Judging a work of art is virtually the same mental operation as judging human beings, and requires the same aptitudes: first, a real love of works of art, an inclination to praise rather than blame, and regret when a complete rejection is required; second, a vast experience of all artistic activities; and last, an awareness, openly and happily accepted, of one’s own prejudices. Some critics fail because they are pedants whose ideal of perfection is always offended by a concrete realization. Others fail because they are insular and hostile to what is alien to them; these critics, yielding to their prejudices without knowing they have them and sincerely offering judgments they believe to be objective, are more excusable than those who, aware of their prejudices, lack the courage to enter the lists to defend their personal tastes.

I'm surprised no British readers have commented that this doubles as a very contemporary reference, like the surveillance cameras/telescreens referred to later.  Currently there is an ongoing campaign by the Labour government to bring in Identity Cards, supposedly as a counter-terrorism measure - though this argument has essentially bitten the dust and the government are pressing on with the argument that it's all to save the people from the scourge of Identity Theft.  Either way, ID Cards are enormously controversial in Britain right now, especially as, once introduced, it would in theory be a legal requirement to carry them at all times (a measure popularly cited as part of the progress toward a 'Big Brother state').  Britain previously had ID cards during the Second World War, and afterwards, but they were finally withdrawn in the 1950s, somewhat consistent with the fall of the IngSoc regime depicted in this comic.  An additional irony worth considering is that 'George Orwell', the famous British socialist who envisioned the tyranny of 1984, of course was a pseudonym for a man named 'Blair'...

Anyway, the ID card is in keeping with Orwell, but I'd say it's also a contemporary reference, without question.

Many of these are clearly riffs on actual underground stations (while Pen Stroke Newington and Ink Staines allude to the areas of London named Stoke Newington and Staines respectively). Some of these include:
Maida Jump (Maida Vale),
(Earl's) Court Short,
Dunbiers Wood (Colliers Wood),
Tooting Bottom (Tooting Bec)
Parsons Nose (Parsons Green)
Eating Broadly (Fulham Broadway)
Rothernot (Rotherhithe),
Finner (Pinner),
Faxbridge (Uxbridge),
East Team (East Ham),
Arson Elbow (Arsenal),
Barking (Barking),
Whiteout City (White City),
Very Cross (Charing/New Cross).
More subtlely, 'Umber' could play on "Burnt Oak" and 'Chin Topiary' allude to the "Barbican". (Interesting that "Moorgate", "Moor Park" and "Bond Street" didn't make it onto the map.)

"(John Nee) - Extension delayed subject to mood" and "(ABC) - Closed for the duration" are both legends the like of which appear in Underground stations from time to time, and whose associated double meanings are obvious here.

"Monument" Station also serves as one for Bill Oakley (1964-2004), to whom this volume is dedicated."

Various things can be seen or inferred here, although no doubt some of this is entirely in my imagination.

There are two real stations mentioned, Barking and Monument.

Alan Moore: Black line (Northern)
Black is probably appropriate for Moore, as he's usually photographed dressed in black.

Moore's line has junctions with O'Neill, Dimagmaliw, Oakley and Klein, but, perhaps signigficantly, not with Dunbier or Quinn. (There is some sort of unidentified link from Dunbier's line to Moore's, which may indicate some link between them personally.)

East Buttock & West Buttock: This may indicate Moore having to figuratively 'bend over and spread 'em' for DC.

In general Moore's stations seem to be him poking fun at his own public image, like Rumour mill, Barking and Very Cross. Pi is also interesting, as the irrational number Pi(3.1415 etc) is the number he ascribes to the 'imaginary' sphere, Daath, in issue #20 of Promethea. E=mc2 is *almost* MCC, the home of English Cricket.

Kevin O'Neill: Red line(Central)
The fact that O'Neill has the red line might be a play on the banking meaning of being 'in the red,' that is being 'overdrawn.' O'Neill is also 'Subject to delay at all times.' I'm fairly sure there was some reference to his slow progress with the art in the early pages of one of the other LoEG volumes.

Staines is where Sacha Baron Cohen's Ali G comes from.

Conté make crayons.

Crazy Town was a 1932 Betty Boop movie.

Various interesting people come from Stoke Newington, including Daniel Defoe, and more particularly Stewart Lee, stand-up comedian and good friend of Alan Moore.

There is a large head on a flat-bed truck in the top left-hand corner, possibly from a statue of Big Brother?

