VOID RUNNERS Brings Psychedelic Sci-FI back to 2000AD, from the Minds of DAVID HINE and BOO COOK
- Andrew Irvin
- 11 hours ago
- 21 min read
Interviews Editor Andrew Irvin heralds 2000 AD Prog 2450, with the continuation of the mind-bending space epic, "Void Runner," courtesy the efforts of David Hine and Boo Cook.
COMIC BOOK YETI: David and Boo, welcome to the Yeti Cave! It’s an honor to have you both stop by, as the ensemble of industry vets that make 2000 AD a perennial institution always add valuable insight to the dialogue. How are things over in the UK these days?
DAVID HINE: That’s a loaded question. Politically we are Led by Donkeys with little hope for a decent government in our lifetime, as the formerly socialist Labour Party has shifted so far to the right it’s almost unrecognisable, and the Actual Far Right are banging at the doors of power.
But on the other hand, the weather has been pretty good and I’m enjoying life, with lots of interesting creative projects on the go, so I guess I mustn’t grumble.
BOO COOK: Well, not amazing in general, but I guess it depends what you're up to! We have, of course, had a hideous run of Tory rule which plunged the country into something of an economic and ideological nightmare, only to have that regime replaced by a Labour government that (as predicted) quickly became the new Tories. A joyous cycle which nobody seems to learn from, and a theme all too prevalent in series two of "Void Runners"... All this has paved the way for the resurgence of some moronic tendencies, backwards societal thinking and division among the people - a scenario which currently seems popular across the globe.
If you ignore all that, though, and just go outside into the country and get lost among some trees with some buzzards soaring between or get yourself ensconced in a nice sludge gig, everything's fine! EVERYTHING'S FINE.
CBY: Looks like we've hit the ground running! The political system is certainly distorted, with the framing of the Overton Window not really matching the view people expect to see through it, and I think you've both articulated clearly that misalignment. (Then again, I'm not talking to whichever Brits think things are going splendidly, but I'm sure there are at least a few of them out there). A focus on communicating that anxiety - and its cause - coupled with time in nature and personal creative expression seems like a healthy, multi-tiered approach to addressing the issue.
On tackling complexity, you’ve both had storied careers working across titles for various publishers, building upon existing intellectual property - how’d you two meet, and what led to your collaboration on “Void Runners” - a world of your own joint design? I couldn’t find other references to you both working on previous 2000 AD titles together; was “Void Runners” Book One the first time?
DH: We had met a couple of times at conventions. Boo did a fabulous cover for an issue of Richard Starkings’ Elephantmen (#41), which I had written and drawn. I think that was actually the last professional comic I drew, way back in 2012. Boo generously gave me the pencil art to that cover. It was Boo who approached me in late 2022 to suggest pitching something to 2000 AD. I believe this was after he saw all the psychedelic weirdness I was posting on Instagram and figured we were on a similar wavelength creatively.
The intention was to create a bonkers entertaining psychedelic sci-fi romp, inspired by the real-life adventures of Ken Kesey and the Merry Pranksters as they traversed America in the 1960s on the Magic Bus, with Neal Cassady at the wheel, freely distributing weapons-grade LSD as they went.
BC: I first met Dave at some sort of big MCM comics thing in London many moons ago, I don't imagine he had any idea who I was, but we had a laugh. I was familiar with his presence in the comics world as a reader of 2000 AD - strips such as "Tao De Moto," etc. My interest was really piqued with his work on Daredevil: Redemption, and in particular Strange Embrace; one of two comics to have genuinely scared the crap out of me (the other was Paul Pope's Batman Year 100).
Like he says, I did a cover for his excellent Elephantmen issue, so we had a bit of contact there, but it wasn't until he was regularly posting stuff about extremely psychedelic tomes and artwork from the 60's/70's on Instagram that I really started to think, 'heyyyy we should work together!' So I asked him, we hopped on a zoom chat and clicked pretty instantly, especially on the psychedelic front so decided to get some ideas rolling...
Aside from the psychedelic angle, I was really moved by the dark, gritty realistic aspects of Dave's writing and thought that would be good to work with - anyone who has read Void Runners will know that it is about as far from dark gritty realism as it's possible to get, but it gives me a giddy sense of optimism and positivity in a world that, frankly, is already gritty and dark enough.
