debut of the first recurring comic strip character (Ally Sloper in 1867), but interest in and research about those ancient characters is as scarce as the papers themselves. Indeed, since the demise of Denis Gifford's ACE Newsletter, there is very little research done these days on any papers that appeared pre-Eagle.

And here we have the dilemma of creating a comics fanzine: do you concentrate only on titles that your audience is going to be aware of and ignore everything that came before, or do you try to put today's comics into some sort of context by looking at older comics and characters.

It could be argued that the original Eagle is already the subject of two fanzines (Eagle Times and Spaceship Away!), so it can be safely put to one side. I think Crikey! perhaps proved that older material and humour material didn't translate into sales.

Comic Scene takes the other route with very little content covering comics or events over 30 years old, thus pitching it to an audience of, say, 45-year-olds, which seems about right (I keep forgetting that 2000 AD started over 40 years ago and is itself ancient history to most people!). With the caveat that the paper covers chiefly the last thirty or so years, I think the debut issue zero might suffer from a desire to pack too much in. Most of the features are one or two pages, packing in 28 features into 64 pages, with 5 pages dedicated to a comic strip (Captain Scotland) and 4 pages to news (which will make a little more sense once the paper is monthly, although most people who want to to be kept up to date will probably have already found their needs met online). Longer articles with more depth would be more welcome.

For me, the top features will always involve reminiscences by or interviews with people who have been involved one way or another with the industry, so the pick of the content is, in no particular order, John McShane on the history of Toxic (part 1); Tim Pilcher's look back at Deadline; Pat Mills' opinionated 'The Last Word' on whether characters should die with their creators; an albeit brief interview with Peter Milligan about his upcoming Titan series The Prisoner; Steve McManus and Christopher Lowder both discussing the merger of Valiant and Lion; and John Wagner on the origins of his recent mini-series Rok of the Reds.

Benoit Peeters offers an interesting opinion piece, arguing that comics help us relive our childhood (although I would argue that reading, say, Preacher, was a very different experience to my boyhood reading of Valiant).  Meanwhile, in 'The Cartmel Factor', Ian Wheeler looks back at Doctor Who strips from the era of Andrew Cartmel's script-editing days on Dr Who Magazine.

The Best of Small Press Comics looks at Wolf and Flintlock and the June 2018-released graphic novel Apollo by Matt Fitch & Chris Baker (Selfmadehero) is previewed by Stephen Jewell. This is the kind of thing that I would like to see more of – previews rather than "news".

Elsewhere in Comic Scene we glance at an old Thunderbirds storyline from TV Century 21,  take a look at the debut issue of Shiver & Shake, look back at the Free Comic Book Day releases from 2000AD and the Batman v. Dredd crossover Judgement on Gotham, and discover a brief introduction to collecting books about Roy of the Rovers. Some choices seem a little odd, such as an article on the many faces of Dan Dare that doesn't include a page by Dan's creator, Frank Hampson. A chance to do something substantial on Steve Dillon is rather thrown away in a few hundred words and discussion of Mike Higgs' colour cover for Unicorn fanzine might have been better served in the pages of Fanscene.

Despite these misgivings – and let's not forget that this is Tony Foster's Comic Scene, not Steve Holland's Comic Scene – it's a solid start to what could become that rarest of things – a long-running magazine about British comics.

Details about subscriptions can be obtained from www.comicscene.org. Rates for print issues for the UK are £5.75 for one issue; £33 for 6 issues; £63 for 12 issues.You can get a pdf version for £4.75 (1), £27 (6) or £53 (12).

Payment can be made via PayPal to comicsceneuk@gmail.com. For other options, and for international rates for the print edition, visit the website.

Tony tells me that the monthly will include features on Judge Dredd v Judge Death, 2000AD, Halo Jones, Girls Comics including Tammy / Jinty / Bunty, 80 years of the Beano, The Prisoner, Return of Roy of the Rovers, Six Million Dollar Man v Mach One, Charley’s War, 20 years of comic blog DownTheTubes, 40 years of Starlord and Misty, 50 years of fandom and comic con, 30 years of Tank Girl, Deadline & Hellblazer, Vertigo at 25, the new Doctor Who Jodi Whittaker, Superman at 80, Captain Britain / Mega City One / V For Vendetta and comics on the big and small screen, Miracleman, DC and Marvel in the U.K.,  European comics plus all the latest news and gossip from the comic, small press, cosplay and related media industry.

