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"Jagged Alliance: Rage". |
Jagged Alliance: Rage is set 20 years after the first Jagged Alliance (1995). The game was developed by "Cliffhanger Productions" and published by "HandyGames" on December 6, 2018. |
Film. |
In March 2007, Strategy First announced that they had penned a deal for the creation of a film based upon the "Jagged Alliance" property. The movie license was acquired by Los Angeles-based Union Entertainment. |
Board game. |
In 20 October 2017, Underground Games announced a board game based on the franchise. The game was originally planned for a 2018 release but this was delayed to 2019. |
Digital distribution. |
On July 6, 2006 "Jagged Alliance 2" was made available to buy via the Steam distribution service. It is also available via download from Manifesto Games. |
"Jagged Alliance 2 Wildfire (v5)" was distributed electronically by StrategyFirst. "Jagged Alliance 2 Wildfire (v6)" was distributed electronically by Zuxxez Entertainment. |
Two versions of the same game ("Wildfire") exist due to the game's publisher Strategy First, Inc. falling out after a disagreement with the game's developer, I-Deal Games Studios concerning expenses. Version 5 is the version published by SF before this spat and so is more problematic than v6, the version released through Zuxxez and others by the developer since the incident. |
"Jagged Alliance 2: Gold" is available via GameTap. |
"Jagged Alliance Classics" (which includes "Jagged Alliance", "Jagged Alliance: Deadly Games", "Jagged Alliance 2" and "Jagged Alliance 2: Unfinished Business") was developed by Full Control and published by bitComposer Games in GamersGate, DotEmu and the Humble Weekly Sale of bitComposer Games. |
"Jagged Alliance", "Jagged Alliance: Deadly Games", "Jagged Alliance 2" (distributed by Strategy First), "Jagged Alliance 2: Wildfire" (distributed by Zuxxez Entertainment/TopWare Interactive) and "Jagged Alliance 2: Unfinished Business" (distributed by Interplay Entertainment) are all available from GOG.com. |
"Jagged Alliance: Back in Action"; the DLC "Shades of Red" and "Point Blank;" "Jagged Alliance: Crossfire" "and Jagged Alliance: Rage!" are available to buy via the Steam distribution service. |
This article lists the rulers of separate states on the territory of the United Arab Emirates, most of which became its Emirates. |
List of rulers of the Emirate of Sharjah. |
Al-Qasimi dynasty. |
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George Harrison Marks (6 August 1926 – 27 June 1997) was an English glamour photographer and director of nudist, and later, pornographic films. |
Personal life. |
Born in Tottenham, Middlesex in 1926, Marks was 17 when he married his first wife, Diana Bugsgang. He worked as a stand-up comedian in variety halls towards the end of the music hall era, in the late 1940s and early 1950s, in a duo called Harrison and Stuart. Marks left the act in 1951 to develop his photographic career, taking pictures of music-hall performers and showgirls. The model and actress Pamela Green was performing as a dancer in a 1952 revue called "Paris to Piccadilly", a version of the Folies Bergère in London. She became Marks' lover and began working with him as a model. Their relationship ended in 1961 and he married his second wife Vivienne Warren in 1964. |
While he was filming "The Naked World of Harrison Marks" he began a relationship with Toni Burnett, an actress and model who made a brief appearance in the film. In 1967, the year the film came out, Marks and Burnett had a daughter, Josie Harrison Marks. Marks' and Green's business partnership was dissolved in the same year, and in 1970 Marks was bankrupt. |
In 1971 he was tried at the Old Bailey for dealing in pornography by post. Marks and Burnett married in September 1973, but they split up around 1978. In 1979 Marks began a relationship with Louise Sinclair, a teenage glamour model. |
Glamour photography. |
In the 1950s Marks and Pamela Green opened a photographic studio at 4 Gerrard Street, Soho. Marks provided nude photographs for photographic magazines on a freelance basis as well as selling his own stills directly. With the profits from this work, they launched "Kamera" magazine in 1957. "Kamera" featured Marks' glamour photography of nude women taken in the small studios or Marks' kitchen. Marks' 1958 publicity materials contained one of the first uses of the word "glamour" as a euphemism for nude modelling/photography. The magazine was an immediate success and the business expanded to employ around seventeen staff by the early 1960s, selling a number of other magazine titles such as "Solo", postcards and calendars, and distributing imported French books and glamour magazines. Photographic exhibitions were held at the Gerrard Street studio. |