Is it possible that the blond-haired man in the lower left-hand corner is a young John Constantine? Well, now that I look him up, obviously not, as he's meant to have been born in 1953. Some searching around leads me to guess that this might be a character from Colin McInnes's Absolute Beginners, which is set in 1958. Not sure who exactly, but someone will probably know more about this. It's possibly the nameless narrator.

Presumably the man with the briefcase in the front middle is someone, but I've no idea who. Likewise the two men speaking at the very front middle.

"A dry martini," he said. "One. In a deep champagne goblet."
"Oui, monsieur."
"Just a moment. Three measures of Gordon's, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemon-peel. Got it?"

It was a dark, clean-cut face, with a three-inch scar showing whitely down the sunburned skin of the right cheek. The eyes were wide and level under straight, rather long black brows. The hair was black, parted on the left, and carelessly brushed so that a thick black comma fell down over the right eyebrow. The longish straight nose ran down to a short upper lip below which was a wide and finely drawn but cruel mouth. The line of jaw was straight and firm. A section of dark suit, white shirt and black knitted tie completed the picture.

And I would like a medium Vodka dry Martini - with a slice of lemon peel. Shaken and not stirred, please. I would prefer Russian or Polish vodka.

Anyway, in a wide shot of a street scene in this section, we see an old lady, dressed in a black coat, wearing glasses and a hat with flowers on it, looking pissed off at a passing car. This woman is the Grandmother from the weekly Giles cartoons that ran in the Daily Express. Giles mostly did political cartoons, but he alternated between politics and domestic cartoons about an unnamed Family cast of characters he'd created. His work was extremely popular. Grandma was a fairly bad tempered old thing & was the basis for an even more violent character in Cerebus the Aardvark. (Dave Sim was a Giles fan, and his version of the character wasn't so much a 'homage' as it was Sim simply lifting the character wholesale from Giles and plopping her down in Cerebus.)

if you are willing to give yourself eyestrain you can barely make out on the dark-blue tag attached to the bat, the words "Clicky-Ba".  The letters 'Cl-' on the first row and 'Ba' on the second row of the tag are the most legible, the other letters seem a scrawl. Thus, this apparent cricket bat, is none other than the 'club' of Chung, servant to the Wolf of Kabul, Bill Samson.  To explain the pith helmet, Samson was often described thus: "He walked with his hands thrust deep into his pockets, and a battered sun-helmet stuck on the back of his head". A sun-helmet is a common synonym for pith helmet.

was the first exhaustive study of the psychological laws underlying team play and esprit de corps, disciplines of criminal gangs, spirit of factory groups, crews, regiments, political parties, churches, professionalisms, aristocracies, patriotisms, class consciousness, organized research and constructive cooperation generally. It did for the first time correlate effectively the increasing understanding of individual psychology, with new educational methods and new concepts of political life. In spite of its unattractive title and a certain wearisomeness in the exposition, his book became a definite backbone for the constructive effort of the new time.

David MacDaniel's novel is ephemeral, and it was repeatedly stated by McGoohan and various members of the production that The Prisoner is not, in fact, John Drake (despite the John Drake picture X'd out at the beginning of the show.)  These statements from the production end (most recently on the  40th Anniversary DVD release) are hobbled a tiny bit, however, by the appearance of an actor playing a character named Potter in both Danger Man and The Prisoner, albeit the character being quite different in each iteration, by the original reference in the story treatments to the Prisoner as "Drake" (he was referred to as P as pre-production and production went on) and by the repurposing of an unused Danger Man script, "The Girl Who Was Death," in the last four episodes of the series -- and there's that passing reference there to "Drake."  But the official line is that the Prisoner wasn't Drake.  More entertainingly, the producers have been known to  speculate that, given the final episode, the series actually took place with in a virtual reality, or entirely in the Prisoner's mind while he was drugged to the gills.

On the 'Drake as Prisoner' suggestion, it should be noted that, although McGoohan and others denied that they were the same character, George Markstein, co-creator of (and script editor on) The Prisoner stated on several occasions that they WERE. One suggestion for the purported confusion is that the character (and name) of John Drake were created and owned by Ralph Smart, so overt identification of the two was either impossible for legal reasons, or undesirable as the rights were not McGoohan's.

