All good things come to an end. And this is it: the last stand of the Ketty Jay and her intrepid crew. They've been shot down, set up, double-crossed and ripped off. They've stolen priceless treasures, destroyed a ten-thousand-year-old Azryx city and sort-of-accidentally blew up the son of the Archduke. Now they've gone and started a civil war. This time, they're really in trouble. As Vardia descends into chaos, Captain Frey is doing his best to keep his crew out of it. He's got his mind on other things, not least the fate of Trinica Dracken. But wars have a way of dragging people in, and sooner or later they're going to have to pick a side. It's a choice they'll be staking their lives on. Cities fall and daemons rise. Old secrets are uncovered and new threats revealed. When the smoke clears, who will be left standing?

Frey is the captain of the Ketty Jay, leader of a small and highly dysfunctional band of layabouts. An inveterate womaniser and rogue, he and his gang make a living on the wrong side of the law, avoiding the heavily armed flying frigates of the Coalition Navy. With their trio of ragged fighter craft, they run contraband, rob airships and generally make a nuisance of themselves. So a hot tip on a cargo freighter loaded with valuables seems like a great prospect for an easy heist and a fast buck. Until the heist goes wrong, and the freighter explodes. Suddenly Frey isn't just a nuisance anymore - he's public enemy number one, with the Coalition Navy on his tail and contractors hired to take him down. But Frey knows something they don't. That freighter was rigged to blow, and Frey has been framed to take the fall. If he wants to prove it, he's going to have to catch the real culprit. He must face liars and lovers, dogfights and gunfights, Dukes and daemons. It's going to take all his criminal talents to prove he's not the criminal they think he is ...

Darian Frey is down on his luck. He can barely keep his squabbling crew fed and his rickety aircraft in the sky. Even the simplest robberies seem to go wrong. It's getting so a man can't make a dishonest living any more. Enter Captain Grist. He's heard about a crashed aircraft laden with the treasures of a lost civilisation, and he needs Frey's help to get it. There's only one problem. The craft is lying in the trackless heart of a remote island, populated by giant beasts and subhuman monsters. Dangerous, yes. Suicidal, perhaps. Still, Frey's never let common sense get in the way of a fortune before. But there's something other than treasure on board that aircraft. Something that a lot of important people would kill for. And it's going to take all of Frey's considerable skill at lying, cheating and stealing if he wants to get his hands on it ... Strap yourself in for another tale of adventure and debauchery, pilots and pirates, golems and daemons, double-crosses and double-double-crosses. The crew of the Ketty Jay are back!

Collects: Retribution Falls, The Black Lung Captain, The Iron Jackal, The Ace of Skulls Frey is the captain of the Ketty Jay, leader of a small, highly dysfunctional band of layabouts. An inveterate womaniser and rogue, he and his gang make a living on the wrong side of the law, avoiding the heavily armed flying frigates of the Coalition Navy. With their trio of ragged fighter craft they run contraband, rob airships and generally make a nuisance of themselves. In Retribution Falls, a hot tip on a cargo freighter loaded with valuables seems like a great prospect for an easy heist and a fast buck. Until the heist goes wrong, and the freighter explodes. Suddenly Frey isn't just a nuisance anymore - he's public enemy number one, with the Coalition Navy on his tail and contractors hired to take him down. Times are tough for the crew in The Black Lung Captain, Enter Captain Grist. He's heard about a crashed aircraft laden with the treasures of a lost civilisation, and he needs Frey's help to get it. There's only one problem. The craft is lying in the trackless heart of a remote island, populated by giant beasts and subhuman monsters. The Iron Jackal takes them deep into the desert heart of Samarla, the land of their ancient enemies. To a place where the secrets of the past lie in wait for the unwary. Secrets that might very well cost Frey everything. The Ace of Skulls: the last stand of the Ketty Jay. They've been shot down, set up, double-crossed and ripped off. They've stolen priceless treasures, destroyed a ten-thousand-year-old Azryx city and sort-of-accidentally blew up the son of the Archduke. Now they've gone and started a civil war. This time, they're really in trouble.