Marks was also the photographic consultant for the film "Peeping Tom" (1960), which featured Green in a cameo role. In the 1960s Marks moved his studio to Saffron Hill near King's Cross Station and began selling photoshoots to the American magazine "Swank". His "Kamera" and "Solo" magazines ceased publication in 1968, with occasional single-issue magazines appearing subsequently. |
In later years he supplied photographs to the men's magazines "Men Only" and "Lilliput", and sold photosets to David Sullivan's magazines "Ladybirds" and "Whitehouse". |
Films. |
In 1958, as an offshoot of his magazines, Marks began making short films of his models undressing and posing topless, for the 8 mm film market. These were popularly known as "glamour home movies". His films were available over the counter at camera shops, and also supplied discreetly by mail order from the back pages of his "Kamera" magazine. One Marks 8mm glamour film was "The Window Dresser" (1961), in which Pamela Green starred as a cat burglar who hides from the law by posing as a display mannequin in a lingerie shop. Marks appears in the film as the shop's owner; Green performs a striptease in the store's display window. Clips from "The Window Dresser" were used in a 1964 piece on the glamour film scene in the Rediffusion programme "This Week". These clips showed Pamela Green fully unclothed; the ensuing controversy resulted in Green having to defend the film on the BBC Light Programme's "Woman's Hour". After a judge threw out an obscenity charge against "The Window Dresser", Marks continued to make 8 mm glamour films throughout the 1960s. |
One such film, "Witches Brew" (1960) features Pamela Green as a witch casting spells; Marks makes a brief appearance as her hunchback assistant. In another, "Model Entry" (1965), a cat burglar breaks into Marks' studio, strips and leaves him her address. In "Danger Girl", a stripping secret agent is put into bondage by a Russian spy; the agent breaks free, ultimately throwing her captor onto a circular saw. Even more macabre is Marks' "Perchance to Scream" (1967) in which a model is transported to a medieval torture chamber. In this film, Stuart Samuels plays an evil inquisitor who sentences topless women to be whipped and beheaded by a masked executioner. |
His feature films as a director were "Naked - As Nature Intended" (1961), "The Chimney Sweeps" (his only non-sex feature, 1963), "The Naked World of Harrison Marks" (1967), "Pattern of Evil" (1967), "The Nine Ages of Nakedness" (1969) and "Come Play With Me" (1977), which featured Mary Millington. "Pattern of Evil" a.k.a. "Fornicon", a heavy S&M film which features scenes of murder and whipping in a torture chamber, was never shown in the UK. Marks implied in several interviews over the years that the film was financed by organised crime. |
After directing "The Nine Ages of Nakedness", Marks endured a particularly turbulent time in the early seventies including bankruptcy (1970), an obscenity trial at the Old Bailey in 1971, and alcoholism. Ironically, a segment of "The Nine Ages of Nakedness" had ended with Marks' alter-ego "The Great Marko" being brought up before a crooked Judge (Cardew Robinson) on obscenity charges. Marks made ends meet during this period by continuing to shoot short films for the 8mm market and releasing them via his Maximus Films company. |
Based at Marks' Farringdon studio, Maximus was run on a "film club" basis, meaning that clients would have to sign up for membership before purchasing the films, mirroring the way membership-only sex cinemas were run at the time. While his earlier 8mm films largely consisted of nothing more explicit than the models posing topless, late-sixties titles like "Apartment 69" and "The Amorous Masseur" were generally softcore pornography. Marks had been eager to shoot soft porn material ever since the "Window Dresser" case, much to the disdain of Pamela Green, who dissolved their business partnership in 1967. "He was fond of good living and a drink or two, and he wanted to go on to soft porn," Green told "Tit-Bits" magazine in 1995, adding "there was this one film where he was dressed as a dirty old man and he's creeping round Piccadilly Circus, then you see him in bed with this girl". One Maximus short "The Ecstasy of Oral Love" adopts a pseudo-documentary format, showing a couple frantically licking each other, ending with some relatively graphic oral sex scenes which are inter-cut with ostensibly socially redeeming title cards issuing advice to "young married couples". |
