Conan - Lord of the Mount

British publisher Titan Books began licensing Robert E. Howard's Conan character from Heroic Signatures in 2022. The publisher has been very active in printing a new series of Conan the Barbarian comics and The Savage Sword of Conan magazine. In addition, the publisher has thrust the character into novels and novellas like S.M. Stirling's Blood of the Serpent. In 2023 the publisher launched a series of ebook short stories dedicated to Conan and other characters like Solomon Kane and Belit titled Heroic Legends. The first of the stories was Conan: Lord of the Mount, published in September 2023 as an ebook and authored by Stephen Graham Jones (Night of the Mannequins, I Was a Teenage Slasher).

In this 23-page story, Conan awakens as a cow is licking his face. He has no clear memory of what has happened to him other than he was engaged in battle with the Two Kings' army. A cattle farmer named Jen Ro is nearby and he explains that he thought Conan was another sacrifice to something called Lord of the Mount. Jen Ro then uses some sort of magical black lotus to cut a piece of steak from a live cow. Weird. Just weird.

Jen Ro advises Conan that if he will ride with him and the cattle through a mountain pass then he will bring him to the fabled village of Trinnecerl where “your cup will never run dry”. The catch is that Conan will kill this aggravating creature deemed Lord of the Mount. 

The duo venture through the pass and Conan fights the creature(s). He learns that Jen Ro had a reason for leading him to the creature and the reader is left with this very forgettable story. 

Needless to say, this may be one of the worst Conan stories I've read this far. It was shocking to me considering that Stephen Graham Jones, a quality writer, wrote this kind of uninspired drivel. While I've read some mixed reviews of these new Titan shorts, I had no idea that it would be this underwhelming. Or, how someone like Jones became involved in this. He clearly has no understanding of the Conan character. An example would be in this scene when the creature claws Conan's stomach: “Conan screamed, rolled away, and when he came down it was to nearly impale himself on the faint purple horns of a long-dead cow or bull.” Two words - “Conan screamed”. That doesn't happen. 

Conan's dialogue and mannerisms fail to match what fans have come to expect from the mighty Cimmerian. Granted, every author has a unique perspective on the characteristics and traits, but they should still have a uniform scope to preserve the integrity of the character and series. Despite the identification issues, the story just isn't that interesting. 

Conan: Lord of the Mount is nothing short of abysmal. Even at the $2 price point it isn't worth the pixels it possesses.

Conan - Savage Sword of Conan #01 (Titan)

Robert E. Howard's Conan licensing is a moving target in the comics industry. Many associate the character with Marvel based on the success of the 1970s Conan the Barbarian comic and the Savage Sword of Conan magazine. However, the character was a dominant force when Dark Horse comics purchased the license, only to lose it to Marvel decades later. Recently, the entertainment studio company Heroic Signatures purchased the licensing and offers their IP to anyone with a thick wallet – like British publisher Titan Comics.

Titan began publishing their series, Conan the Barbarian, in August of 2023 through a licensing agreement with Heroic Signatures. In February, 2024, the inevitable The Savage Sword of Conan black and white magazine was published. Like any respectable Conan fan, I bought two copies of the first issue in hopes that I can wallpaper my future grandchildren's home in thousand-dollar bills. I hope to review more modern Conan publications so I thought I would begin here with the first issue of The Savage Sword of Conan by Titan Comics. 

My issue features the cover created by Joe Jusko, an astounding artist that painted Conan the Barbarian trading cards in the 1990s. In other Conan-related works, he provided interior illustrations for the Conan: Adventures in an Age Undreamed RPG and Dynamite's Red Sonja. The other Jusko cover associated with this issue is the FOC cover which is the full panel with no fonts or title. The cover is also featured in black and white in the inside to accompany a Conan short-story titled "Sacrifice in the Sand" by Jim Zub, which was inspired by Jusko's art. 