CBY: That is very much part of the appeal - I've been examining media motifs that can elicit a sense of warmth, conveying hope and brightness, so I easily hopped aboard this ride. So “Void Runners” Book One commenced in Prog. 2334, back in May, 2023, running over eight installments. When you concluded Book One in Prog 2342, was there any expectation to return to this universe? Did you have more ideas on-deck like the Rigel 16 arc by the time you’d finished, and how long do you expect things may ideally run now that you’ve started into Book Two?
DH: At the end of the first series, we saw Captain Alice Shikari experience the Ultimate Enlightenment through her illicit use of the drug, Kali’s Dust, and set off on her Messianic quest to spread her gospel of Cosmic Truth across the many worlds of the Federation. She has a state-of-the-art space vessel, the best crew of Void Runners in the known Universe, and a hold containing a ‘shit-ton’ of Kali’s Dust.
The potential for storylines is limitless. Rigel 16 was set up as the next destination, and we definitely aimed for three series, which will make a perfect collection for publication as a trade edition. The third series is loosely planned and will round up the first arc with some kind of closure, but I suspect we will carry on with more stories as long as our editor, the Mighty Tharg, is prepared to indulge us.
BC: "Void Runners" series one ended very much with a, 'to be continued' vibe, but you never know - so I was mucho pleased to be back on with a second series. As a story-verse, "Void Runners" does have pretty infinite scope so I'm on board for the long haul if it's required, and Dave isn't gonna be running out of ideas any time soon, so hopefully we'll get to see where it goes.
I know I have a few visual ideas that I'd like to throw into a third series, so if anyone wants to read more after series two you know who to ask (that big green alien fella over there with the Rosette of Sirius on his bonce. the Mighty Tharg!)
CBY: I'd certainly like to see where you two can take this crew on their journey next. One element I very much enjoy is the peripheral nods, thematically and aesthetically, to some elements present in other epic space narratives such as Dune and Star Wars, but you’re able to establish an expansive ontological framing in a much shorter page count. What sort of narrative worldbuilding did you both engage in to build a coherent logic in-universe?
BC: I'm definitely not the logic guy. Or the coherent guy. I'm not sure Dave is either, but he's logical and coherent enough to write great scripts. I think there's a lot of creative trust between Dave and myself - I'm happy to let him come up with all the factions and characters of the Void-verse and he seems happy enough to let me take it where my brain naturally seems to be channeling things. I was raised on Star Wars - once I saw Greedo talking in subtitles on the big screen as a tiny lad that cemented the fact that aliens and space ships were all real in brain.
My Mum lost me in the cinema only to discover me trying to physically get into the screen itself - I don't think I ever came out, so it's no surprise to me anyway to see some Star Wars-esque tropes appearing here and there... respectful homages. Certainly there are elements of Dune in "Void Runners" but as Dave once said of Dune - "it's all so po-faced". I'm a massive fan of Dune but he really does have a point - not a lot of slapstick in there!
"Void Runners" is much more Dune via The Fabulous Furry Freak Brothers or at least via the antics of Ken Kesey's Merry Pranksters and Timothy Leary's exploits during the 1960's.
DH: Dune was very important. I have a copy of the first paperback edition, which I bought second-hand in 1970 when I was fourteen. That book is now in tatters as it has been read and re-read over and over by myself and various members of my family, including my son, who is also now a huge fan. Star Trek was probably more important than Star Wars as an influence. The first series was broadcast in the UK from 1969. The next big eye-opener was the discovery of the French magazine Metal Hurlant in 1974, with artists including Druillet and Moebius. All this stuff was hitting in my mid to late teens, along with underground comics and progressive rock. The popular culture that you experience in those years sinks hooks into your brain and you never shake it off.
I have been reading Moby Dick recently too, and the idea of hunting space creatures that aren’t a million miles from giant flying whales was thrown into the mix. The actual world-building is fairly basic: big dictatorial Empire colonizing and exploiting other species as it expands out into the farthest reaches of space, with a quasi-religious Oracle controlling everything through the psychic knowledge they acquire with the use of psychedelics. The rest of it comes from things I’ve been reading about other forms of consciousness, like the complex sentience of octopuses and even mycelial networks. Then there’s a lot of religious mysticism in its more populist form. All that Hippy Freeeeek stuff.