In the mid seventies Marks had begun selling explicit photo sets to adult magazine publisher David Sullivan's top-shelf magazines. Evidently Marks had also sold Sullivan the rights to some of his 8mm sex films, as adverts by Kelerfern (a Sullivan mail order company) carried Marks-directed sex shorts like "Hole in One", "Nymphomania", "King Muff" and "Doctor Sex" for sale around this period. |
While the Marks films offered in UK porn magazines throughout the 1970s appear to have been softcore, and their pornographic nature greatly exaggerated by the advertisements (a familiar trait of David Sullivan), from the early 1970s onwards Marks had begun experimenting with hardcore production. He made short films for a British hardcore pornographer known only as "Charlie Brown", and began making hardcore versions of his own Maximus short films which were released overseas on the Color Climax and Tabu labels. In later years Marks was reluctant to discuss these hardcore short films and claimed "not to remember" their names. "Arabian Knights" (also filmed for Color Climax in 1979) was shot at the Hotel Julius Caesar in Queens Gardens in Bayswater and features mainstream actor Milton Reid in a non-sex role. |
Other works. |
A lover of animals, in particular felines, in the early stages of his career Marks had a sideline photographing cats, and provided the photographs for Compton Mackenzie's book "Cats's Company" (1960). |
“He was an excellent photographer of nudes," producer Tony Tenser remarked to John Hamilton in a 1998 interview, "but he also excelled in photographs of cats, that were much more beautiful than some of his nudes". Marks' cats remained a fixture of his studio and can be spotted scurrying about in several of the 8mm glamour films of the period, occasionally even appearing in prominent roles. |
In the wake of the success of his early "glamour" films Harrison Marks also produced a series of slapstick comedies also sold via the photographic shops and magazines that were the outlet for his adult work. As well as directing these films he also appeared as one of the main actors. Titles like "Uncle's Tea Party", "Defective Detectives", "High Diddle Fiddle", "Dizzy Decorators" and "Musical Maniacs" were founded in the music hall and classic silent comedy traditions. Needless to say, they were less successful than his girlie films and the competition from the real thing (i.e., the Chaplin, Keaton, and Harrold Lloyd classics that he paid homage to), which provided most of the package film releases of the day. |
Janus and Kane. |
In the late 1970s Marks was hired as a photographer for "Janus", a fetish magazine specialising in spanking and caning imagery. He also produced and directed short erotic corporal punishment films for Janus for the then-emerging home video market. One of these, "Warden's End", starring glamour model and pornographic actress Linzi Drew, shows the exterior and interior of Janus's London storefront office at 40 Old Compton Street. |
In 1982 Marks left the "Janus" stable to set up his own fetish magazine "Kane" which also featured caning and spanking photos. "Kane" described itself as "The CP Journal of Fantasy, Fact and Fiction for Adults." |
Corporal punishment would now become Marks' big theme for the final act of his career. According to his official website, Marks' corporal punishment material "kept him in booze and cigarettes and an acceptable degree of comfort for the rest of his life". He created the Kane International Videos division and went on to direct (and sometimes also performed in) a number of full-length corporal punishment videos in the 1980s and 1990s. Some of his videos include: "The Spanking Academy of Dr. Blunt", "Stinging Tales", "Naughty Schoolgirls Revenge", and "Spanker's Paradise" (parts 1 & 2) in 1992 in which he acted opposite English porn star Vida Garman. |
After his death in 1997, his daughter Josie Harrison Marks took over the editing of "Kane". |
Biography. |
In 1967 Franklyn Wood, a former art editor of "The Times" and the first editor in Fleet Street to run a diary (in the "Daily Sketch") under his own name, published a biography of Harrison Marks called "The Naked Truth About Harrison Marks". It was reprinted in 2017. |