Roberto De La Torre is an important artist in modern Conan. De La Torre was an active contributor on the Conan the Barbarian (2019-2021), King Conan (2021-2022), and Conan: Exodus and Other Tales (2021) titles that were all published by Marvel. I really enjoy his artwork and his amazing Conan pin-up is on page three. Additionally, Rebeca Puebla (007: King and Country, Bettie Page) provides a pin-up of Belit on page six. Fans of the 1970s Conan the Barbarian comic will enjoy artist Howard Chaykin's pin-up of Solomon Kane on page 77.

As you open the magazine, the first thing that really stands out is a personal introduction by Conan royalty, Roy Thomas. He provides a brief history of Conan in the comics and the pains and triumphs of the character in print. Thomas also adds that he was invited by Titan to write more Conan stories for this magazine – an offer he is apparently taking them up on.

The issue's main story is "Conan & The Dragon Horde". It was written by John Arcudi, a veteran comic storyteller that wrote in Savage Sword of Conan issues #150-152, 158, 165, 182 and also penned stories for Savage Tales. Arcudi is a dynamic, all-around author that has contributed to hundreds of comic titles since 1986. The story's art was created by Max Von Fafner. He created the cover for Conan the Barbarian #3 (2023), Conan: Battle of the Black Stone #2 (2024), and a variant cover for this Savage Sword of Conan issue. 

In the story, Conan is serving as a general in a Hyrkanian cavalry division headed to a large fortress in the Hyrkania desert. Conan is leading a band of soldiers, bandits, and mercenaries that are assisting an ousted prince in returning to the fortress to seize a lucrative treasure hold. There are twin soldiers serving the prince (who totes around two lions) that immediately piss Conan off when they insult a Turanian woman, Ineah, serving as a weapons engineer. 

Soon, Conan beds down Ineah and Von Fafner leaves nothing to the imagination. She is gorgeous. But, she proves to be a capable fighter and a brilliant mastermind in terms of weapon placement and use. The bizarre part of the story is when a dinosaur – yes a dinosaur – breaks from the fortress and attacks Conan's men. Thankfully, Ineah saves the day with her ballista. 

When Conan and company make camp outside of the fortress, they are surprised that no one from within the compound has bothered to attack them. As the days continue with no activity, Conan uses his thief background to climb into the city to determine what is actually happening there. 

I felt that the story was just okay. The artwork leads the way, as usual, and Conan's mannerisms and leadership is par for the course. There's nothing to dislike about Arcudi's writing, but it didn't wow me like a traditional first issue's lead story should. 

The aforementioned “Sacrifice in the Sand” short story by Jim Zub followed. Honestly, I just skipped it to jump into the Solomon Kane story, “Master of the Hunt”. This is the first of a promised trilogy of stories that places Kane on the hunt for a monster terrorizing a village. The story and art is by Patrick Zircher, a veteran that has worked on numerous Marvel and DC titles like Action Comics, Detective Comics, Superman, Captain America, Avengers, and Iron Man just to name a few. I love Solomon Kane so I was anxious to see what he could do with the character.

The story is set in Glamorgan, Wales on All Hallow's Eve. A blind man drinking ale in a bar explains that this night is when the gateways between worlds is very thin. Outside the tavern, readers are treated to small panels showing some sort of monster attacking and killing sheep. The next day Kane arrives and sees the monster's tracks. He chances upon a woman and her son living in a small farmhouse. The woman explains that her husband has embarked on the “great hunt” with other villagers in search of the monster.

I can't give too much away here due to spoilers, but this was a well-written, fast-paced narrative that excellently “got” REH's Kane character. There are scenes of Kane praying as well as dialogue emphasizing Kane's commitment to God to rid the world of evil. Although the twist ending could be seen a mile away, it didn't detract me from the story and art. The promised sequel should take the characters and monster in a new direction and I'm looking forward to that. 

More Solomon Kane is included at the end with an excellent essay penned by Jeffrey Shanks explaining the character's publication history and failure to equal the popularity of Kull and Conan. 

Overall, The Savage Sword of Conan #1 was pretty good. There's nothing to complain about, but at this point there is just so many Conan comics, books, collections, ebooks, and stories being published that the market is completely saturated. You could read nothing but Conan your entire life and never get through it all. With that being said, my failure to be overly stimulated by this new version of Savage Sword can partly be blamed on too much too fast. I have the same issue with Batman. It's an embarrassment of riches available to anyone anytime.