J Macfarlane

J. MACFARLANE
by
Robert J. Kirkpatrick

A search for information about the illustrator J. Macfarlane would almost certainly lead to the conclusion that he was Australian. Several websites refer to him as a “late colonial period painter, political cartoonist and illustrator [who] made dramatic historical drawings of Australian exploration subjects…..:, and that he “flourished c. 1890 – c. 1898.” The Booktryst blog, in November 2011, stated “Little is known about the artist J. Macfarlane. It appears that he was an Australian painter and illustrator who contributed cartoons to The Barrier Daily Truth in the 1890s.”

However, Macfarlane was born and brought up in Scotland, and while he did spend a few years in Australia at the end of the 19th century, most of his career was spent in England.

He was born in Bonhill, Dunbartonshire, on 15 May 1857, and christened John Fleming Cullen Macfarlane, the last of nine children of Patrick Macfarlane (1822-1904), a druggist, and his wife Elizabeth, née McKenzie (1819-1885). The family lived in Bonhill for many years, moving from Maxwell’s Land, Bridge Street, to Myrtle House, Main Street, in the 1860s.

It is not known where Macfarlane received his artistic training, but by the time of the 1881 census he was already working as an artist, living with his parents in Bonhill. Shortly after this he moved to Australia, probably accompanied by Louisa Wallace (born in Campbeltown, Argyllshire, in 1854), as they were married on 9 November 1883 in Moonee Ponds, Victoria. They went on have five children, all born in Victoria, between 1885 and 1896.

Macfarlane appears to have established himself as an artist in Australia in 1884, when he collaborated with the wood engraver F.A. Sleap on a series of illustrations (“Sketches on the Coast”) for The Illustrated Australian News. In 1890, Macfarlane and Sleap were also working for The Australian News and Musical Times. Macfarlane subsequently became sympathetic to the cause of striking miners at Broken Hill, an isolated mining town in New South Wales, and he contributed drawings illustrating the dispute to The Queensland Leader. Also in that year he illustrated his first book, At The Races: The Melbourne Cup 1892. In 1898, he began contributing cartoons to The Barrier Daily Truth, a newspaper which had been launched in January 1898 in Broken Hill, again offering support to the local miners.

Macfarlane left Australia shortly after this and came to England, as in the 1901 census he was recorded at “St. David’s”, Mitcham Road, Tooting, with his wife and five children. By then, he had begun a second career as an illustrator of children’s books, with The Romance of Greystones: An Australian Story, written by H. Arnold Nelson and published by Ward, Lock & Co. in 1899. (He had earlier contributed illustrations to The Windsor Magazine in 1897 and 1898, and to Harper’s New Monthly Magazine and The Ludgate Monthly in 1898). Ward, Lock & Co., founded in 1854 as Ward & Lock, had opened an office in Melbourne, Australia in 1884, and it went on to publish a large number of Australian children’s stories which appeared simultaneously in both the UK and Australia. Macfarlane, with his albeit brief experience of life in Australia, was an obvious choice to illustrate some of these, and between 1900 and 1924 he illustrated several stories by authors such as Ethel Turner, her sister Lilian Turner, Mary Grant Bruce and Lilian M. Pyke (including her three famous Australian public school stories Max the Sport, Jack of St. Virgil’s and The Best School of All). Indeed, most of his work was for Ward, Lock & Co. – he illustrated well over 40 books for the company.

He also illustrated a handful of re-issues of classic English novels, including Robinson Crusoe, Walter Scott’s Talisman, and, most notably, Tom Brown’s Schooldays, published by Macmillan & Co. in 1904, with no fewer than 32 black and white plates.

