Tales of the Zombie #1

If you have read, or want to read, my review of the Savage Sword of Conan #1, I point out the changing of the guard at Marvel in the early 1970s. When founding publisher Martin Goodman retired, Editor-In-Chief Stan Lee ushered in a new line of black and white magazines to compete with Warren's staple of Eerie, Creepy, and Vampirella titles. These magazines were distributed by Curtis, an affiliated Marvel company. By releasing these comics in magazine format the company was able to leapfrog the Comics Code Authority. The newfound freedom allowed a bit more violence, a touch of nudity, and some mild profanity.

The first of the books was Savage Tales in 1971, followed by a Marvel Monster Group brand that consisted of titles like Dracula Lives!, Monsters Unleashed, Monster Madness, and the subject matter at hand, Tales of the Zombie. The black and white brand was arguably cemented by the long-running Savage Sword of Conan title that began in 1974.

Tales of the Zombie was the brainchild of Roy Thomas (Conan the Barbarian, Amazing Spider-Man, Doctor Strange), but the book's star character, Simon Garth, was created by Stan Lee and Bill Everett in the mid 20th century. The character and origin was originally presented in the Atlas Comics (pre-Marvel) title Menace #5 (July 1953). Both Thomas and Steve Gerber (Captain America, Man-Thing) wrote a 12-page prequel/retcon to the story and inserted it as the first story for Tales of the Zombie #1, published in August 1973. Then, they cleverly reprinted the Atlas Comics story as the second story in the first issue, making a smooth two-part introduction to kick off the debut and series. 

The first issue features an incredible painting by Boris Vallejo (Conan). The contents are:

"Altar of the Damned" - Steve Gerber & Roy Thomas/John Buscema & Tom Palmer
"Zombie!" - Stan Lee/Bill Everett
"Iron-Head" - Dick Ayers
"The Sensuous Zombie!" - Tony Isabella
"The Thing from the Bog!" - Kit Pearson & Marv Wolfman/Pablo Marcos
"The Mastermind" - Tom Sutton
"Night of the Walking Dead" - Steve Gerber/John Buscema & Syd Shores

In the opening pages of "Altar of the Damned", a Louisiana bayou is ripe with women dancing in a ritual as the Voodoo Queen appears holding a gleaming ceremonial blade. Her sacrifice is a tied and gagged Simon Garth, draped upon a smooth stone altar. As the knife whips upward into the air, Garth ponders the sounds of his final scream. But, miraculously the killer cuts his bonds and provides a warning for him to escape before his captors discover his absence. Garth runs into the dense swamp and hides behind a tree. The writers take this opportunity to bring readers up to speed on the events leading to Garth's capture.

Simon Garth is a wealthy businessman that runs a successful coffee company by exploiting the labor force and overworking them. One morning as he is leaving for the office, he engages in an argument with his daughter Laurie and his groundskeeper Gyps. Later, Garth catches Gyps, who is a short pudgy pervert, sneaking a peek at Laurie skinny dipping in the pool. Garth fires Gyps but is eventually blindsided by him, knocked unconscious, and then delivered and sold to a group of Hoodoos that pay well for human sacrifices. 

Full-circle back to the beginning of the story, Garth moves from behind the swamp tree and is attacked again by Gyps, only this time he is fatally stabbed with shears. Gyps and the Hoodoos bury a very dead Garth. However, Gyps wants the ultimate revenge and asks the Hoodoos to resurrect Garth's corpse so he can make him a slave. The Hoodoos honor Gyps' request and provide a necklace for Garth to wear and a controlling power through a magical coin that Gyps controls. "Altar of the Damned" ends with Garth seemingly a braindead slave-corpse. 

This second entry, "Zombie!", is the reprinting of the original 1953 story. The only changes made were to add longer hair for Garth to make a modern match with the prior story. In "Zombie!", Gyps summons Garth and makes him go to the city to steal gold. When Garth is found by the police he is shot repeatedly but doesn't die. Sometime later he returns to Gyps empty-handed. Gyps then orders Garth to go to a house and kidnap a girl that he is infatuated with. When Garth goes to the house and sees the targeted girl, some semblance of his old self kicks in and Garth refuses to get the girl. Instead, he goes back to Gyps and kills him before lying down in a grave. The narrator states at the end that the girl was really Garth's daughter. 

Let's face it. This is pure genius on the part of Thomas and Gerber to retcon this simple undead story from 1953 into a more intricate presentation of the proverbial riches-to-rags cautionary tale. The placement of the prequel before the original 1953 story was just an excellent concept. This origin tale is developed well and explains so much to the reader in 24 pages. The art layout and pencils from both Buscema and Palmer provide shadowy darkness behind Gyps, reiterating this is the bad guy being described in dialogue. I really enjoyed Gyps revealed as the narrator, the master controlling the slave. Also, there is a convincing subtext here of Garth molding his labor into lifeless blue-collar slaves and then role-reversal as Garth transforms from master to slave. Well done.

"Iron-Head" is a five-page short-story that features a grave robber killing someone. To escape authorities, the man gets a job on a private yacht doing deep-sea dives for a crew of treasure hunters. When they realize one more treasure chest remains, the man schemes a plan to go underwater in his iron diving suit after blowing up the boat. With the treasure hunters out of the way, the man gets the chest and then slow walks across the ocean floor to a nearby island. He plans to rest on the island and await a rescue crew. Instead, the island is filled with savage cannibals. His only way to survive is to pretend he is some sort of ironbound God inside the suit. However, he can't take the suit off or remove the helmet for fear the natives will discover his con. After days without food and water he finally....well I don't want to ruin it for you. It was a simple entertaining story. Nothing more, nothing less.

Tony Isabella presents an article on zombies at the movies. In "The Sensuos Zombie", Isabella documents the first zombie films from 1932's White Zombie and 1936's Revolt of the Zombies through the 1969 shocker Night of the Living Dead.

Pablo Marcos is one of my favorite artists and his illustrative style highlights "The Thing from the Bog!", authored by Marv Wolfman and Kit Pearson. The synopsis is that centuries ago a bog in the Northern Jutlands of Denmark was used to kill vile criminals. Two years before the story takes place a witch was tortured and sent to her death in the steaming waters of the bog. Her pact with the Devil allows her to return to life as an old hag. She finds a young child and then secretly becomes his "Witch Guardian". The boy and his stepfather are cutting peat in the area and unearth a corpse. One thing leads to another and soon the town is overran with zombies. The story has one too many flashbacks, and the plot is a bit scrambled, but again, Marcos is the real highlight here and his descriptive drawing of graveyards, skulls, witches and...death is simply awe-inspiring. 