Get this issue plus the following two issues HERE.

The Last Celt: A Bio-Bibliography of Robert E. Howard

Glenn Lord (1931-2011) became a literary agent for the Robert E. Howard estate in 1965, a role he served in for over 25 years. Lord was instrumental in the resurgence of Howard's work in the late 1960s and early 1970s. Lord was able to amass hundreds of unpublished stories and poems and provided the source material for the author's contents to appear in media from 1965-1997. In 1976, Lord edited and compiled a 400-page reference book titled The Last Celt: A Bio-Bibliography of Robert E. Howard. Reviewing non-fiction and reference materials isn't really our style, so the below "review" is a loose description of the book's contents and why you should track it down.

The book's introduction is an informative and touching essay by E. Hoffmann Price, one of the only Howard contemporaries to have met the man. In this 16-page article, Price commends Howard as a natural storyteller and cites the author as one of his early influences. He also recalls meeting the author at his home in Cross Plains, TX. Following this introduction is a four-page Foreword from Lord outlining some of his references while explaining that The Last Celt is the outgrowth of 15 years of collecting "Howardiana".

"The Wandering Years" is a short autobiography that Howard began writing not long before his death. In this piece, Howard documents his family's history back to 1724. He documents his ancestors in North Carolina and Pennsylvania. He writes about his grandparents and parents. This is very minor stuff in the grand scheme of things. This is followed by the short half-page "An Autobiography", which Howard wrote while attending high school. 

In 1930, Howard chronicled a few events in history in a piece named "A Touch of Trivia". In it Howard writes about WWI, Jack Dempsey, the American Revolutionary War, and the great Potato Famine of 1842. 

Next is a letter written circa 1931 to Weird Tales editor Farnsworth Wright. The letter was never published and gathers more autobiographical contents from Howard. In it he recalls selling Wright his first story, "Spear and Fang", when he was just 18 years of age. The next section, titled "On Reading - And Writing" is another historical piece in which Howard applauds and criticizes literary works. The moral to the story is that Howard admits he would rather read Zane Grey the rest of his life than to read the popular American writers like F. Scott Fitzgerald, George Jean Nathan, Mike Gold, and Floyd Dell. He also doesn't care much for French works. The final portion of this section is a collection of various letters written to a variety of correspondents. 

Alvin Earl Perry, a legendary fantasy fan and fellow Texan, offers up "A Biographical Sketch of Robert E. Howard". There are some arguments on whether Perry and Howard communicated, but this is a great two-pager describing the author, various payments he received, and that Howard loved Jack London's work. 

H.P. Lovecraft's "Robert Ervin Howard: A Memoriam" has been popularized and reprinted numerous times and it is included here. Lovecraft and Howard communicated through numerous letters, some now lost in the annals of time. This is a moving eulogy that describes Howard's stories and writing style. There is clearly a real admiration on display and Lovecraft captures that beautifully. 

The highlight of the book is Glenn Lord's "Lone Star Fictioneer", a detailed history and account of Howard's literary work and life beginning in 1906 through his tragic suicide in 1936. Howard's education, family life, work history, and early influences are all meticulously analyzed. The insight on his industry sales and receipts of payment was really compelling. I love the peek behind the typewriter to see what his stories sold for. 

"A Memory of R.E. Howard" is another piece written by E. Hoffmann Price, this one documenting his own writing history and correspondence with Howard through the years. The famed meeting between Price and Howard is described in detail and remains as fascinating today as it did then. It's as if Stephen King paid a visit to Clive Barker's house (which maybe he has and I just didn't know it). I love the reference to Howard's characters as a sort of rebuilding of his boyhood. Price speculates that some of the bravado and overcorrection on certain characters may have been a result of the men of Cross Plains belittling him for not having a "real" job. 

Harold Preece's "The Last Celt" is a written connection between Howard's writing and his interest in Celtica. He describes various conversations he had with Howard, both oral and written, as intellectual, passionate conversations about Celtica. 