The Chrysler Valiant was a full-size car which was sold by Chrysler Australia between 1962 and 1981. Initially a rebadged locally assembled Plymouth Valiant from the United States, from the second generation launched in 1963, the Valiant was fully manufactured in Australia. It was sold locally but also in New Zealand and South Africa, with smaller numbers also exported to South-East Asia and the United Kingdom. |
Parent company Chrysler made a substantial investment in Australian manufacturing facilities, by establishing operations in South Australia with an assembly plant at Tonsley Park in 1964 and an engine foundry at Lonsdale in 1968. The Valiant thus established its position as the third of the "Big 3" Australian-made vehicles behind the Holden Kingswood and Ford Falcon. |
The Australian Valiant was built on the North American A-body platform but with many parts and components from Australian suppliers. Apart from a sedan and wagon body style, 1965 saw the introduction of a commercial utility that was badged the Wayfarer and later exported to South Africa as the Rustler. In September 1969 the two-door Hardtop was released and in 1971 the Charger. |
Greater differentiation from the donor car creeped in over time, particularly since the VE series, which was embraced by the Australian motoring press and won the 1967 "Wheels" magazine Car of the Year award. The VF series of 1969 and the VG of 1970 departed even further from its North American donor both in terms of styling and performance—with the latter series introducing the "Hemi-6" engine that replaced the "Slant-6". Moreover, Australia continued to produce a station wagon model, called the Safari, even after this body style being discontinued for North America. |
Beginning in 1971, the VH series saw Chrysler Australia develop the entire lineup locally until the CM series of 1979, which marked the end of local production in 1981, after the takeover of operations by Mitsubishi Motors Australia. |
First generation. |
RV1 (R Series). |
After the Plymouth Valiant turned out to be a success in the United States (starting with its 1959 introduction), Chrysler released Australia's first locally assembled Valiant, the RV1 (R-series). It was officially unveiled by South Australia's Premier, Sir Thomas Playford, in January 1962 and was assembled at Chrysler's Mile End facility. |
The RV1 (or R Series) Valiant was an instant success. Not everyone was taken instantly by the car's styling, but the general consensus was that the car had a modern, almost space age quality about it. |
Also notable was the Valiant's performance with from the 225 "Slant-6" engine. This was a lot of power compared to the competing Holdens and Fords, which offered only and SAE respectively. |
Standard transmission in the RV1 was a floor-shifted three-speed manual with a non-synchro first gear. A pushbutton-operated three-speed TorqueFlite automatic was optional. Other options included a heater-demister unit, as well as a "Moparmatic" deluxe pushbutton transistor radio. |
The RV1 Valiant was the first Australian car to come with an alternator instead of a generator, and instead of coil springs, the Valiant came with torsion bar suspension. Brakes were hydraulic drums front and rear. The RV1 had a simulated spare wheel outline on the bootlid, but the spare wheel was actually under the floor of the boot. |
The base model sold for £1299. |
SV1 (S Series). |
In March 1962, Chrysler replaced the American 1961-model R Valiant with the American 1962 SV1 (S Series) Valiant. The SV1 used the same body shell as the RV1, with cosmetic changes including the deletion of the simulated spare wheel on the bootlid, and round tail lamps replacing the R-model's cat-eye shaped ones. There was a revised radiator grille and new exterior trim. |
Mechanical changes included relocation of the manual transmission shifter to the steering column, new ball joints, and a new gear-reduction starter motor. |
10,009 SV1 Valiants were sold, of which 5,496 were automatics and 4,513 were manuals. |
Second generation. |
AP5 Series. |
On 30 May 1963, Chrysler Australia produced the first fully Australian manufactured Valiant, the AP5. In February of that year, Chrysler Australia had begun work on its new $36 million Tonsley Park facility in South Australia, where it could boost annual production to 50 thousand cars. The new plant produced its first Valiants on 31 March 1964. |