"Mastermind" by Tom Sutton is a simple two-page story that has a mad scientist creating a Frankenstein creature called Manaak. 

The third Zombie (Simon Garth) installment, "Night of the Walking Dead", is a continuation of the first two stories of the issue. Garth's daughter Donna is at the morgue and identifies Gyps' corpse on the tray. She explains to a detective that a mysterious amulet/coin may have some connection with her father's murder. As she stares into the coin and talks the next page reveals that Garth is stirring in his dirt bed. 

A hunter is stalking the bayou as Garth rises from the grave. There's a bit of action here as Garth fights the hunter's hounds before going into the town to find Donna. As Donna is leaving the mortuary a druggie desperate for money mugs her. Garth shows up and shows a bit more intelligence while killing the mugger. As the story ends Garth is walking away, presumably back to his grave. 

Tales of the Zombie #1 was entertaining from cover to cover. The selection of writers and artists was the perfect combination to deliver some of the better horror tales you'll find in this era of Marvel black and white. While cautionary tales are always dominant in the horror comics, the idea of a "heroic" zombie playing the star is unique and edgy. Readers can sense the personal anguish and despair in the Garth character while also sharing Donna's grief over her murdered father. The satisfaction is delivered when the bad guys get their comeuppance. 

You can get still find copies of the Marvel Essentials trade paperback that collects the Garth stories. Buy a copy of the book HERE

Dagar the Invincible - Archives Vol. #1

Western Publishing Company, a Wisconsin company, made a huge splash in the world of home entertainment in the early 20th century. The company was one of the first manufacturers of paper puzzles and tabletop games. Their enterprise eventually expanded into book publishing, initially developing the line of Little Golden Books. By the middle of the century they had partnered with Walt Disney Productions, Warner Brothers, MGM, and even the estate of the popular author Edgar Rice Burroughs. 

From 1938 through 1961 the company published comics under a partnership with Dell. But, in 1962 Western Publishing began their own comic book company, Gold Key Comics. The marketing strategy was to license just about anything they could get their hands on. From Planet of the Apes to Star Trek nothing was out of bounds in the world of Gold Key Comics. Back then the chances were pretty high that if you watched it on television, Gold Key had an accompanying comic book to go with it. But, the company also published their own original titles as well like Doctor Solar, Magnus Robot Fighter, and Space Family Robinson. While I've read my share of Gold Key comics back in the day, a few titles escaped me, like Dagar the Invicible.

In the 1970s, the sword-and-sorcery genre was at an all-time high with the reprint publications of Robert E. Howard's Conan the Cimmerian stories in paperback. Beginning in 1966, readers were able to finally read the original Conan stories in affordable paperbacks by Lancer. These books had amazing artwork and featured original published stories, but also many incomplete stories that were discovered as drafts and completed by authors Lin Carter and L. Sprague de Camp. The books sold well and by the end of the decade countless imitators appeared – some good, some not so good. Along with paperbacks, the comic book industry quickly got involved with sword-and-sorcery. The early 1970s saw the publication of Marvel's Conan the Barbarian and Savage Sword of Conan. 

Gold Key marched out their sword-and-sorcery comic, Dagar the Invincible in October 1972 with the blurb “Tales of Sword and Sorcery”. The entire series was visually created by artist Jesse Santos and written by Donald F. Glut. It ran a total of 19 issues with two issues reprinting the debut (#19 published under the Whitman brand). You can still get these issues fairly cheap online or you can purchase two hardcover collections from Dark Horse that compile the entire series. Very cool. This review is on the first hardcover collection, simply titled Dagar the Invincible Archives Volume #1. This compiles issues #1-9.

Jesse Santos broke into comics in his home country of The Philippines in 1946. He drew Halakhak Kommiks' “Kidlat” before moving to the U.S. to work on comics like The Microbots and Brothers of the Spear. Along with Dagar the Invincible, Santos would later draw Gold Key's The Occult Files of Doctor Spektor and Tragg and the Sky Gods. He turned down an offer to work for Marvel on the Conan the Barbarian comic. 

Donald F. Glut began his writing career by working with Warren Publishing and their black and white magazines Creepy, Eerie, and Vampirella as well as the Skywald Publication Psycho. Along with writing Dagar the Invincible, Glut teamed with Santos on The Occult Files of Doctor Spektor, and Tragg and the Sky Gods. He would later move on to writing for Marvel books like Captain America, Savage Sword of Conan, and Thor as well as the DC Comics titles House of Mystery and House of Secrets. 

The first issue is a true origin story, “The Sword of Dagar”, explaining how Dagar became the heroic fantasy warrior. The era is explained vaguely as a “time when Gods and Demons walked the Earth as men and certain men possessed the best and worst qualities of both”. From what I gather, this particular world is a combination of prehistoric elements and the Middle Ages militant kingdoms complete with rival leadership and classes. Glut specifies it is the twilight years between the end of the stone age and the beginning of Babylon. 

In the opening pages of the first issue, Dagar is battling a saber-tooth tiger while reflecting on his life and heritage. In a flashback sequence, readers see young Dagar admiring his grandfather's battle helmet. In an onslaught of brutality a swarm of invaders ride into town and slay every Tulgoian except Dagar and his grandfather. Thus, a sworn oath is made that Dagar will train under his grandfather's tutelage and become INVINCIBLE! After a few years of training, the grandfather dies and Dagar is shown wearing an animal skin and holding a sword. He plans to find the one named Scorpio that led the assault on his people. He also states repeatedly that he will take on a life of fighting for money. I didn't quite grasp the significance of this. 

In this issue's second part, “Castle of the Skull”, an old man asks Dagar to journey to a cursed castle and rescue his daughter. The narrative really picks up the action and gets Dagar into dark hallways slaying skeletons with a magical mace. There is a little trick ending that recalls some of the surprises found in the horror comics of the time (hint: the young beautiful woman is really an old hag). 

The second issue, “The Beast Within”, Dagar takes on a job finding a beautiful woman's missing brother. But, little does he realize that the missing man is actually a werewolf who disappears during a full moon to keep from killing his loved ones. When Dagar teams up the werewolf they hunt down Scorpio to another monolithic castle (there are a lot of those). The finale comes when both are forced to fight an enormous lizard. This story reminded me so much of the Conan stories, complete with the cavernous castle and behemoth reptile. 