In 1901, he began contributing to the boys’ story paper The Captain, with illustrations for a series of Boer War stories by John Mackie, and in 1906 he began contributing to The Boy’s Own Paper. He was also an occasional contributor to The Sphere.

At the time of the 1911 census, he was living with his wife and two of his children at 33 Crockerton Road, Tooting.   In 1921, he re-drew six of John Tenniels’ illustrations for Alice in Wonderland – Alice and the White Rabbit, The Dodo Presenting the Thimble to Alice, The Cheshire Cat, The Mad Tea-Party, The Mock Turtle's Story, The Trial of the Knave of Hearts – with the new illustrations initially being produced as large colour posters. They were subsequently used in a new edition of the book published by Macmillan in 1927. This was apparently the first instance of Macmillan licensing illustrations for the story by someone other than Tenniel.

By the end of the 1920s, Macfarlane appears to have retired, as no further books containing his illustrations have been traced after this date other then a couple of re-issues of earlier titles.

His wife had died in Wandsworth in September 1919, and was buried in Putney Vale Cemetery, Wandsworth, on 12 September. Macfarlane himself died at his home, 9 Homefield Road, Wimbledon, on 9 October 1936, and was buried alongside his wife four days later.


PUBLICATIONS

Books illustrated by J. Macfarlane
At the Races: The Melbourne Cup 1892, Robert A. Thompson & Co., 1892
Australian Bush Tales by George Dunderdale, Ward, Lock & Co., 1898
Cola Monti, or The Story of a Genius by Mrs Craik, W. & R. Chambers, 1898 (with R. Barnes) (re-issue)
The Romance of the Greystones: An Australian Story by H. Arnold Nelson, Ward, Lock & Co., 1899
True as Steel: Stories of Courage and Conflict by Gordon Stables and others, John F. Shaw, 1900 (with other artists)
Our Darlings: The Children’s Treasury of Pictures and Stories, John F, Shaw, 1900 (with other artists
Robinson Crusoe by Daniel Defoe, Macmillan & Co., 1900 (re-issue)
The Talisman by Walter Scott, Macmillan & Co., 1900 (re-issue)
Duck Lake: Stories of the Canadian Backwoods by E. Ryerson Young, Religious Tract Society, 1900
The Warrigal’s Well: A North Australian Story by Donald MacDonald & John F. Edgar, Ward, Lock & Co., 1901
The French Prisoners: A Story for Boys by Edward Bertz, Macmillan & Co., 1902 (re-issue)
Green Barley: An Australian Story by H. Arnold Nelson, Ward, Lock & Co., 1902
Captain Cook by Walter Besant, Macmillan & Co., 1903 (re-issue)
Under the She-Oaks by Elisabeth Boyd Bayly, Religious Tract Society, 1903
A Daughter of the People by Murray Home, Ward, Lock & Co., 1904
Tom Brown’s Schooldays by Thomas Hughes, Macmillan & Co., 1904 (re-issue)
Captain Polly by Sophie Dwett, T. Nelson & Sons, 1906
In the Mist of the Mountains by Ethel Sybil Turner, Ward, Lock & Co., 1906
A Golden Shadow by L.T. Meade, Ward, Lock & Co., 1906
The Willoughby Boys by Emily Hartley, T. Nelson & Sons, 1906 (re-issue)
The Leather Mask by Ambrose Pratt, Ward, Lock & Co., 1907
Feadora’s Failure by Lucie E. Jackson, Ward, Lock & Co., 1907
From Scapegrace to Hero, or The Adventures and Triumphs of Jem Blake by Ernest Protheroe, Religious Tract Society, 1907
The Stolen Voyage by Ethel Sybil Turner, Ward, Lock & Co., 1907
Grimm’s Fairy Tales: A Selection from the “Household Stories” of the Brothers Grimm, Alfred Trice Martin (ed.), Macmillan & Co., 1908
