Contains 7 stories following the adventures of Trigo, leader of the people of Vorg who inhabit the distant planet of Elekton. Here is science fiction at its most exciting.

"A comic I loved!" - Neil Gaiman. The best-selling Treasury of British Comics archival series The Rise and Fall of the Trigan Empire reaches its third thrilling volume. The third thrilling omnibus of the lost Sci-Fi classic from the sixties that the New York Times noted had “highly detailed visions of fantastic worlds” This is the epic story of the Trigan Empire’s rise and fall, and of how Trigo, often alone, had to fend off usurpers and monstrous threats to save his people. The lush painted comic art that Don Lawrence produced in this period would solidify him as one of the greatest comic book artists of all time. Collected within are all the Trigan Empire stories published in chronological order including the never before reprinted short stories not illustrated by Don Lawrence, to give you the complete saga of the Trigan Empire.

With an introduction by Steve Holland. This is an illustrated catalogue of original artwork for sale, which will appeal to two audiences. First it serves as a sales catalogue from which collectors can purchase rare original art for their collections. It is also a superb permanent record of these rare originals, many of which will go into private collections and probably never be available for public view ever again. Featuring work by Don Lawrence, all 24 pieces of rarely seen Ron Embleton art, as well as work by Miguel Quesada, Oliver Frey, Philip Corke and Gerry Wood. This book is a testament to the greatness of this famous British strip and the artists who drew it. 110 works of original art beautifully reproduced.

In celebration of the original Mega-City master, this collects the very best of John Wagner's Judge Dredd stories! He is one of the best-known voices in British comics, respected and revered for revitalising the industry in the 1970s and co-creating the iconic ‘Lawman of the future’ – Judge Dredd. In celebration of his forty-five years chronicling the madness and mayhem of Mega-City One, this collection features some of the funniest, most poignant and action-packed tales penned by the great man himself.

Don Lawrence's first masterpiece, from the artist of The Rise and Fall of The Trigan Empire comes the epic historical fantasy of Karl the Viking! "Lawrence [is] celebrated for his richly coloured, highly detailed visions of fantastic worlds." - The New York Times Originally serialised in Lion, Karl the Viking is a sweeping historical fantasy story of an orphaned Saxon boy, adopted and raised by the viking Eingar after his raid on Britain. Upon coming of age Karl succeeds Eingar and leads his tribe into battle in Britain against wild tribes of Picts, and re-connects with his old Saxon family, gaining an ally in his cousin Godwulf, and making an enemy of the Earl of Eastumbria. These fast-paced stories were drawn by Don Lawrence shortly before he revolutionised painted comic art with The Trigan Empire, when he was already a master of pen and ink, and his Karl the Viking series was the pinnacle of black and white comic art.

The story is set A Long Time Ago, in a Galaxy Far, Far Away... on the planet Elekton, which has twin suns and twin moons (although another "moon", Gallas, falls to the planet in an early story). The Trigans look basically human, although they stand 12 feet tall (in the stories they appear normal since everything else that looks vaguely Earth-like is also twice the as tall); the Trigan race looks Aryan, but there are no black people, apart from the occasional dark-skinned tribe that pops up in a supporting role, generally depicted as primitive but friendly. The main recurring non-white races are green-skinned, ranging from yellowish to turquoise with little consistency between episodes. The Lokans, enemies of the Trigans, are pale olive green, and look like a cross between very ugly black people and Yellow Peril-type orientals. In fact, they were yellow, in the early stories. Daveli are a more turquoise colour, and are very good-looking. Their chief, Imbala, is Trigo's blood brother, and Imbala's son Keren is one of the good guys, usually the only non-white among the good guys.

Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

The crew behind Street Angel hits the ghetto with the Afrodisiac - in SuperColor! There's cats, gats, spats, and feathered hats... action as big as a Georgia ham and wool so fine it'll blow your mind! Lock up your daughters, come hell or high water, cause here comes the king of the concrete jungle!

A collection of stories featuring an unstoppable army and an indomitable hero, all set amid the backdrop of barbaric and medieval lands. Jean-Pierre Dionnet, one of the founders of "Metal Hurlant," started a new genre in comics when he collaborated with artist Jean-Claude Gal ("Diosamante") in the late 1970s: Heroic Fantasy. It shortly thereafter gained the favor of the public and has since grown immensely. This is the occasion for all lovers of the genre to return to its roots. Witness, with the help of Gal's intricate style, the devastating effects of war as you follow an army's forward progress, and then join Arn's bloody quest for revenge.