The third issue features one of my favorite covers of the series. Let's face it, every cover in this series is simply awe-inspiring, but the use of the red castle, the cliff, the vampire bat creature set against a moody backdrop of purple just invokes so much color and imagery into this sword-and-sorcery affair. The story in this one is called “Wrath of the Vampires” and has a demonic beginning. Dagar rides up on a ghoulish scene as a woman is being sacrificed on an altar. But, instead of saving her he rides off and says to himself he only fights for money. Either that is totally badass or just plain despicable...I can't decide which. Dagar gets an explanation from a guy that the girl has been sacrificed on Blood Mountain to a race of vampires that prey upon the community. On the quest to find and free the girl he gets himself imprisoned by a sadistic creature called King Desmos. Dagar breaks free and teams up with some hideous monsters that have been abused by Desmos to fight their way through the savage hordes. At the end, Dagar and his new lover, Graylin, ride off into the sunset.

In “Vengeance-Sweet Vengeance”, issue five's story, the Dagar and Scorpio confrontation is promised to deliver the goods. In the beginning, Dagar is following a map he obtained that supposedly leads to Scorpio. Fortunately (or unfortunately), he stumbles upon some sort of floating wormhole that immediately jets him into Scorpio's coveted stronghold. As being the only guy in the building half nude wearing animal skins, Dagar is immediately recognized and forced into captivity. The only logical use for him is to deposit him in the gladiator games to fight lions and stuff. After fighting free of the arena, Dagar goes into an underground tunnel and teams up with an old man who gives him advice on how to fight Scorpio. There's some drugged out colors and designs swirling all over this issue with a stinging final boss fight of Dagar fighting a gigantic scorpion. The end proves this through story has reached its conclusion and Scorpio has been vanquished. Revenge complete.

Issue six is a real turning point for the series and sees more narration in third-person instead of Dagar speaking to himself to narrate the story for readers. I was waiting for this type of storytelling to emerge. It makes the comic a bit more modern. I hate when the heroes of the golden age would say things to themselves like, “I must pick up this sword and go down that hallway to fight the beast”. Instead, the narrator does that much better by telling us the story and then allowing the art and dialogue to supplement it. 

In this story, “Another World...Another Time”, Dagar journeys back to his lover Graylin but instead hears her cries from another world. It seems Graylin went off searching for Dagar and accidentally went into an “oracle cave”. Dagar finds the cave and journeys through it to discover a savage prehistoric playground of dinosaurs and volcanoes. Basically, this is Donald Glut conjuring his Edgar Rice Burroughs' styled comic Tragg and the Sky Gods into a Dagar book. One of the cave-men from Tragg, a guy named Jarn, teams up with Dagar in this issue to rescue Graylin from an evil sorcerer named Zerg. There is a bunch of dinosaur fighting and weird hypnotic stuff before the end that sees Dagar and Graylin once again on horseback riding off into another adventure in their own time. 

The sixth issue is broken down into two separate stories with the first being “Treasure of Nai-Po-Gah”. This story is right out of Conan with the two hunting for treasure in a seemingly abandoned city. When Dagar removes a jewel from a large statue they hear a man calling for help. In interviewing the man, who seems to be trapped in a well, Dagar has a moment of clarity – he only fights for money! But Graylin insists he help the man. Dagar should have stuck with his code here because once the man is free he turns into a giant demon named Zu-Borr that creates a ton of chaos for the two lovers. That story ends and a new one begins titled “Demon of the Temple”, a short narrative that features Graylin and Dagar fighting a monster and a mad mage. 

The series seventh issue puts Dagar on the high seas in "Two Swords Against Zora-Zal". The hero is out fishing on the shore when a band of pirates net him and force him into a galley slave ship. While brutally rowing for days and days Dagar strikes up a friendship with a fellow slave named Durak. When the ship anchors on the Island of Queen Zora-Zal, Dagar and Durak are put to work building a giant tower. After an escape attempt an evil sorcerer throws Dagar into a deep well to fight another monster (recurring theme here). Dagar wins and then leads Durak to overthrow their captors and free the island. At the end Durak says farewell to Dagar and steers the galley ship off to adventure. 

In the following issue, Dagar returns back to the city only to find that his beloved Graylin has been drug off with other women to a smoking crater on Mount Bargoll. This story, "The Red Ruby of Garloth", shows a little more compassion from Dagar. Since he only fights for money, he wants to rescue Graylin only. However, a young girl gives Dagar her only possession, a necklace, to help find her mother. Dagar refuses the necklace and is shown dropping the other coins he was paid into the dirt. He tracks Graylin to the mountain and finds it riddled with the undead! A zombie named Kagra is using a magical gem to resurrect dead people. However, the deal requires a sacrifice - one live one for one dead one. Dagar puts an end to the transactions and with Graylin's help they destroy the place. 

"The Night of the Serpent" closes out this volume, the lead story in issue nine. Dagar and Graylin watch as a large sloth is fatally poisoned by a coiling giant serpent. The two are headed to the city of Yang-Dorr where 

Dagar hopes to place his sword for hire, but they get distracted in the swamps. It is here that the tribe of nomadic black warriors known as Zargani use their spears and battleaxes to hunt and survive. The tribe's chieftain, Torgus, and his wife Renya are out walking when Renya drinks from the same river that the injured giant serpent retreated to. Renya gets poisoned and Torgus is desperate for a cure. Readers are treated to a flashback sequence explaining how Nar-Kal, a sorcerer, obtained the Magical Eye of the God Org-Ra. It is explained that Nar-Kal is actually in control of the giant serpent and each time the snake kills then Nar-Kal becomes more powerful. Torgus needs to stop Nar-Kal so his beloved wife can heal. There is a brief fight between Dagar and Torgus before the two realize they are better as allies fighting Nar-Kal. The story ends with with both Dagar and Graylin enjoying time with the Zargani couple.

At nine meaty issues, sword-and-sorcery fans will find plenty to like about Dagar and his adventures through this savage land. Obviously there is a huge nod to Conan, but I never felt like the writing and art was at that level - no matter who was writing or drawing Conan over at Marvel. This is more of a third-tier type of series that is still wildly enjoyable and reeks of nostalgic pleasure. The art is good, the writing is okay. It just isn't something that is mandatory or suggested unless you really love this genre, era, and brand. Gold Key has a cult following cemented by titles like Dagar. For me, I got enough out of it to want to read more...just give me a few months. This collection has so much material and it's a little bit of a chore to get through it all. But, if you like this genre then by all means you need to at least sample Dagar the Invincible. 