Days that Speak: A Story of Australian Child Life by Evelyn Goode, Ward, Lock & Co., 1908
First Person Paramount by Ambrose Pratt, Ward, Lock & Co., 1908
Two Girls in a Siege: A Tale of the Great Civil War by E.C. Kenyon, Religious Tract Society, 1908
The Kipling Reader: Selections from the Books of Rudyard Kipling, Macmillan & Co., 1908
Love and a Will o’ the Wisp by H. Louisa Bedford, Religious Tract Society, 1908
Paradise and the Perrys by Lilian Turner, Ward, Lock & Co., 1908
Fugitives from Fortune by Ethel Sybil Turner, Ward, Lock & Co., 1909
The Camp Doctor and Other Stories by Egerton Ryerson Young, Religious Tract Society, 1909
The Perry Girls by Lilian Turner, Ward, Lock & Co., 1909
The Recollections of Geoffrey Hamlyn by Henry Kingsley, Ward, Lock & Co., 1909(?) (re-issue)
Three New Chum Girls by Lilian Turner, Ward, Lock & Co., 1910
A Little Bush Maid by Mary Grant Bruce, Ward, Lock & Co., 1910
The Hillside Children by Agnes Giberne, Religious Tract Society, 1910
Prosperity’s Child by Eleanora H. Stooke, Religious Tract Society, 1910
Love Conquers All by Jean A. Owen, Religious Tract Sociey, 1910
April Girls by Lilian Turner, Ward, Lock & Co., 1911
Myddleton’s Treasure by Ernest Protheroe, Religious Tract Society, 1911
Young Pickles by Stuart Wishing, Ward, Lock & Co., 1911
Mates at Billabong by Mary Grant Bruce, Ward, Lock & Co., 1911
Timothy in Bushland by Mary Grant Bruce, Ward, Lock & Co., 1912
Seven Little Australians by Ethel Turner, Ward, Lock & Co., 1912 (re-issue)
Stairway to the Stars by Lilian Turner, Ward, Lock & Co., 1913
Norah of Billabong by Mary Grant Bruce, Ward, Lock & Co., 1913
The Children’s Shakespeare: Henry V, Macmillan & Co., 1914
The Girl from the Back-blocks by Lilian Turner, Ward, Lock & Co., 1914
Mona’s Mystery man by Vera G, Dwyer, Ward, Lock & Co., 1914
Jim and Wally by Mary Grant Bruce, Ward, Lock & Co., 1916
Max the Sport by Lilian M. Pyke, Ward, Lock & Co., 1917
Jack of St. Virgil’s by Lilian M. Pyke, Ward, Lock & Co., 1917
Possum by Mary Grant Bruce, Ward, Lock & Co., 1917
Phyl of the Camp by Lilian M. Pyke, Ward, Lock & Co., 1918
Dick by Mary Grant Bruce, Ward, Lock & Co., 1918
Robin of the Round House by Isabel M. Peacocke, Ward, Lock & Co., 1918
A Prince at School by Lilian M. Pyke, Ward, Lock & Co., 1919
Captain Jim by Mary Grant Bruce, Ward, Lock & Co., 1919
Bruce at Boonderong Camp by Lilian M. Pyke, Ward, Lock & Co., 1920
Dick Lester of Kurrajong by Mary Grant Bruce, Ward, Lock & Co., 1920
The Best School of All by Lilian M. Pyke, Ward, Lock & Co., 1921
Back to Billabong by Mary Grant Bruce, Ward, Lock & Co., 1921
The Doctor’s Experiment by H. Frederick Charles, Religious Tract Society, 1921 (re-issue)
The Ship That Never Set Sail by Edith Jean Curlewis, Ward, Lock & Co., 1922
The Stone Axe of Birkamukk by Mary Grant Bruce, Ward, Lock & Co., 1922
Sheila at Happy Hills by Lilian Pyke, Ward, Lock & Co., 1922
Drowning Maze by Jean Curlewis, Ward, Lock & Co., 1922
Tales from Shakespeare by Charles & Mary Lamb, Macmillan & Co., 1923
Billabong’s Daughter by Mary Grant Bruce, Ward, Lock & Co., 1924
Fables from the East, Macmillan & Co., 1925(?)
Stories from the Arabian Nights, Macmillan & Co., 1925
Billabong Adventurers by Mary Grant Bruce, Ward, Lock & Co., 1927
Cast up by the Sea by Sir Samuel Baker, Macmillan & Co., 1927
Australian Etiquette by Lilian M. Pyke, J. Pollard (Melbourne), 1942 (re-issue)
Little Mother Meg by Ethel Sybil Turner, Ward, Lock & Co., 1943 (re-issue)