The rest of the book serves as a massive bibliography detailing stories both published and unpublished as well as listings of poetry. There is also an index by character and the collections that existed upon the time of this book's publication. Whether this bibliography is still useful for Howard fans 50 years later is in the eye of the beholder. I still find some interesting tidbits gathered here and the story listings is really helpful. The bibliography finishes out with unfinished Howard books and stories, Conan pastiches, comics, and any other Howard related piece of literature. 

The last section of the book are photos of various letters, manuscripts, and a lot of the pulp magazine covers that published Howard stories. 

So, the question is do you really need this hardcover book? Yeah, I think so. It is a handy reference book that still connects in so many ways to the spirit, talent, and personality of one of the greatest pulp writers of all-time. There is enough information here to warrant a spot on your bookshelf. Recommended. Get it HERE

Wolfshead

If I may take some liberties here, I'm introducing my review of Robert E. Howard's horror tale “Wolfshead” with a fun tidbit of how this story became published. I'm summarizing pages 76-77 of The Last Celt: Bio-Bibliography of Robert E. Howard, specifically the chapter “Lone Star Fictioneer” by the book's editor Glenn Lord.

After Howard's first two published stories, “Spear and Fang” (Weird Tales, July 1925) and “In the Forest of Villefere” (Weird Tales, Aug 1925), Howard went to work writing “Wolfshead” (a sequel to "In the Forest..."), a supernatural narrative featuring a werewolf terrorizing an assortment of characters in a castle. Weird Tales accepted the story and paid Howard $40. The plan was for “Wolfshead” to be the lead cover story for the April 1926 issue. While artist E.M. Stevenson was completing the cover art, he discovered that he had either misplaced the story or simply lost it. Weird Tales editor Farnsworth Wright contacted Howard and asked him to mail a carbon copy of the story as a replacement. Unfortunately, Howard never made one so he had to re-write the story from memory. Eventually the original manuscript was found prior to publication and Wright paid Howard an additional $10 due to the mistake.

That is a goofy way to begin my review of “Wolfshead”, but on that introduction you have learned that “Wolfshead” was the lead story for the April 1926 issue of Weird Tales and it was only the author's third story to be published (outside of his local school paper). And...what a story it is!

In first-person narration, an unnamed individual is explaining to a group of soldiers that despite their adventures on wind-lashed seas they have never experienced “hair-raising, horror-crawling fear”. To demonstrate that the narrator has seen terror first-hand, he recounts a time that he was invited to a castle.

Dom Vicente sends an invitation for the narrator to join him and a gathering of guests to a vacation on the African coast. Here, Vicente had cleared the jungle and built a huge castle, complete with storehouses and a nearby village of slaves and workforce. The narrator accepts the invitation and joins the guests at the castle for a few days of flirting and drinking. With his Spanish friend de Seville, the narrator explains that upon first impression he dislikes a man named De Montour. He feels that the man isn't trust worthy and may have a hidden agenda of some kind.

That night, De Montour enters the narrator's bedroom and kindly warns him to lock his bedroom door at night. Things are apparently amiss in the castle. The next morning the narrator and guests learn that a villager was ripped to shreds by some sort of animal. Suspicions are aroused when a guest is attacked in the house. The narrator places his bets that De Montour isn't all that he appears to be. As the narrative continues, the killer is revealed with a backstory on lycanthropy.

While some may disagree, “Wolfshead” is an entertaining, fleshed-out tale that captures the imagery and imaginations of several genres – horror, swashbuckling, action-adventure, locked-room mystery, and even fantasy (to a minor degree). The suspect is pretty easy to pinpoint but the fun is just getting to the reveal and explanation of the attacks. While there is an isolation among the prey, the castle halls are still frenzied with accusations and suspicions. When the reveal is made, the story makes an advancement into sword-fighting and minor military campaign. Overall, just a versatile story that should appeal to readers in the broadest of terms. I didn't read "In the Forest of Villefere", but I feel like the events in that story were relayed here. 