 I adored Callan -- bitterly cynical, wonderful work from Edward Woodward.  Meres wasn't Callan's superior, though -- he was his peer (as
was Cross, after Anthony Valentine left for a while.)  Meres was an arrogant, impulsive, and thoroughly sociopathic twat, a former public schoolboy and Oxford graduate who certainly had ambitions beyond his station; he was, however, unlikely to assume the position of Hunter, which Callan did for a while.  In the initial story, "A Magnum For Schneider" (based on James Mitchell' stage play, and done as an Armchair Theater episode) Meres (played by Peter Bowles rather than Valentine) is asigned to keep an eye on Callan, and then set him up for the police to arrest once he's completed his  mission -- Callan promptly turns the tables and leaves Meres for the cops instead.  As a result Callan ends up with his dossier assigned to a Red File (hence the novel version being called A Red File For Callan; the movie adaptation, with Peter Egan as Meres, is just called Callan.)  The series generally partners Callan and Meres, with Callan as often as not managing to screw Meres over.  All the same, I wouldn't call Meres less skilled or less adept than Callan -- Callan's conscience often gets in the way, although he can summon a vicious coldness when he needs to.  If anything, Meres is sometimes a little exciteable because he enjoys his work.  Cross, on the other hand, was less adept and more vulnerable, which eventually causes his death.  Oh, and after Callan, brainwashed, kills a Hunter at the end of series two, it's Meres that shoots Callan -- and then proceeds to show concern and care, which is really rather freaky.

Not only a reference to 1984, this also reminds me of the modern term of nonperson. "A non-person is a person or a member of a group who lacks, loses, or is forcibly denied social or legal status, especially basic human rights, or who effectively from a point of view of traceability, documentation or existence, ceases to have a record of their existence within a society."

Unfortunately, this is one of several similarities with the Big Brother-era England of fiction and today's actual Europe (and the Western World in general), a protagonist on the so called "War on Terrorism" and a "Fortress" guarding its shores and cities against undesirable elements (immigrants) that the aforementioned war causes. It's common that such undesirable people may be abducted, tortured, illegally interrogated or disappear completely; or European countries may cooperate and abet to such actions taking place (by some other western power) in their territories.

Norman Pett's "Jane's Journal: The Diary of a Bright Young Thing" first appeared in the Daily Mirror on December 5th 1932, with his wife as the model. In 1938 Don Freeman came on board as writer, and in 1939, when his wife decided golf was more interesting than posing for him, Pett found the model who was to become Jane in most people's eyes, Christabel Leighton-Porter. C L-P also played the role of Jane in the 1949 film version of the strip, The Adventures of Jane. In 1948 Pett's assistant Michael Hubbard took over as artist, and the last strip, when Jane finally married her long-standing boyfriend Georgie, was on October 10th 1959.J

Jane was revived in a BBC television series, simply called "Jane," starring Glynis Barber, which ran from August 1982 to September 1984.  

As Leighton-Porter's obituary in The Telegraph put it, "Jane was forever shutting her skirt in doors, reaching for her towel in the bath, or romping unclad in tropical ponds. Even the slightest breeze could reduce her to a bra and frilly cami-knickers."

Jane's popularity with the troops during the Second World War is such that it is said that in 1943, on the first occasion that she lost all her clothes, the British 36th Division immediately gained six miles.

An anecdote from this site is worth repeating:

Christabel's favorite moment from the fame of being Jane occurred when the sexy showgirl, for once demurely dressed, met the then Lord Chamberlain. "Tell me my dear," asked the head of the royal household, "what do you do in your act?" "Well," explained Christabel, "at one stage I turn my back to the audience, take off my bra, and then cover my breasts with my hands as I turn 'round." There was a momentary silence, before the King's sidekick replied, "You must have very large hands."

This action is to some extent mirrored by Mina in Page 23, panels 1 & 2.

However, in the world of LoEG, perhaps the Daily Mirror did not actually run the cartoons, and rather the original appearance was the 1949 film, which would fit in with the chronology of the story rather well. Presumably when AQ refers to "that 'Adventures of Jane' series" he is referring to possibly a collection of Tijuana Bibles (TB) similar to the one bound into this, based on the film, which would have been produced by Pornsec.

Yuggoth... is a strange dark orb at the very rim of our solar system... There are mighty cities on Yuggoth—great tiers of terraced towers built of black stone... The sun shines there no brighter than a star, but the beings need no light. They have other subtler senses, and put no windows in their great houses and temples... The black rivers of pitch that flow under those mysterious cyclopean bridges—things built by some elder race extinct and forgotten before the beings came to Yuggoth from the ultimate voids—ought to be enough to make any man a Dante or Poe if he can keep sane long enough to tell what he has seen...