Friday, April 13, 2018

Comic Cuts - 13 April 2018

With the new book out, I'm finally taking a few days off. I have a habit of letting things pile up. "When I get a chance I'll do that." Unfortunately, I never get the chance because I've not paused between books for a decade. Well, completing the latest book has coincided with my birthday and I fancied doing something different for a bit.

Now, this might not be everybody's idea of a break, but I had a two foot-high pile of Private Eyes dating back to 2010 that I've been saying I'll sort through, making a few notes on the comic strips that have appeared over these past few years. That's over 160 issues to sort out, look through and over 100 scans.

I had the Congressional hearings with Mark Zuckerberg of Facebook playing in the background. It's amazing how little we actually understand about the social media sites we use. I'm not a Luddite but I do try to limit myself – I'm on Facebook because a lot of people I wanted to tell about my books had signed up. I'm not on Twitter, Instagram, Reddit, and other places where the cool kids hang out, and I try to limit my activity on Facebook simply because I don't have that much spare time.

I think we all know that television is not about delivering quality programming to viewers – it's about delivering viewers to the advertising that plays during and around a TV programme. It has always been targeted, which is why you'll see adverts for stairlifts playing during the afternoon run of gameshows, hunting through attics or boot sales for bargains, home improvement and consumer shows and other programmes aimed at an older audience. As we reach early evening the adverts begin to feature smiling mums saving money in supermarkets and during the post-watershed hours the advertising switches to cars and perfume.

The web-tracking software at Facebook is far more sophisticated, so it will know when I've looked at Amazon for a new hard drive (as I did a few months ago) and will start advertising hard drives to me around and in my news feed. The algorithm is unaware that I only look at such things when I need to buy them, so usually I've just ordered one as the adverts start to swamp my Facebook feed. That tells me that while the web-tracking software may be aware of where I've looked, it isn't aware that I've made a purchase, which could lead to all sorts of problems. So, phew! There is at least some privacy left on the internet.

Facebook is very good at guessing what you're interested in and targeting you with advertising. It doesn't always get it right but it must be delivering customers to advertisers given how much they spend on Facebook these days ($40 billion in 2017). I've just Google searched "how many data points does Facebook hold on users" and the top result is a 2016 article from the Daily Mail talking about 98 points needed to make up a complete profile of a person. Well, Cambridge Analytica – the company at the centre of the recent data-scraping/selling scandal – boasts on its website about having up to 5,000 data points on over 230 million American voters:

There are 250 million people who can vote in the USA, so that's data on over 90% of them. And if CA Political can gather that amount of information, Facebook must have 10,000+ data points on every single one of its 2.13 billion active users (as of 31 December 2017). That's why their marketing is often scarily precise.

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Wednesday, April 11, 2018

Rebellion Releases (2000AD)

Rebellion releases for 11 April 2018.

2000AD Prog 2076
Cover: Alex Ronald
JUDGE DREDD: FLAWS by Michael Carroll (w) Staz Johnson (a) Abigail Bulmer (c) Annie Parkhouse (l)
JAEGIR: IN THE REALM OF PYRRHUS by Gordon Rennie (w) Simon Coleby (a) Len O'Grady (c) Ellie De Ville (l)
SINISTER DEXTER: THE DEVIL DON'T CARE by Dan Abnett (w) Steve Yeowell (a) John Charles (c) Annie Parkhouse (l)
ANDERSON, PSI DIVISION: UNDERTOW by Emma Beeby (w) David Roach (a) Jose Villarrubia (c) Simon Bowland (l)
STRONTIUM DOG: THE SON by John Wagner (w) Carlos Ezquerra (a) Ellie De Ville (l)