Savage Sword of Conan #02 (Curtis)

The Savage Sword of Conan #2 was published in October, 1974. For a complete history of the making of this magazine title, including reviews of the contents of issue one, check out my review HERE. This installment of the series has an awesome Neal Adams cover and once again features content inspired by the works of Robert E. Howard. This issue features:

“Black Colossus” - Roy Thomas/John Buscema and Alfredo Alcala
“Chronicles of the Sword” - Lin Carter/Al Milgrom, Alan Weiss, Joe Staton
“Black Mark Chapter II” - Gil Kane
“The Beast from the Abyss” - Steve Englehart/Howard Chaykin 

In addition to the stories and articles, this issue's stand-alone panel is illustrated by Mike Zeck.

The lead story is “Black Colossus”, a 36-pager that is broken down into three parts. The inspiration is Robert E. Howard's story, which originally appeared for the first time in Weird Tales, June 1933. It has been reprinted numerous times in print format with and without the minor edits made by L. Sprague de Camp. To my knowledge this issue features the first adaptation of the story in comic format. The adaptation was reprinted again by Marvel in their Marvel Treasury Edition #15 as a colorized edition. I won't go into the details of the story because I already covered it in great detail HERE. 

The story's short intro is simply “Black Colossus”, the second chapter of the story is titled “Hordes of the Veiled One” and the last chapter is “Chariot of the Man-Demon”. Each title insert is a one-page panel carefully constructed by Buscema and Alcala. I love the title page to chapter two with Princess Yasmela, partially clothed, crawling towards the darkness of the pit-spawned incubus. It is just an incredible mix of light and dark with a lot of lines in the foreground to make it look more chaotic as the scene shifts to the dark right corner. As I mentioned in my review of Dark Horse's first issue of Conan, “Out of the Darksome Hills”, that Cary Nord's depiction of an armored Conan slightly resembles page 18 of this issue as Conan is fully decked out like a gladiator. 

The story stays true to Robert E. Howard's version and it's a great read. This is on par with “The Frost Giant's Daughter” (reviewed HERE) in terms of this magazine's most iconic moments. I may sound like a broken record but the art is just spectacular. Page 27's Thugra Khotanlike on the skeletal black camel is awe-inspiring and seems to draw influence from the 1865 painting by Gustave Dore, “Death on the Pale Horse (Revelation)”. This story gains a sequel in the next issue. 

Some fans dislike author Lin Carter, but I have genuinely enjoyed his literary work and the contributions he made to science-fiction and sword-and-sorcery/fantasy. His informal history of the sword-and-sorcery genre, “Chronicles of the Sword”, is just fascinating. Carter points to early literature like Beowulf and Hercules mythology as a catalyst to what would eventually form sword-and-sorcery. He also examines Lord Dunsay's “The Gods of Pegana” and “The Sword of Welleran” among others, citing the “at the Edge of the World” as a sort of gyroscope utilized for the genre”. Obviously, Carter delves into the works of H.P. Lovecraft and Robert E. Howard and their impact on the Weird Tales publication. 

The second chapter of Blackmark continues in this issue. As I alluded to in my review of the first issue, this content was originally published in the 1971 Bantam paperback Blackmark. The smaller graphic novel pages have been formatted to magazine size and the book's contents were spread over the first four issues of Savage Sword of Conan. 

In this portion of the story, Blackmark looks to be about 10 years old and has began practicing swordplay in between working for his father Zeph. While Blackmark is away from the village, an armed group of horseback riders attack and begin slaughtering the citizens. When Blackmark sees the smoke he runs to the village to see his father fighting the men with a staff. After his father is murdered, Blackmark is forced to watch his mother being raped and killed. The men leave Blackmark as a survivor so he can tell others about their strength and dominance. Later, Blackmark is captured by slave raiders.

This was a real turning point in the story and sets up Blackmark's adolescent years and subsequent arena fights as a slave (featured in the next issue). Again, Gil Kane is a phenomenal artist and his storytelling skills propel the narrative in a smooth and unforced way. While a lot has happened to Blackmark, from birth to jaded young man, the narrative is spread enough to allow readers to imagine and fill in the gaps in these characters' lives off the page.

Up to Kull's appearance in this issue's story, “The Beast from the Abyss”, the character had appeared numerous times in comic format. The hero is seen in Conan's vision in the very first issue of Conan the Barbarian in July, 1970. He later appeared in Creatures on the Loose #10 (Mar1971),  Monsters on the Prowl #16 (Jan 1972), Conan the Barbarian #25 (Jan 1973) and #37 (Jan 1974), Tomb of Dracula #26 (Jul 1974). Of course he had his own short-lived title as well, Kull the Conqueror #1-10 (1971-1973) and Kull the Destroyer #11-28 (1973-1978) prior to “The Beast from the Abyss”. 

“The Beast from the Abyss” is adapted from the story “Black Abyss”. This work was left unfinished by Robert E. Howard with Lin Carter finishing the story (beginning with Chapter 3) and it was first published in the Lancer paperback King Kull in 1967. I enjoyed that story immensely and I was happy it was adapted into comic form by Steve Englehart (Batman, Daredevil, Doctor Strange) and drawn by Howard Chaykin (Star Wars, Batman, Punisher)

Kull is in Kamula on business and enjoying a dance routine with Baron Ergon. Kull's friend and confidant Brule, the Pictish Warrior, storms into the room and advises that his tribal brother Grogar has been captured from somewhere in the palace. The duo venture back to the place the man was last seen and discover another corpse. From inside the wall they hear a strange piping sound - “the sort of music dead men dance to on the scarlet floors of Hell!”. 

The two journey through the wall's secret passageway and descend stairs into a macabre scene of the Baron, half-naked women, a piper, and Grogar laid on an altar awaiting a ghoulish fate. These crazed people are worshiping a giant slug-like creature called Zugthuu the Slitherer. The creature isn't actually named by Chaykin in the story, but the name appears in the magazine's TOC. Kull and Brule get to work fighting Zugthuu, eventually killing the monstrosity and escape with Grogar. 

The adaptation stays true to the story and successfully visualizes the demonic scene of the piper on the altar. This story borders the horror genre closely (don't they all?) and Chaykin's drawings capture the creepy vibes so well. I was really pleased with how this turned out considering the strength of the original material. 

This was another fantastic issue and one that is often cited as a real highlight of the series. It is definitely worth your time to pursue it in whatever format you prefer – trade, digital, individual issues, hardcover. Recommended! 

Buy a copy of this book HERE

Conan - Savage Sword of Conan #01 (Curtis)

At one time, Curtis Magazines was Marvel Comics' distributor and an affiliated company. Under this imprint, Marvel launched a number of magazine formatted titles that weren't regulated by the Comics Code Authority. It was Marvel editor-in-chief Editor Stan Lee's vision to enter the black-and-white magazine market to compete with Warren Publishing, a company that had found success with more taboo themes (bare butts and breasts) in their Eerie, Creepy, and Vampirella titles. 

