This time instead of Trigo being deposed, he abdicates in the belief he’s left the empire in safe and trustworthy hands.
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‘The Tyrant’ unites several familiar Butterworth plots, but still provides a full dose of entertainment. The tone of ‘The Ultimate Weapon’ is very similar, Butterworth repeating plot elements of someone coerced into being a traitor and the arrival of a large armed party surprising Trigo, but it takes a different, and quicker, route. ‘The Lost City’ opens the selection, and is the book’s epic, of Trigo’s journey to a mythical lost city and what he discovers there. ‘The Invisibility Ray’, for instance, introduces the gimmick early, then switches to a story of Emperor Trigo’s highly regarded nephew, the heroic Janno, arrested for treason, and having to clear his name. There’s a considerable variety to the five stories, and in almost every case Butterworth tailors them to include the spectacle he knows Lawrence can produce, yet that’s not always the main thrust. Women don’t often feature in The Trigan Empire, but when they do Lawrence abides by the cinematic code, and they’re as glamorous as the men are heroic, often with something of Audrey Hepburn about them. The panel featuring her face is just one of eight on the page, yet the effort Lawrence put in to make this a memorable and compelling portrait is immense. One of the stories features the revelation of an old woman, a subject considerably removed from the usual heroic science fiction action. The Three Princes last time around and the next Puppet Emperor only manage the same amount between them.Īfter four volumes it’s comforting to note that while the excellence of Don Lawrence can be taken for granted, he can still surprise. It’s more apparent with The Red Death featuring five shorter stories. Because The Trigan Empire was originally serialised at two pages per weekly comic (sometimes reduced to a page and a half) Mike Butterworth and Don Lawrence really had to pack those pages with story, meaning events progress incredibly rapidly.
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