CBY: Boo, my grandmother (who then lived a couple miles from Melville's childhood home in Massachusetts, coincidentally, Dave) had to restrain me from trying to run into the screen at, Honey, I Shrunk the Kids to save the kids from the bee when I was a toddler, so I was right there with you. I think it applies just as readily on the (somber) tone of Dune, as well - the concurrent takeaway; fear is the mind-killer; face the formidable beasts in your life head-on.
I should also note, you come up with fantastic creature designs at all scales of extraterrestrial life; the Flibberties of Slarn mentioned in Book One reminded me of the Yayflies in Venomous Lumpsucker (which I highly recommend, alongside The Mountain in the Sea for further explorations of sentient marine life) and the massive decentralized organism structure of the Pleroma as a bridging/host species for achieving cosmic unity, which reflects emerging interpretations of evolution as a horizontal, decentralized network without certain previously assumed hierarchies. What sort of research went into designing both the form and function of the various aliens you’ve developed for “Void Runners” over the past few years?
DH: There are loads of sci-fi and speculative novels exploring divergent forms of consciousness, which is a good sign for the future of the human race. We are finally waking up to the idea that there are actually other ways of perceiving the world. This is where Boo and I are very much attuned, as I don’t have to give him more than a few hints to the way these creatures should look. He always does brilliant interpretations of the characters, whether alien or human-ish. The Pleroma are kind of a cross between Cephalopod and Fungi with a shamanic slant – ancient and wise and cosmically aware.
Venomous Lumpsucker is new to me. I just Googled it and it does look very interesting. Yayflies do indeed seem to be very similar to the Flibberties of Slarn, though my source was a little more prosaic: Mayflies! Mayflies only live for a day or so in their adult phase and don’t even have the ability to feed. They fly, breed and die, all in the space of a few hours, or even minutes. A short life but intense. Live fast, die young!
Shikari turned out perfect. I wanted her to look sexy in a non-binary way that should appeal to all genders and sexualities, and Boo has created the ultimate hero and role model for future generations.
Then we have the Subjugators, who form triumvirates with a shared consciousness. They are fascinating and contradictory creatures and the group which has joined Shikari’s crew is evolving in an interesting way that I didn’t foresee. The looseness of our original concept is allows characters to develop in spontaneous and unpredictable ways. 2000 AD has always been the perfect vehicle for that kind of chaotic plotting and character building. The episodes are short and sweet and there’s that sense that anything can happen in the next six pages…
BC: I guess the 'function' of all the various aliens would be down to Dave, as many of them serve as plot devices - however some of Shikari's alien crew, for example, mostly manifested as a result of years of reading 2000 AD and watching the aforementioned Star Wars. We definitely wanted Captain Shikari to be irreverent, flippant, psychotic, amiable and reactionary. A character that by their very design would no doubt offend some people, but also be extremely loveable too, so hopefully we've managed that between us.
The Shikari look took the longest get right but in the end they've largely just ended up drawing themself. I don't have a lot of say in it! Mostly though Dave will just say something like, 'can their ship The Nautilus be based on a real nautilus?' So I'll just draw a nautilus and stick some guns and stuff on it and hey, presto! Nature is great.
CBY: Yeah, no need to start from scratch when the motifs to convey your intent are provided across the tree of life. Without giving away too much of the premise, there is a psychoactive material (the aforementioned Kali's Dust) that enables the communion of all life on a shared dimensional plane. As quantum theory continues to advance, with recent demonstrations of Universality of Rényi Entropy in Conformal Field Theory and Experimental demonstration of the equivalence of entropic uncertainty with wave-particle duality, the linkage between Bohr’s complementarity principle — a fundamental concept in quantum mechanics — with information theory grows stronger. Knowing observation changes reality, how does widening the capacity to observe a broader scope of reality change what is possible within the world of “Void Runners,” and how did you both anchor the ideas you explore on the page to your own perspectives on the nature of being?
DH: Not only a communion of life, in the sense of sentient or intelligent life, but all the material that makes up the universe, the suggestion being that even apparently inanimate material is part of a universal consciousness.
I’m fascinated by the way all the sciences and humanities are actually converging on a Universal Theory of Everything that encompasses religion, philosophy and art as well as the sciences, particularly physics. I have trouble wrapping my head around quantum physics, but in essence, physics is moving towards a scientific explanation of what has been intuited by philosophers and religious mystics of all persuasions, (Catholic mystics, Muslim Sufis, Jewish Kabbalists, as well as Hindus and Buddhists) – the idea that time and space are artificial systems that allow a narrative flow to give meaning to existence. Huge numbers of human beings over thousands of years have experienced transcendence, when time and space cease to exist, the sense of self disappears, and there is a direct experience of non-being, the void, union with cosmic consciousness, whatever terminology you may choose to describe the indescribable.