The first of the Curtis books was Savage Tales, published in May 1971 – complete with a John Buscema cover of Conan holding a severed human head. Publisher Martin Goodman (founder of Timely/Marvel) didn't want to publish these types of books and insisted that Savage Tales cease publication after just one issue. Goodman left Marvel in 1972, setting the stage for Roy Thomas and the company to revamp their magazine line, launching more Savage Tales issues in October 1973 as well as a Marvel Monster Group brand with titles like Tales of the Zombie, Dracula Lives!, and Monsters Unleashed. 

This brings us to the focus of this review, Conan the Cimmerian, which was created by author Robert E. Howard. When Savage Tales began republication in October 1973, the title's second issue through the fifth (1973-1974) all featured Conan stories and the character on the front page. Due to the success of the character in these books, and the Conan the Barbarian color comic that launched in 1970, the company decided that Conan's market worth supported his own magazine. 

The Savage Sword of Conan the Barbarian was launched in August 1974 and ran consistently until July 1995. There were 235 issues and one annual during the book's impressive 21 year run. The series, especially the early issues, have all been collected in massive trade and omnibus editions from Marvel, Dark Horse, and even Titan. While I don't condone scanned copies, you can easily find the entire run scanned for digital devices for a few bucks if you don't want to bend and turn your purchased paper collections. Additionally, I see the used magazines in comic shops and book stores for $5-$20 each. I'm just saying they are around if you want to read them. 

The Savage Sword of Conan #01 has a Boris Vallejo cover and features seven sections:

“Curse of the Undead-Man” - Roy Thomas/John Buscema and Pablo Marcos
“A Hyperborean Oath” - Roy Thomas
“Red Sonja” - Roy Thomas/Esteban Maroto/Neal Adams/Ernie Chua
“Conan's Women Warriors” - Fred Blosser
“The Birth of Blackmark” - Gil Kane
“An Atlantean in Aquilonia” - Glenn Lord
“The Frost Giant's Daughter” - Roy Thomas/Barry Smith

In addition, three pages of artwork - Alfred Alcala/Esteban Maroto/Roy Krenkel.

In "Curse of the Undead-Man", Roy Thomas freely adapts Robert E. Howard's horror story "Mistress of Death" into a Conan offering. The Cimmerian hero is in Zamora waiting to join "some teetotaling general's army" and finds a trio of painted ladies looking to party. He is encouraged to look for gold in the city (read that as stealing) and is ambushed by three mysterious robed figures. A moment later he is attacked again by four ruffians and Red Sonja comes to his aid. 

Sonja explains that earlier that day the King of Zamora ordered a public execution of a sorcerer named Costrano. After the death, Costrano's apprentices schemed a way to resurrect the sorcerer. Conan stumbles on the sorcerer's severed jeweled-finger in the alley and throws it on the ground. The finger makes its way to Costrano's corpse and he is resurrected by the power of the ring. 

Later, Conan and Red Sonja team to fight Costrano and rescue a young woman he is attempting to sacrifice on an altar. The story ends with some playful joking between the two heroes.

This was an average Conan story with the typical ingredients - sorcerers, thieves, and swordplay. I'm not familiar with Howard's story, so I can't compare the two. For these pages, I specifically enjoyed the darker inks on page seven and the facial expressions on page ten. The gatefold pages on 18-19 of Conan leaping at the enraged Costrano is absolutely beautiful and worth the price of admission.

"A Hyperborean Oath" serves as an introduction to the magazine courtesy of Roy Thomas. He explains that the magazine will mostly consist of comic adaptations of REH stories.

"Red Sonja" begins with a recap of the events from Conan the Barbarian #24 (1972). In that story, "The Song of Red Sonja", Sonja tricked "a northern barbarian" named Conan into helping her gain the Serpent-Tiara. However, the jewelry was transformed into a giant dragon-thing that forced the two to team together to defend themselves. 

In this "Red Sonja" story, the narrative continues as the she-devil returns the Serpent-Tiara to the man who hired her to retrieve it, King Ghannif of Pah-Dishah. However, instead of paying Sonja for the job, he imprisons here to be part of his harem. Through the story, Sonja initially tries to fight for her freedom, but eventually conceives a plan to seduce Ghannif. After killing the King, she fights to the death with his loyal follower, a swordsman named Trolus.

This was an entertaining story that featured far better illustrations by Maroto, Adams, and Chua of Red Sonja than Barry Smith's version. She looks much younger here and more athletic. Plus, Smith's weird silver chain mail is replaced with more of a swimsuit attire. This would be the same look that artist Frank Thorne would use in 1978. The fight scene was great and I loved the dialogue between the two warriors. It was an early dive into Red Sonja's character and her efforts to avoid killing Trolus. She attempts to convince him to do the right thing and understand a better future. But, these things always end in death. 

In "Conan's Women Warriors", Conan devotee Fred Blosser provides a written commentary on the various women that have appeared in Conan literature and the Conan the Barbarian comics. The article contains paragraphs on Valeria, Belit, Yasmina, Salome, and of course, Red Sonja. 

Gil Kane's Blackmark was originally published by Bantam in 1971 (S5871) as a 119-page graphic novel paperback. It was scripted by Archie Goodwin and sold for .75 cents at the time. Some consider it to be the first American graphic novel, but I think Fawcett Gold Medal's 1950 paperback Mansion of Evil earns that award. The publisher had a limited number of copies they produced to test the waters for a graphic novel paperback. The book failed to make a splash and was shelved. Its contents was formatted to stretch to magazine-size pages (basically three paperback pages on one magazine page) and made it into the Savage Sword of Conan. The first part appears in this issue.

The author explains that Earth was devastated by nuclear weapons years ago. A new Earth has been formed from the ashes consisting of wastelands sprinkled with nomads, gangs, and small kingdoms housing castles and farms. The wealthy have a power source that allows travel by boat. The poor are left to travel on foot, often contending with harsh elements and even harsher humans. There are also mutants, monsters, and telepathic beings in this new Earth. 

The story begins with a couple, Marnie and Zeph, traveling by horse and wagon across the precarious landscape of Demon Waste. When they stop for the night, Zeph leaves to find supplies and Marnie is left to her thoughts of being infertile and the possibility of motherhood escaping her. 

Out of the darkness two men ride up on horseback, one of which is a wounded leader named King Amarix. They explain to Marnie that Amarix had been cast out by his own people due to believing old science can make Earth live again. As Amarix lay dying by the firelight he psychically uploads all of his knowledge and thoughts into Marnie. He tells her that she can take the knowledge, and his money, and spread into the community in hopes for a better future. He also magically makes Marnie fertile again. 