Roy Thomas penned a 1999 comic adaptation of this story for Cross Plains Comics. Kull the Conqueror #8 (May 1973) features an adaptation of the story with Kull inserted as the main character. I'd be remiss if I didn't mention that the werewolf horror film series Howling used this story as an obvious blueprint for the fifth installment, Howling V: The Rebirth (written by Clive Turner), which is a fantastic film and a real highlight of that otherwise sub-par series.

You can get the Lancer paperback collection, which includes and is titled after this story, HERE

Red Shadows

Robert E. Howard's “Red Shadows” story featured Puritan hero Solomon Kane. Howard had initially pitched the story to Argosy but was met with a rejection. Weird Tales paid the author $80 for the story and published it in the August, 1928 issue of Weird Tales (Vol. 12 No. 2, interior art by Hugh Rankin). At this link HERE you can read letters that Howard wrote about the submission and rejection from Argosy and how he originally wrote the subject matter for the Weird Tales audience. It is an interesting read.

Howard's story begins in the mountains of France and ends in an African jungle. Unlike some of the earlier Kane stories I've read, “Red Shadows” is a bit longer and has an extensive feel. It isn't confined to a lone road through a foggy moor or crammed into a stuffy beer-swilling inn. As previously mentioned, the narrative begins with Kane in a French forest discovering a village in ruin. A dying girl explains to Kane that a man named Le Loup (meaning The Wolf) led marauders into the village and they “robbed, slew, and burned” everyone. In her dying breath she describes Le Loup as the Wolf that stabbed her. As she lay dying in Kane's arms he swears he will kill them all. 

Later, the scene shifts to Le Loup discussing the dwindling numbers in his ranks due to Kane systematically killing each member. The men describe Kane as looking like Satan. When Le Loup's remaining party enter a cave to steal treasure, Kane is there waiting in the darkness. He kills nearly everyone, but is foiled by Le Loup when the villainous leader escapes into a nearby tunnel. Kane can hear Le Loup laughing as he makes his escape. His freedom will be short-lived. 

The story changes scenery from France to African jungles when Kane, who has tracked Le Loup, leaves a ship on the shore and embarks into the dense foliage. He meets an African shaman named N'Longa in a violent way and is later captured by a stealthy Le Loup. He ties both Kane and N'Longa to a stake and prepares to have them burned. Yet, N'Longa has a magical ability to leave his body and take over the bodies of both the dead and the living. This ability plays a huge part in the story's epic finale involving a savage avenging ape, a fight to the death with Le Loup, and a reanimated corpse. 

Needless to say there is a lot to unpack here. The story borders on horror with the jungle terrors and the astral projection (?) of N'Longa's spirit. It also had a "Wolves Beyond the Border” vibe, an unfinished story that Howard penned featuring Conan and bizarre rituals along the Pictish border. The ape frenzy conjures Kipling and Burroughs, but that's not to say “Red Shadows” lacks identity. This is a fantastic story with a touch of vigilante justice and a solid reinforcement that Solomon Kane is a noble fighting-man (if anyone ever doubted). I like the injection of human compassion, which is consistently a trait Kane possesses in Howard's pages. 

What's really interesting about Howard's story is that the heroism remains intact with the star, but the performance is shifted to N'Longa to save the day. This is the first appearance of N'Longa and he will return again in “Hills of the Dead”, a 1930 story that was published in Weird Tales. N'Longa provides Kane a magical juju staff in that story, something that becomes iconic in visual imagery of Kane holding the wooden Staff of Solomon.

“Red Shadows” was reprinted in the collection Red Shadows by Donald M. Grant in 1928 (red binding) and 1971 (gray binding). It was also featured in numerous collections including the Solomon Kane paperback (Baen 1995) and the Savage Tales of Solomon Kane (Del Rey 2004). The comic adaptation appears in Marvel Premier #33-34 (1976/1977), a six-issue Marvel series called The Sword of Solomon Kane (1985), and a four-issue series from Dark Horse (2011) simply called Solomon Kane Red Shadows. 