Embrace the night as you succumb to visions of blood-red roses and feel the impassioned rhythms of your feverishly pounding heart. The Vampyre legend is rooted in darkness and seduction, yet its eternal message is one of spiritual hunger--to taste the Divine. Featuring Ian Daniels' richly evocative Gothic-style artwork, this hauntingly romantic deck is a tool for spiritual awakening. With it, you can plumb the depths of your inner shadows and emerge in the radiant light of truth. Inspired by the Rider-Waite structure, the deck shows the Fool, Priestess, and other traditional figures, while the suits bear unique names that call forth the mysterious and macabre: Scepters, Grails, Knives, and Skulls. The companion book provides detailed card meanings, creative exercises, original spreads, and instructions for creating your own Vampyre character. Includes a 78-card deck and a 312-page book.

Things are finally looking good for Captain Frey and his crew. The Ketty Jay has been fixed up good as new. They've got their first taste of fortune and fame. And, just for once, nobody is trying to kill them. Even Trinica Dracken, Frey's ex-fiancée and long-time nemesis, has given up her quest for revenge. In fact, she's offered them a job - one that will take them deep into the desert heart of Samarla, the land of their ancient enemies. To a place where the secrets of the past lie in wait for the unwary. Secrets that might very well cost Frey everything. Join the crew of the Ketty Jay on their greatest adventure yet: a story of mayhem and mischief, rooftop chases and death-defying races, murderous daemons, psychopathic golems and a particularly cranky cat. The first time was to clear his name. The second time was for money. This time, Frey's in a race against the clock for the ultimate prize: to save his own life.

This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced – the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum. This book was published as a special issue of Word & Image.

Misery loves company and the Magus is miserable. His demise, compromises all those around him or attached to him. He drags them all down by his own death sentence. It’s his alone; yet, but by the sheer weight of his height held in the Order, all below will end beyond mend. His sentence fences in all who stray his way. He makes you sign your soul away. Back in the day, every member of that cult come Order is initiated in almost the same way. Upon completion of the initiation ceremony, the initiate is surprised by the sudden presentation of a black book: crooked like a nook on whoever partook. The hook is something the Magus or the then Master of the Temple manipulatively manifests unbeknownst to the student upon entry. Writ like a permit, a wry way to comply within his watchful eye. The Master of the Temple upon completion, commits you to submit. It's done without the why within a ceremonial circle. The book is opened. The new initiate is sentenced to sign his or her soul to the script. Something surely not one of them would've done had they known beforehand this be the fee. So sneaky and snake like. Each initiate vetted in the most vulnerable venue. Each given their rue by a slew of Satanists. The devil’s due. "A gripping true story of how Justim aka Saytim finds a way in and out of a Satanic cult."

This vibrant collection of essays reveals the intimate politics of how people with a wide range of relationships to war identify with, and against, the military and its gendered and racialised norms. It synthesises three recent turns in the study of international politics: aesthetics, embodiment and the everyday, into a new conceptual framework. This helps us to understand how militarism permeates society and how far its practices can be re-appropriated or even turned against it.

When a self-proclaimed "lazy scholar" embarks on a trip through his life's influences--as diverse as girl-group doo-wop, Yeats, and Van Gogh--readers are in for an illuminating ride. This collection of essays from cultural critic Di Piero veers from his early years as the son of immigrants in Philadelphia to his working life in art, film, music, and poetry. Along with a few choice essays reprinted from out-of-print collections, Di Piero's new work shows him to be insightful about himself and his work despite his protestations against the "boosterism" of autobiography. Through the lens of his sharp artistic analysis, readers see his story--an immigrant story filled with the music and mystery of a multilingual family, the men of his neighborhood wearing so many hats as they worked--as the auspicious beginning for his life of observation and revelation. His prose sings along, tripping across slang, poetry, and painters with the same precision that allows him to nearly dance about architecture. Though Di Piero would claim that his life's path "lurches and swerves," his essays prove that he has wandered expansively and with purpose--a city dog trotting across continents, along pages, and through galleries.