Later, Zeph and Marnie make it to a farming town and have a child. But, Zeph realizes that Marnie was "cursed" by Amarix, a man he feels is nothing but a demonic witch. Zeph calls the baby Blackmark and this portion of the book ends. Next issue it continues with "Death and Destiny..."

I really enjoyed this portion of the book and loved the smaller panels of artwork. Gil Kane is a legend in the comic book world and his art never ceases to amaze me. The story is ripe with Christianity tones. Marnie is a Virgin Mary, being blessed by God (Amarix) to birth a Messiah that will save the world. The idea that Amarix was shunned by his own people is reminiscent of Israel's failure to obey God, casting him out in favor of endless idols and pagan worship. I'm anxious to see where the story goes from here.

Glenn Lord's "An Atlantean in Aquilonia" is an essay on Robert E. Howard's Kull. This is a great history on the character with an emphasis on Kull's influence on Conan's conception. I actually used a lot of this article in my review of King Kull and also the podcast episode dedicated to the character. You can listen HERE. 

The final story here is a reprinting of "The Frost Giant's Daughter" from Savage Tales #1. You can read my review of Howard's story HERE. This may be the most popular adaptation of the story in comic format. Barry Smith's pencils are just superb and perfectly illustrate the savageness of the fight on the icy tundra. The fight with Hymdul in the opening pages and the first up-close look at the Frost Giants on page 70 are real highlights of the entire issue. This is an iconic piece of Conan literature and the adaptation is awesome. I do have to say I love Cary Nord's art in the Dark Horse version as well. Both are fantastic.

There you have it. The first issue of The Savage Sword of Conan. The two original stories here were enjoyable, but the reprinting of the Blackmark and "The Frost Giant's Daughter" were real highlights. From a Conan collector's standpoint, additional written commentary from Glenn Lord on Kull and the conception of "The Phoenix on the Sword" was a great addition as well.

Next up is issue two featuring "Black Colossus", a King Kull story, more Blackmark, and a history of sword-and-sorcery by Lin Carter. See you there! 

Get a copy of the giant omnibus collecting these early issues HERE.

Conan - Conan Volume 1: The Frost Giant's Daughter and Other Stories (Dark Horse)

In 2003, Dark Horse Comics launched their first Conan title after acquiring the rights to the character. Prior to the Dark Horse debut, Conan was featured prominently in Conan the Barbarian, Savage Sword of Conan, Conan the King, and Conan the Adventurer published by Marvel and Curtis. Dark Horse would later lose the character's licensing in 2018, returning the Cimmerian hero back to Marvel. As of this writing, Titan now owns the rights.

Like Marvel, Dark Horse launched several Conan titles and gained the rights to reprint the prior Marvel issues as omnibus editions. Under the Dark Horse brand, the titles Conan (2003-2008), Conan the Cimmerian (2008-2010), Conan: Road of Kings (2010-2012), Conan the Barbarian (2012-2014), Conan the Avenger (2014-2016), and Conan the Slayer (2016-2017) were created as brand-new comics created by a variety of writers and artists. Additionally, several mini-series titles were released over the course of the 14-year Dark Horse run.

I read several of these Dark Horse books when they first appeared, but eventually switched my reading to the stuff that normally appears here at Paperback Warrior – crime-fiction, action-adventure, and westerns. 2024 marks 20 years since Dark Horse published Conan #1, so I thought I would rewind, reread, and review these titles in order, beginning with the first series, Conan. Dark Horse has conveniently placed most of their Conan issues into trade paperback and hardcover editions. My first review is Conan Volume 1: The FrostGiant’s Daughter. This book includes Conan #0 through #7 (one-half of issue #7) and it was published in 2005. You can get the book for about $25 retail.

The issues collected in the book were drawn by Canadian artist Cary Nord, who stuck around to sketch most of the title’s first 44 issues. In an interview with the book’s writer, Kurt Busiek, Nord explained that he got into Conan through the Savage Sword of Conan magazine. In describing the Hyborian Age, Nord stated, “The world of Conan is visually stunning. Conan journeys through every environment you can imagine, encounters dozens of new cultures and races of men, sexy women, fantastic villains, apes, dragons, monsters, and he kicks ass through it all!”. His artistic style draws influences from Barry Smith and Frank Frazetta, two iconic artists associated with the Conan franchise.

Boston native Kurt Busiek wrote nearly all the title’s 51 issues, drawing from his 20 years of comic experience at the time. Busiek broke into comics in 1983 by writing a back-up story in Green Lantern. If you can name the title or character, there is a good chance Busiek contributed. He has worked for Dark Horse, DC, Wildstorm, Image, Marvel, Topps, Dynamite, and Eclipse. Prior to Conan, his most praised work was the team-up with Alex Ross to pen the Marvels limited series in 1993.

Another major addition to the book is the inking by Dave Stewart. One can easily see his careful treatment of Nord’s sketches. The inking, also done with computer, doesn’t cover up Nord’s lines and allows some interesting contrasts between the gray and darker tones. Often, Stewart will leave some aspects of Nord’s art faintly inked to suggest different scenes or story tones.

Surprisingly, the book kicks off after Conan’s death. In the first issue, which was #0 "The Legend", a Prince and his servant Wazir find an underground chamber that housed King Conan’s riches, complete with a large statue of the character seated on a throne. Later, Wazir recounts to the Prince that the Nemedians kept meticulous records and displays a scroll. On it is the familiar slogan, “Know, O’Prince, that between the years with the oceans drank Atlantis and the gleaming cities…”. The scroll serves the reader by outlining the various lands and their historic tribes and people including Aquilonia and the coming of Conan the Cimmerian, black-haired, sullen-eyed, sword in hand. This page is a partial splash page with astounding art and inks. This issue ends with Wazir continuing to tell the Conan history to the Prince, which on the last panel begins with Conan at 16 years of age and venturing into the lands of the Aesir.”

The next portion begins with Conan #01 "Out of the Darksome Hills" and sets up how Conan became aligned with the Aesirs at the beginning of Robert E. Howard’s 1934 story, “The Frost-Giant’s Daughter”. Busiek is careful to gently explore the periods of time in between Howard’s stories. The writer makes it very clear in the letters section of these early issues that his focus is on the Howard stories with a complete disregard of Lin Carter and L. Spraguede Camp’s contributions (or anyone else for that matter). In “Out of the Darksome Hills”, the title page is a glorious splash of Conan decapitating a Vanirmen as he attempts to rape a young woman.