The AP5 ("AP" for "Australian Production") was an entirely new design with only the four doors, windscreen, and front guards shared with its North American counterpart. Initial cars retained the left-hand-drive wiper pattern but this was soon changed to a RHD layout. The "Slant-6" driveline was retained, but the AP5 was considerably more straightforward in styling than its R- and S-model antecedents. With high local content and specifications optimised for local conditions, this new Valiant strengthened the brand's position in the marketplace. A new upmarket Regal version was included in the range. In November 1963 an AP5 Safari station wagon was released. |
Total production of the AP5 range amounted to 49,440 vehicles. |
AP6 Series. |
In March 1965, the AP5 was supplanted by the AP6. The body shell was the same, but there was a new grille on the theme of the 1964 North American Plymouth Barracuda, and there was new trim inside and out. The automatic transmission was no longer controlled by pushbuttons, but instead by a conventional shift lever. The AP6 also included other new features such as self-adjusting brakes and acrylic enamel paint, at the time the most advanced auto finish available. The AP6 model range included the Valiant Wayfarer, the first Valiant-based coupe utility to be built by Chrysler Australia. |
The AP6 was the first Australian-built Valiant to be offered with a V8 engine — the LA V8, introduced in American Valiants in 1964, and released in Australia in August 1965. The engine developed and pushed the Valiant to a top speed of . |
The V8 was only available as a model in its own right, the V8 Valiant, which had a vinyl-covered roof, individual bucket seats, floor console mounted automatic shift lever and two-tone steering wheel. |
The "Slant-6"'s camshaft was also slightly upgraded for improved torque by dint of increased duration and lift. |
Chrysler Australia had difficulty meeting demand, with the Valiant being built at Tonsley Park at a maximum rate of 200 cars per eight-hour shift. Customers had to wait up to four months for delivery of a new AP6. Prices ran from $2,500 to $3,650. |
VC Series. |
The VC Valiant was introduced in March 1966 and, although underneath it was basically the same car as the preceding AP6 Series, the body was extensively restyled giving the illusion of being longer and lower. |
The modern new design was highlighted by sharp, squared-off edges and corners clearly influenced by Chrysler in the United States. The front now had a full-width horizontal grille while the rear was also much squarer with vertical taillights. |
The range of models again consisted of the Valiant standard or Regal sedan, standard or Safari Regal wagon and Wayfarer utility. They featured higher standard equipment levels as well as new safety features, such as optional disc brakes on V8 models, which were named 'Valiant V8/Safari V8' and were essentially Regal models. |
The VC Series was built both for its major market, Australia, but also for export to the United Kingdom, as announced at the October 1966 London Motor Show, based on the following range of uniquely named models (brackets indicate the equivalent Australian nameplate): |
In total, Chrysler Australia built 65,634 VC Series models. |
Third generation. |
VE Series. |
This Valiant was an all-new design introduced in October 1967, based on the North American platform, which had a wheelbase. The bonnet and guards were shared with the also-new 1967 North American Dodge Dart, with other styling cues otherwise inherited from the North American Valiant. The car featured slightly larger body dimensions and greater interior space than the preceding VC Series. The roofline was also flattened out and the rear window was given a concave profile. |
Higher levels of standard equipment were featured and two engine options became available. The basic "Slant-6" was retained with its rating, but a new 2-barrel carbureted version was released with output of . The 273 V8 was also improved and made available across the entire Valiant range. |
Other upgrades included the introduction of a larger fuel tank, shorter gear lever throw on the manual gearbox, relocation of the dipswitch from under the brake pedal to the high left of the firewall, and the windscreen wiper motor was relocated to the engine side of the firewall — greatly reducing wiper noise. All models benefited from additional safety features (some compulsory under new Australian Design Rules, or ADRs) such as dual circuit brakes with a tandem master cylinder, double sided safety rims, front seat belts and front power disc brakes on V8 models. |