Whether this state is achieved through years of meditation, through psychedelic drugs, through near-death experiences, or spontaneously without intent or warning, this kind of phenomenon happens relatively frequently and has enough common features to demonstrate that this is a genuine revelatory event. Science is playing catch-up. I would recommend The Tao of Physics by Fritjof Capra if you want an excellent analysis of the crossover between religion, philosophy and physics.
All this sound a bit heavy, but we’re approaching this in an irreverent way. It’s mostly about sex, drugs and loving your fellow beings.
BC: I have to confess that aside from reading a lot of Robert Anton Wilson and taking a shit ton of mushrooms in my youth, I wouldn't know a vast amount about what you mention above, but I think we all behave a bit differently if we know we're being observed, atoms and photons are no exception, it seems. I would say that my formative psycho-nautical years have definitely fed into "Void Runners," though - it certainly helped give me the 'broader scope' you mention.
Much like the experience of Shikari and Co. in "Void Runners," my first psychedelic epiphany in my teens spelt out to me pretty clearly and succinctly that I have various skills and that I should employ them in order to bring a positive existence to as many people/creatures/universes as possible before I snuff it. Subsequent experiences taught me that reality as we know it is a construct, and a thin veil; one which can even be tweaked by following certain methods... Also, experiences have taught me that all humans are one; we are all part of nature and we are but fleeting forays into the infinite. We must be free, respect each other, be empathic and compassionate... not bad, really.
In series two, Alice Shikari has a similar outlook, but it's not long before their naivety gives way to peril… although I try to remain optimistic in my personal life!
CBY: I think you've both done a fine job of translating all the revelatory physics I've linked above into a means of connecting to these core realizations in a manner lay readers will be able to relate to and appreciate, for sure. On another point of relatability, Captain Shikari’s first mate is named Jayjay Moondog, whom I presume you’ve named in homage to the musician, Louis Thomas Hardin, who went under the same stage name. Were there any other characters from “Void Runners” who drew inspiration from other figures out of history or fiction?
DH: Yes! I’ve been listening to Moondog since my older brother brought home the first album in 1969. He was more street performer than stage, but uniquely wonderful. Other characters… well there’s Bartleby, who is/was much more sociable than his namesake, Bartleby the Scrivener, who features in a short story by Herman Melville. Also, look out for an appearance from a certain British glam rock God Person in the new series. Hmm, apart from that, I guess the Head Ankorite is an amalgam of all kinds of characters from the comic books and movies of Alejandro Jodorowsky.
BC: We both love Moondog! Apart from his clothing, there isn't a massive amount of distinction between the comics Moondog and the real version. He wasn't broke, so we didn't fix.
Apart from that, I guess you could say that the Ankorite leaders, the main one especially, are a bit of a nod towards Torquemada from 2000 AD’s "Nemesis the Warlock," but more subconsciously than intentionally. There are a few other nods, too, among the crew of the Nautilus - Reamer the ship's navigator was probably meant to be a riff on Rimmer from Red Dwarf. but I decided to ignore that and think what would happen if you made Batman look really stupid, gave him furry legs and tiny little t-rex arms protruding from his nipples?
(I'm almost certain that's what Dave intended...) There's an alien who looks a bit like a stunted character from Elephantmen crossed with Ganesh and also there's ZOB. He heavily borrows from The Mighty Boosh's Tony Harrison, but more of an accountant...
I dunno, you draw these things thinking they'll be in the background for a panel, and they end up being a major character - such is the nature of episodic working!
CBY: One-off characters turning into mainstays of the cast... of course there's a trope for that. It's enlightening to learn the mash-up of notions that yielded the Ankorite design (one of the stand-out aliens I though, but I'm also a big Jodorowsky fan). We talked briefly about this title’s role as your first collaborative outing for 2000 AD. I’m always curious about how it stands out as a publication. How does Rebellion’s approach differ from other publishers, and what does 2000 AD offer that other editorial methods may not?