The story features the Vanirmen raiding an Aesir village, nearly burning it to the ground and slaying the women and children. The Aesir warriors are gone, so Conan, who just happens to be in the area, comes to the village’s aid in fighting off the Vanirmen. Later, Niord, the tribal leader arrives, and after Conan battles an Aesir, he invites Conan to spend the night in storytelling with booze. When Niord’s daughter Henga goes to Conan at night, Henga’s admirer Sjarl becomes secretly angry and begins to plot with another warrior on a way to betray Conan and either kill him or trade him as a slave. The following morning, a fully armored Conan joins the Aesir as they journey northward to attack the Vanirmen. Conan’s appearance here decked out in armor resembles the Barry Smith and Alfredo Alcala drawing on page 18 of Savage Sword of Conan #2. 

The book’s next section is issue #02 “The Frost Giant’s Daughter”. I won’t go into too much detail of the story, as you can read my review of Howard’s 1934 story HERE. But this comic adaptation stays very true to the original Howard story with beautiful artwork by Nord. He captures the ivory-skinned woman perfectly, with an emphasis on her eyes and the glowing sheen that captivates the weary hero. There is a gigantic splash page that introduces the two frost giants and rivals even the version from Savage Sword of Conan. I prefer the original treatment, but this is really something special between Nord and Busiek.

The events of issue two spill over into the opening pages of #03 “At the Back of the North Wind”. Like the early issues of Marvel’s Conan the Barbarian, the young Conan is wearing a horned helmet in these early Dark Horse stories. The opening pages feature a conversation between Conan and Niord that addresses the helmet. After Conan’s protective gear is broken in battle, he borrows some of the Aesir’s tools to fix the helmet. Niord scoffs at the idea and suggests Conan should just get another. The Cimmerian responds that the helmet was created by his father, a blacksmith, and then explains that his father said a man who treated his tools well would get good service from them in return. It is a really touching aspect that proves Conan is somewhat sentimental, exposing his human condition versus savage destroyer.

The next morning, Conan helps the Aesir with tracking a band of Vanirmen who have escaped pursuit eastward. Behind the scenes, Sjarl plans to ambush Conan and sell him to a slaver. The Aesir eventually catch up to the Vanirmen and begin the slaughter. However, the Vanir leader Tir offers himself up as a surrender, volunteering to be executed so his men can be enslaved instead of killed. Once the execution is complete and the prisoners are chained, all Hell breaks loose as the group of tired warriors are attacked by armored warriors wielding giant hammers (they resemble the crazed post-apocalyptic warriors of Mad Max: Fury Road). They soon overpower the group, Conan is betrayed by Sjarl, and the issue ends with the unconscious hero being drug on a sledge through the wind and snow. It’s a powerful finale that resonates with so much turmoil and iron-fisted fortitude. Yet, Conan’s downfall ultimately was a woman.

The next section is issue #04 “Gates of Paradise”, featuring a drugged Conan imprisoned in a monolithic castle. The series thus far featured a through story of Conan aspiring to reach the land of Hyperborea, a place that the hero envisions as a utopian paradise where people can live eternally in a state of bliss and pleasure. However, Hyperborea’s creature comforts are only enjoyed by the sorcerers that rule the castle, a group of ancient beings that live eternally by capturing people, drugging them, and forcefully taking their souls. Due to the centuries of living this harmonious lifestyle, the sorcerers jump from the castle’s walls to their death in a ritual called the Day of Farewell.  

Conan is rescued from his drugged stupor by a Turanian woman named Iasmini. She provides a yellow lotus plant for the hero to grind up and drink. Soon, Conan schemes a way to free himself and the prisoners by giving the plant discreetly to the prisoners. This was such a colorful part of the storyline with the inking containing brilliant shades of green, yellow, and purple to match the tone. It is a graphic narrative that just transforms the pages into something truly special. While the storylines are different, the concept of Conan co-existing in a prison of slaves reminds me of  Roy Thomas’ “Lair of the Beast-Men”, a story featured in Conan the Barbarian #2. The Thomas story has more of an Edgar RiceBurroughs feel than Robert Howard, and oddly enough Nord harnesses that ERB vibe at the end of this issue and the beginning of the next.

In the title’s fifth issue, "Ashes and Dust”, Conan looks like Tarzan with his near-nakedness and muscular physique. The start of the story even features Conan fighting four hungry lions. When the hero makes his escape from that side of the castle, Busiak takes a moment to fill the reader in with the history of Hyperborea from the viewpoint of the supreme sorcerer. Other than the history of the land, there isn’t a lot that happens in this issue. The pages end with Conan and the prisoners rebelling and taking the attack to the sorcerers and their army.

The aptly titled “Day of Farewell” closes out this trade with the title’s sixth issue. The first page is an incredible splash of Conan’s face and right shoulder as he screams, “At them, men of Asgard! At them, free warriors!”. The eyes and blood-spattered hair convey so much brutality and savageness. This is Conan! The issue is action-packed as the Cimmerian fights the Hyperborean hordes to free himself and his fellow prisoners. There is a bit of sadness when Conan discovers that Iasmini sacrificed herself to free him. Page 13 is visually incredible as Conan’s back is against the edge of the castle’s walls, suspended hundreds of feet in the air. Page 19 is equally stunning with the hero surrounded by darkness and gloom while staring at the bones and corpses of the many who have jumped from the castle. Oh, and there are giant ants that Conan begins fighting. Page 22 emphasizes a part of the story where the Northmen believe that their burned bodies rise in the air on smoke, as if climbing a stairway to the realm of the gods. This is a splash page as Conan is burning the corpses and staring upwards out of the gruesome chasm. The book ends on a bit of a cliffhanger (or cliffclimber?) as Conan begins scaling the walls to go and kill the sorcerers. This trade does go into the first 14 pages of issue #7, but I stopped here because I want to read issue 7 in its entirety. I'm OCD like that. 

Unlike Marvel’s Conan the Barbarian, which I love, I felt that Busiak sticks more to the gritty Robert E. Howard storytelling. Conan isn’t cartoonish, nor is he the Hollywood “Ah-nold”. He is a grim-faced serious character that uses a combination of sharp cunning and backbreaking strength to overcome the most challenging obstacles. If I haven’t already overstated it, Nord’s artwork is marvelous and captures the Barry Smith look and feel of Conan – the Barry Smith that had reached his own identity after being heavily influenced by Jack Kirby in the early Conan the Barbarian issues. Both Smith and Frazetta had a unique wildness that Nord captures perfectly while also doing something wholly different when combining Dave Stewart’s phenomenal inks.

I forgot how good these issues were and I’m looking forward to reading more of them. Hopefully, you are on board for the journey through the Conan comics, including Marvel and Titan. 