Button Man by John Wagner & Arthur Ranson
Rebellion ISBN 978-1781-08128-9, 4 April 2018, £19.99.
The complete collection of John Wagner and Arthur Ranson's noir crime thriller is now available in the UK for the first time!
    The world didn’t seem to need a man like Harry Exton anymore. an ex-soldier and mercenary, Harry was A human-killing machine without a Vocation, until an old colleague told him about ‘The Game’. The players, known as ‘Button Men’ are paid to fight to the death in a modern-day gladiatorial contest. Organised by mysterious backers known as ‘Voices’, the killing game offers bountiful financial rewards... if you live. Harry decides to participate, but soon discovers that death offers the only way out!
    Written by John Wagner (Judge Dredd, A History of Violence) with art by Arthur Ranson (Anderson: Psi Division, Mazeworld) Button Man is an action-packed thriller, deservedly regarded as one of the greatest strips ever to be published in 2000 AD.

Monday, April 09, 2018

Frederick Foden cover gallery

Selected gallery of paperback covers by Frederick Foden. For more info. about Foden and his career as a writer of tough gangster yarns, see Forgotten Authors Volume 2.

Professor of Death [Star Detective]
Curtis Warren, nd (1950), 128pp, 9d. Cover by F.T.

Hick Town Dame
Barrington Gray, nd (Nov 1952), 128pp, 1/6.

The Twisted Trail
Brown Watson, nd (1957), 128pp, 1/6. Cover by Harold Johns

NOVELS AS NICK BARONI

No Price Sister
Curtis Warren, nd (c.1951), 111pp, 1/6. Cover by H. W. Perl

Pay Off
Curtis Warren, nd (1951), 111pp, 1/6. Cover by H. W. Perl

Sally
Curtis Warren, nd (1951), 111pp, 1/6. Cover by H. W. Perl

NOVELS AS JON HART

Frisco Boys
Curtis Warren, nd (Aug 1951), 111pp, 1/6. Cover by H. W. Perl

NOVELS AS JACK KELSO

The Trail of the Limping Wolf
Popular Fiction [Popular Detective Stories], nd (c.1946), 48p, 4½d.

The Murder of Colonel Neville
Popular Fiction [Popular Detective Stories], nd (c.1946), 48p, 4½d.

Smashing the Drug Ring
Popular Fiction [Popular Detective Stories], nd (c.1946), 48p, 4½d.

Diamond Cut Diamond
Popular Fiction [Popular Detective Stories], nd (c.1946), 48p, 4½d.

The Ghost Skier
Grayling Publishing [Mystery Thrillers 8], nd (c.1949), 32p, 4½d.

Diamonds Spell Death
Grayling Publishing [Mystery Thrillers 12], nd (c.1949), 32p, 4½d.

NOVELS AS MARK ROSS

Strange Money
Curtis Warren, nd (Sep 1951), 112pp, 1/6. Cover by H. W. Perl

Operator X
Curtis Warren, nd (Oct 1951), 112pp, 1/6. Cover by H. W. Perl

Last Card
Curtis Warren, nd (Jan 1952), 112pp, 1/6. Cover by H. W. Perl

Quiet City
Curtis Warren, nd (Jan 1952), 112pp, 1/6. Cover by H. W. Perl

NOVELS AS BRETT VANE

Good Time Lips
Curtis Warren, nd (1950), 128pp, 1/6.

Miss Pinki Pays Off
Curtis Warren, nd (1950), 128pp, 1/6. Cover by H. W. Perl

Smart Hussy
Curtis Warren, nd (1950), 112pp, 1/6. Cover by H. W. Perl

Private Doll
Curtis Warren, nd (1951), 128pp, 1/6.

Easy Living
Curtis Warren, nd (1951), 111pp, 1/6. Cover by H. W. Perl

Goodbye Honey
Curtis Warren, (Mar 1953), 160pp, 1/6. Cover by H. W. Perl

When Blondes Meet
Curtis Warren, May 1953 (Jul 1953), 160pp, 1/6.