BC: Aside from reading 2000 AD since before I was 10, and it massively colouring my outlook on life and approach to art, another thing it gives me as a comics creator is absolute 100% total artistic freedom. Tharg the alien editor (Matt Smith) is extremely lenient, especially with the artists for 2000 AD and I think he knows this is how to get the best out of your creators. He hasn't once asked me to redesign or re-draw anything, apart from Tharg's ear being slightly too large in a depiction of his mighty self.
Not bad for a 25 year run on the comic. I guess vanity got the better of him...
I've worked for various other publishers and editors over the years and this delightful scenario just doesn't seem to happen anywhere else. Also as far as the industry goes anyway, the page rates are pretty good!
DH: Episodes are ridiculously short at six pages! That’s traditional for British comics, but back in the day there might be 12 panels to a page, while today’s readers demand bigger, more impressive individual panels, not to mention splash pages and spreads with fewer words. I got used to 20+ pages per monthly episode when I worked for Marvel, DC or Image, and I have also written original graphic novels where you have 150+ pages of unbroken narrative. The shorter the episodes, the harder it becomes.
You need to be incredibly disciplined to drive the plot forward, develop characters and make each episode a satisfying read when you have so few pages. I wrote a few "Judge Death" series for the Megazine, with ten episodes of ten pages, but now it’s back to the old school British weekly setup. It’s challenging, but you are also in a position to play around with the rules. Because each weekly comic has six different stories running at any one time, it’s not a total disaster if some readers are only digging four of them. In a couple of months the story is done and something new replaces it.
That means that over the years, 2000 AD has published an incredibly diverse range of science fiction and there has always been a lot of leeway given to creators. We’re taking full advantage of that.
CBY: It's particularly enjoyable as a reader to see how an epic story can simmer and bubble up over time, and you can only see how far you've traveled in the narrative when it all concludes. Having both been in the comics industry for decades, what advice might you both be able to share for our readers who may be starting their own career journeys? What key lessons have you picked up along the way, and what would you do differently if you were entering the industry now, in 2025?
DH: I started working professionally in 1980. Back then, there were only a few comics publishers and they hired from a relatively small stable of professionals. Work was regular and the rates were decent. Even as an unknown artist, you could phone an art editor, arrange a viewing of your portfolio and have a face-to-face meeting in the office. That doesn’t happen anymore.
There have been a lot of changes over the years. One depressing factor is the low rates of pay that are now standard. Most comics creators are working for the same rates they were earning in the 1990s, some for lower! That means that most people now depend on many forms of income.
You have to learn to use social media to find an audience, Kickstarter or Arts grants for funding, probably also have a Patreon account, flog your zines at conventions, teach or mentor budding comics creators, and if all that isn’t paying the bills, get a day job. Depressing, but it’s the new reality. On the upside, more people are making more diverse comics, even if they aren’t making a living at it. If you genuinely want to make comics as your sole or main source of income, learn your craft, work at it until you are the best you can be, then get stuff published, whatever the outlet – you can self-publish or submit strips to collective efforts, whether paid or not.
You need to get your work in front of an audience, and that also means going to conventions and fairs, setting up a table and getting over your introversion and insecurities so you can talk to people and persuade them to buy your books. You should also give books away to potential employers – editors, or even professionals who may remember you and put in a word for you. You never know which connection could end up being your big break.
The main regret I have is that it took me so long to have the confidence to write my own concepts after working for many years on other people’s characters or corporately owned ‘properties.’
BC: Comics is a bit of a weird industry, ain't it? I think I've probably been working for AD for so long now that I have institutionalised myself and would be wholly un-employable by any other employer or field of work, so really be sure you want to do it, I'd say! Aside from that, I would say listen to all the advice and criticism that you can, and act on it. Especially if it comes from a prospective editor; they really know what they're doing. Also, I probably could've done with having a bit more life-drawing under my belt, especially early in my career. I’ve gotten slightly better at winging it, mostly as I only draw mutants and aliens these days, but I really should have been a bit less lazy on that score.
In fact, with comics, never being lazy is a good thing to embrace - you'll only ever shoot your career in the foot if you try and cut corners. Read as much as you can, draw as much of every possible thing that you can (you never know what you'll be asked to draw) ...be versatile. As I've moved through the decades, I've found that getting a good relationship/friendship with writers and pitching things as a team is a great way to go, as you know what makes each other tick and ultimately you'll have a more nourishing work life.