Buy a copy of this volume HERE.

The Adventures of Red Sonja - Volume 01

In the pulp magazine pages of Magic Carpet’s January 1934 issue readers will discover Robert E. Howard’s sword-mistress Red Sonya of Rogatine. She is the star of Howard’s short story “The Shadow of the Vulture”, described as a tall Russian warrior woman who fights with a dagger, two pistols, and a sabre. While writing for Marvel, Roy Thomas obtained a copy of the story from Glenn Lord, the literary agent for Robert E. Howard’s estate. Thomas, collaborating with artist Barry Smith, modified the story to introduce a new red-haired swordswoman, Red Sonja, in the pages of Marvel’s Conan the Barbarian #23 and #24 (1970). The rest is history.

To celebrate the early era of Red Sonja, Dynamite Entertainment acquired the rights to some of the character’s appearances in Marvel. These appearances are collected in a three-volume set titled The Adventures of Red Sonja. I borrowed a digital copy of Vol. 1, which collects the character’s appearances in Marvel Feature #1-#7, all published in 1975, plus the “Red Sonja” story from Savage Sword of Conan the Barbarian #1 (1974). Up until the Marvel Feature issues, the character had only appeared nine total times – five in Conan the Barbarian (1970), twice in The Savage Sword of Conan the Barbarian (1974), and twice in Kull and the Barbarians (1975). So, in essence, this collection feels like a terrific landing spot for new Red Sonja readers.

The collection begins with a three-page introduction written by Roy Thomas explaining how he created the character from Howard’s original “The Shadow of the Vulture” story. This intro is a great timeline of the early appearances of Red Sonja and Roy’s collaborations with artists like Neal Adams, Barry Smith, Ernie Chan (Ernue Chua), Dick Giordano, and of course, Frank Thorne. 

Roy’s commentary is followed by the eight-page story “Red Sonja”, which was originally published in Savage Sword of Conan the Barbarian #1 (1974). The original story was black and white (reprinted in color in Marvel Feature #1), and this new version is colorized by Glass House Color Design. I like all three presentations, but I find myself enjoying this new colorized version (why do I feel guilty though?). The artwork by Esteban Maroto, Neal Adams, and Ernie Chan is really something special. The story has Red Sonja on a mission to earn money working for King Ghannif in a teeming city state in Hyrkania. But the King wants to add the fiery-haired She-Devil into his harem, which backfires in a big way. Sonja is also forced into a fight with the King’s albino musclebound bodyguard. 

Marvel Feature #1 follows with Thomas using an unfinished Robert E. Howard manuscript called “The Temple of Abomination” to frame his eponymous Red Sonja story. That story, originally published in the 1974 Donald M. Grant hardcover Tigers of the Sea, featured Howard’s Conan-like hero Cormac Mac Art. But, Thomas’s version has Red Sonja in a rural stretch of Nemedia forest when she stumbles upon an abandoned temple. Inside, she frees an old man chained to the wall and battles a small army of man-goats (yes man-goats!) that are sacrificing people to a slithering monstrosity in a pit. The art was created by Dick Giordano, which according to Thomas, was a guy who loved drawing women.

Some of Red Sonja’s best presentations are through the creative hands of artist Frank Thorne. He collaborated with Bruce Jones on Marvel Feature #2 “Blood of the Hunter”, #3 “Balek Lives”, #4 "Eyes of the Gorgon”, and #5 “The Bear God Walks!”. Of these stories, I found “Eyes of the Gorgon” to be the best of the bunch. Thomas returned for #6 “Beware the Sacred Sons of Set” and that story's continuation in #7 “The Battle of the Barbarians”. This last story features Red Sonja competing with Conan and Belit on a quest to recover a page from the coveted Book of Skelos.

The major complaint this volume receives is that the last story, “The Battle of the Barbarians”, ends with a cliffhanger. The story isn’t continued in this volume because Dynamite didn’t have printing rights to Conan the Barbarian. The story was continued in Conan the Barbarian #68, published by Marvel in 1970. That story, which also featured Howard’s hero King Kull (and Brule), wrapped up the arc introduced by Thomas in Marvel Feature #6. So, it’s quite a letdown to get this far into the volume and discover it unfinished. But the second volume of The Adventures of Red Sonja features a written recap of those events.  

Overall, I’m delighted with his volume and found it a nostalgic and enjoyable romp through the ages with Red Sonja. If you are interested in more, The Adventures of Red Sonja Volume 2 features Red Sonja #1-#7 (1977) and Volume 3 features issues #8-#14. Dynamite also released a volume titled The Further Adventures of Red Sonja which features more appearances of her in later issues of The Savage Sword of Conan the Barbarian.

Buy a copy of this book HERE.

Moon of Madness, Moon of Fear!

Cleveland, Ohio native George Alec Effinger (1947-2002) won Hugo and Nebula awards for his 1988 novelette Schrodinger’s Kitten. Collectively, the science-fiction author wrote over 25 novels including four novelizations of the Planet of the Apes television series. Effinger contributed stories to magazines like Haunt of Horror and Fantastic. In the 1970s, Effinger authored comic book stories for publishers like DC and Marvel, including titles like Fantastic Four, Journey into Mystery, and Sword of Sorcery. My first experience with the writer is his story "Moon of Madness, Moon of Fear", originally published in the first issue of the short-lived Marvel Comics series Chamber of Chills (1972-1976).

The story begins in the gloomy hills of Bavaria as a young man is seen running from wolves in the forest at night. Effinger warns readers that old-wives’ tales might have a grain of truth. The story then goes back just a few hours and shows four young people preparing for a camping trip into the Bavarian wilderness. They receive a warning from an old woman that the residents live by the moon, including both man and wolf. 

Later that night, by the light of the moon, the four people come to the aid of a man found surrounded by wolves in the forest. They bring him to the light of their fire and the group band together to fend off a pack of snarling wolves that have surrounded them. But, as the first rays of sunlight pierce the sky, the young travelers meet their fate. 

The presentation is the team of Dan Adkins (Eerie, Creepy) and his assistant at the time, P. Craig Russell. This was one of Russell’s first comic jobs, as he would later go on to provide artwork for titles like Robin, Batman, Justice League, and Sandman. The book’s cover was penciled by Gil Kane. 

This was neat story with a unique twist on the werewolf formula. The traditional horror concept of a full moon transforming human to wolf is skillfully used by Effinger. The writing is short and to the point, with a careful emphasis on folklore underlined in a form of truth. An entertaining story plus terrific visuals makes this an easy recommendation for spooky 1970s comic book fans.