The VE range consisted of Valiant & Valiant Regal sedans, Valiant Safari & Valiant Regal Safari station wagons and Valiant, Valiant Wayfarer & Dodge utilities, the latter being a lower-priced version of the Valiant utility. The flagship model followed on from the AP6 and VC V8 theme, being similarly equipped with bucket seats, floor shift automatic, and vinyl roof all standard, but was given the new name "VIP" to distinguish it from other models, since the V8 engine option was made available across the range. It also shared the 3 'sergeant stripes' of the VC V8 on the rear quarter panel. |
The biggest accolade for the VE Valiant was "Wheels" "Car of the Year" in 1967 — the first for Chrysler Australia. |
68,688 VE Valiants were built. |
VF Series. |
In March 1969, the VE was replaced by the VF model. The new car shared its middle section with the previous VE Valiant, but there was new front and rear styling. The new front end featured a horizontally convex grille, replacing the VE's concave design. The front indicators were placed at the top leading edge of the front guards rather than in a more conventional location in the grille or front bumper. This allowed the VF's front bumper to be thinner and less prominent, which made the single round headlights look larger, and the front end appeared more aggressive as a result. |
Valiant and Valiant Regal models were once again available, and the VF range also saw the introduction of the Valiant Regal 770 and an upgraded VIP model. The VF VIP was introduced two months after the Valiant range and was no longer a Valiant V.I.P. but was now marketed as a Chrysler VIP, in sedan form only. It offered a stretched () wheelbase, with longer rear doors than the Valiant. As with previous model changes, the VF boasted even more safety features including a padded instrument panel and energy absorbing steering column. |
A larger version of the LA V8 replaced the 273, taking the V8's top speed to . Transmission options remained the same: three-speed manual or three-speed TorqueFlite automatic. |
The most significant introduction to the VF range was the all new two-door Valiant Hardtop — essentially, a North American Dodge Dart coupé with the Australian Valiant front sheetmetal and interior trim. At over , it is the longest coupe ever built in Australia. Released six months after the other VF Valiants in September 1969, it was available in Valiant, Valiant Regal and Valiant Regal 770 models. |
In mid 1969, Chrysler released a fast four-door named Valiant Pacer. A low-cost, high-power version of the bread-and-butter Valiant sedan, the Pacer featured a high-performance six-cylinder engine and three-speed manual gearbox with floor shifter. Despite a lack of exterior chrome, the VF Pacer stood out with its red and black grille, simulated-mag wheel hub caps, special body striping, 'Pacer 225' decals, and choice of "Wild Blue", "Wild Red", or "Wild Yellow" exterior colours. The sparsely trimmed interior featured high back bucket seats, and distinctive black on white instrument dials with a dash-top-mounted tachometer. Although lacking the V8 of its rivals, the Pacer could reach almost and, at $2798, was $400 cheaper than the base GTS Monaro. The Pacer was powered by a special version of the trusty 225 "Slant-6". With two-barrel carburettor, high-flow exhaust system, and 9.3:1 compression ratio, it produced . Standard brakes were finned, servo-assisted drum brakes all round, although most buyers opted for the optional front discs. Underneath was Valiant's basic torsion bar suspension, lowered by to improve handling and with a front anti-sway bar fitted. A 'Sure-Grip' limited-slip differential with either 3.23:1 or 2.92:1 ratios was optional. |
Contemporary road testers were mostly full of praise for the Pacer, noting there were few cars that could match it on a performance for price basis. "Modern Motor" (May, 1969) took a VF Pacer sedan to in a respectable 10.5 seconds, the in 17.5 seconds and topped out at . |
In 1969, Chrysler's market share reached 13.7%. In total, 52,944 VF Valiants were built. |
VG Series. |
August 1970 saw the introduction of another facelifted version of the VE/VF bodystyle in the VG Valiant. The VG's most noticeable difference was the use of rectangular headlamps instead of the traditional round ones (except on VIP models, which used quad round headlamps). The guard-top indicator location was carried over from the VF. The grille was a horizontal, single-plane item, and the taillamps were revised and wrapped around to the body side. Sedan, Wagon, Ute and Hardtop body styles were offered once again as well as the same luxury levels as before. |