CBY: Some very practical, actionable advice from both of you, which we'll all benefit from taking to heart. I know you both have varied careers, so what other projects do you both have on-deck which we can expect to see from both of you after the coming installments of “Void Runners” hit the market?
DH: I’m slowing down a bit as far as working for hire or to deadline. I don’t have the willpower to write three monthly comics, as I was doing for years. I’ve been editing for SelfMadeHero, which is a UK-based independent graphic novel publisher. I have now edited three books with the Rickard Sisters; all three are adaptations of early 20th Century socialist and feminist novels. I’m working on a new series with artist Shaky Kane, which we should be announcing fairly soon. I’ve written a few books for Mark Stafford, who is an artist of unique genius, and we are planning to do more.
I have also been drawing again after a nearly 20-year hiatus. I currently have a few pieces in an exhibition in a London gallery with Mark and an artist called Wayne Snooze. These are images I have created as a response to art created by machine intelligence. All our art is intensively created, very hard work, which is why the exhibition is called ‘Uneasy’.
BC: I don't have a lot specifically on deck at the moment, apart from some more work with the brilliant cosmic rock band HENGE, whose album cover and comics covers I've previously drawn. Also potentially some more Dredd in the pipeline if things go according to plan - always extremely happy to be drawing him.
I’m quite busy with our art punk/noize band CRAB, gigging and getting an album together. 2000 AD's own painter extraordinaire Simon Davis plays bass in the band and our singer Rosco Nihilism is a mentalist of the highest order. We're enjoying it anyway! I do solo music under the moniker of OWLMASK, too, and there's a record label I have with a couple of friends; Jon Ridley and Oli Bailey called Menk Records, where you can find loads of outré music, including the folk horror-themed project of Si Davis and myself called FORKTAIL from a few years back.
CBY: I didn't realize how much parallel music was happening amongst the 2000 AD crew, Boo! Dave, I had a chance to interview Mark with some of the Soaring Penguin Press creators, and his work blew me away, so I'm keen to learn how that exhibition shapes up. As always, we’ll close with an opportunity for both of you to share any work unrelated to your own projects that you think people should give a look once they read through “Void Runners.” What has been inspiring you lately?
DH: I read less comics than I used to, but I always have a few graphic novels and comics sitting on my bedside table. Currently: Geezer by William Potter and Philip Bond from Shelly Bond’s Off Register Press, James Harvey’s UK in a bad way, the French version from Sarbacane because it came out before the English version, Nijigahara Holograph by Inio Asano, which is an amazing manga from Fantagraphics that my son turned me on to, and a couple of French publications I picked up in Paris recently: Arsène Schrauwen by O. Schrauwen from L’Association and Altamont by Henrik Hanna and Charlie Adlard from Glénat. All very cool stuff.
BC: I started out my comics reading life mostly just reading 2000 AD and after a decade or two of reading further afield I've returned to simply reading 2000 AD once more so couldn't really tell you much of what else there is to enjoy out there comics wise - the last stuff i was really into was Joe Daly's Dungeon Quest and Highbone Theater; absolutely cracking stuff.
I'm more of a book reader these days than comics - I'll snaffle up anything by Phil Dick, Robert E. Howard, Iain M. Banks, Olaf Stapledon, Frederick Pohl, Moorcock, Ben Myers, Robert Macfarlane, Paul Kingsnorth - high and low brow fun times... I get a lot of inspiration from music; I listen to it 24/7 so I get through a lot. Mostly these days I'm enjoying Beak, Paddy Steer, Jill Fraser, Dean Spunt, Daisy Rickman, Oh Sees, Kavus Torabi, Polypores, Modern Nature, Goat, Can, Sleep, Syd Barrett, Suicide - all sorts really!
Although usually quite psychedelic and groove-based, which will come as no surprise...
CBY: David and Boo, you've given us plenty to explore, and it’s been a delight having the opportunity to chat. If you’ve got portfolio, publication, and social media links to share with our readers, now is the time. Thanks for stopping by the Yeti Cave!
DH: Thank you! It has been a pleasure. I don’t have too much online presence. I have stepped away from most social media because it does my head in. I do still have a Facebook page at www.facebook.com/david.hine.98 and you can see stuff on my dormant blog at www.waitingfortrade.com
BC: Cool, thanks a lot for having us aboard - I love Yetis! I don't have a lot to link to but here's a few things... bye! x
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