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As a seller, I've had bun fights on rarer stuff. I've also had lowball sales that I'd have been better off just giving away, once taking into account the time and effort of listing/packaging/going to the sorting office/etc. And sometimes things can get missed, for whatever reason. I'm looking to list something at the moment. The average sale price is £190. I'd be happy with a little less than that. But one auction recently sold below £120. It started at 99p...

As ever, it depends on the individual. I'm low-risk. I'd rather cycle high-value items than risk very low sales. I do make exceptions for stuff I don't care much about.

One other thing: be very careful of eBay limitations regarding shipping. Comics, for example, I think now have a set maximum of £7.50, which means you will not get costs back on heavy lots when sending by courier. That has to be factored into your sale price, or you'll be looking at a loss. (I nearly had this with DVDs once. I listed a load of South Park ones and people kept hurling offers at me and calling my responses a "rip off". Had I accepted them, I'd have made a loss. That's a good example of "should have just gone straight to charity"...)

The only advice so far I'd urge caution with is starting auctions at a penny unless you are prepared to sell for that. I got a complete run of Machine Man once for a cent plus postage...

I always go from the other end, with start prices that are the public minimum I'm willing to sell at, and add offer floors as well. That way, I'm not wasting my time nor having an auction cost me money (at which point I'd sooner give everything to charity).

Personally, I'd just look at sale prices and either used fixed-price auctions fairly close to those values, or set your start price accordingly. Things are worth what people are willing to pay. You can always – on eBay and elsewhere – invite offers, and make individual decisions based on what people suggest.

Yes, OOP drives up prices, especially for the phone books. I've seen the third Rogue Trooper volume go for over 50 quid.

You could always also try listing here. I've had reasonable luck selling on this forum.

Not sure that was successful. Or maybe I'm just not that observant. I didn't notice it at all until that B+W version was there.

Not sure if this was written by ChatGPT or something. Either way, oof.

https://screenrant.com/dredd-mega-city-one-location-explained/

So many factual errors and typos. Ten years, creeps!

the low key ending seeming more appropriate than a McGruder hail of bullets

And yet giving Hershey agency about her ultimate end, and her doing so in the role of trying to help and protect people (notably in a 'small' way vs the 'too big' CJ position) rather than slowing dying in a bed. And, man, she got put through the grinder in this series, didn't she?

So is that the floppy run compiled?

[Dredd]

Simon Fraser on cover duties. A good job, although the semi-transparent logo looks weird. Some tiny glimpses of next Prog's crossover event and we're into the end of Dredd, which plays out much as you'd expect. Bora's reactions are notable again. Everyone referring to her as a girl feels quite 1970s. The strip as a whole has been solid but for me not hit the highs of the previous two entries in this trilogy. It was more grim inevitability than having a twist. Perhaps that's Mega-City One. In one of my final visits to the X hellscape, it was interesting to see Niemand say he felt the story got away from him a couple of times. Anyway, Niemand Dredd for me still beats pretty much anyone else's Dredd.

Azimuth gives us a double dose. It's really good stuff. I also didn't see the ending coming, although there are pretty easy ways to reset that particular event if Abnett has a mind to. So, yeah, I'm coming around to this. It's still disappointing we don't have a bonkers new world in which to play indefinitely, but it provides an injection of interest into a strip I've long found tired.

The 3riller wraps up nicely. I don't think this one has legs for anything more, but it was fun while it lasted and an excellent example of the format. As a Future Shock, this would have been compressed to the point it was robbed of its pace and richness. As a six-part series, it would have been stretched. But three parts? It feels like that swig of rocket fuel (or whatever Diggle used to say) as applied to an idea that's more than a twist.

And then we get to Hershey. Again, some nice moments here. Dirty Frank in particular providing some humanity in one scene that Hershey perhaps didn't appreciate, but may have done more so during her days ahead. And the ending? Well, I imagine it's more what she would have wanted than quietly passing in a bed.

Another cracking Prog, really. Not the kind of thing you tend to see as 2000 AD gears up for a jumping-on issue. A great mix of pace and styles that really bring home the benefits of the anthology format.

Azimuth > Hershey > Dredd > 3riller – but all good, again.

He ran screaming from this forum and never returned. Tsk.

If the art is pixelated, that'll be because of an error in the source files. Unless they've done a corrected print run – unlikely with a partwork at this stage of its life – I imagine it's vanishingly unlikely there will be copies without the error.

Lots of references to faxes in early John Smith scripts too. It's the nature of sci-fi, which is a combination of guesswork, predictions and whatever exists today. Along with, in some cases, just not doing the research. In hindsight, there are always going to be things that make no sense.

As we've said before, Mega-City One's original population was tiny, given the size of the city and the density we see. It still is. But "800 million" presumably sounded like a big number at the time and so they went with it. The current number in Nerve Centre is "over 200 million". That's about 5x the metro population of Tokyo, which has a density of 3000/km2.

Given that a single city block can fit within a square kilometre and we're told can house 50,000 people, you can assume the density in Mega-City One could be up to 10x Tokyo's. So in the same space as Tokyo's metro area, you could fit twice as many people as that currently exist in Mega-City One. And Tokyo's metro area is comparatively tiny.

House of cards!

The cover in the press release has Meg 245–257.

Yeah. I don't think we'll be seeing books 3, 4 and 5 of Hershey, given that she's basically got a stay of execution but is still being ravaged by some kind of pathogen.

[Dredd]

I imagine that came from a Forbes piece that said the Las Vegas Strip's revenue was ~$8bn last year. Divide by 365 and you get ~$22m/day.

Anyway: a really good prog overall. Nice over. Amusing Droid Life. And then Dredd continues to what will presumably be Asher's demise. Note also how Zoola is responding to Asher. Nuance. He's full-on white knighting. She's terrified of him.

The Future Shock from a narrative standpoint felt a little outside the norm for 2000 AD, and I believe this is Ned 'Bananaman' Hartley's debut in the prog proper. I enjoyed it. A nicely 2000 AD premise that felt like a classic Shock with a modern spin (AI). Amusing juxtaposition with Azimuth. Nice art. Multiple twists. Quality.

Azimuth also was really really good. I imagine at some point, we're going to see a big ol' reset switch, but I'd be quite happy if Sin/Dex remained in this world for a while.

Die Hoard was solid, with some twists of its own. And then Hershey gave us the penultimate episode of a divisive strip I've really enjoyed. Two notes. First, I don't think it was a Kirkman episode myself. I get that thinking, but he'd have had 10x as much text and it would have ended up like a soap, with endless unnecessary squabbling. Secondly, the sole negative in a vanishingly rare comic strip about an older woman was how odd it was that there was one other judge identifiable as female. Perhaps it was a contrast thing. But, well, I do wish predominantly white, male artists would recognise how 122 years into the future would look.

Future Shock > Azimuth > Hershey > Dredd > Die Hoard, but it's all good this week.