Solomon Kane - The Right Hand of Doom

Robert E. Howard's 16th century Puritan hero Solomon Kane made his first appearance in the August, 1928 issue of Weird Tales. The stories that feature the character are a good mix of sword-and-sorcery and horror, and I really enjoyed my first experience with the character in “Skulls in the Stars". I went back to the foggy moors and terrifying towns for another Solomon Kane story, “The Right Hand of Doom”. The story was never published in Howard's lifetime having been rejected by Weird Tales. The first publication was in the book Red Shadows (Grant 1968). It has appeared numerous times over the years. My version is in the Baen collection titled Solomon Kane from 1995. It has a Ken Kelly cover and an introduction by horror author Ramsey Campbell. 

This story seems to take place before “Skulls in the Stars”, although chronology doesn't matter in any of these. In that story, Kane is deciding which road to take to Torkertown and then proceeds to a haunted path. In “The Right Hand of Doom”, Kane is staying overnight in an English inn at least a day's ride from Torkertown. It's in this inn's bar that Kane has an interaction with a loud-mouthed traitor.

A man named John Redly prances into the inn and declares that a necromancer will be executed by hanging. Kane already knows about the relationship between the necromancer and Redly. After Redly boasts about the necromancer's capture, and hints that he was paid for helping with the capture, Kane is quick to scold the man. He tells Redly that the necromancer surely was worthy of death, but that the necromancer trusted Redly as a friend and that friendship was broken for a few filthy coins. He goes on to say he thinks Redly and the necromancer will meet in Hell some day. Strong words.

Kane goes to bed, but his sleep is disturbed when he hears a scampering outside as if something is crawling up the wall. He grabs his rapier (sword) and goes into the next room where Redly is sleeping. Kane is shocked to see a large spider making its way to Redly's throat, eventually crushing the man's neck in one fatal squeeze. On further inspection, he discovers it is a human hand! Kane thrusts his rapier through the hand and proceeds to toss it into the fire off-page. 

The next morning Kane interviews a young man to determine what the necromancer's experiences were in jail and if anything peculiar happened. The man says that the necromancer's last wish was to have his hand cut off. I won't ruin the surprise for you, but you get where this is going. 

This story reminded me of another Robert E. Howard work called “Mistress of Death”, which was later adapted into a Conan comic called “Curse of the Undead-Man” in Savage Sword of Conan #1. In that story, a sorcerer is publicly executed but his severed finger becomes reanimated and finds its way back to the dead sorcerer. Both the finger in that story and the hand in this one feature a magic ring. It also reminds me of the 1981 Michael Caine film The Hand. 

While Solomon Kane isn't prominent in this short horror story, I still found “The Right Hand of Doom” enjoyable. The dialogue between Kane and Redly at the beginning of the story is well worth the price of admission. Kane's cool and perceptive eyes just ooze off the page and resonate like a veteran gunslinger staring down a boastful cardsharp. The condemnation he heaps on Redly is cold-blooded brilliance. I absolutely love these Kane stories and I'm finding this character to be one of my favorites of the Howard bibliography. 

Get a copy of a Solomon Kane omnibus HERE.

Conan - 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

The Dead Remember

The August, 1936 issue of Argosy featured a horror western short-story titled “The Dead Remember”. The author was Robert E. Howard, a veteran of both westerns and horror stories. Howard was closely linked with Weird Tales along side his contemporaries in H.P. Lovecraft and Clark Ashton Smith. He made $17.50 for the submission. Since then, the story has circulated in collections like Horror Times Ten (Berkley 1967), Pigeons from Hell (Ace 1979), and The Horror Stories of Robert E. Howard (Del Rey 2008). My version is in a paperback called Trails in Darkness, originally published in June 1996 by Baen. 

This 12-page story features a rough 'n ready cowhand named Jim Gordon. One night he visits an acquaintance, an African-American man named Joel and his wife Jezebel. Joel and Jim begin shooting craps and drinking tequila and Joel takes all of Jim's money. The obligatory accusation of cheating arises and Jim fatally shoots Joel twice in the belly. Jezebel runs out and attempts to fire an old musket, but it misfires and Jim fatally shoots Jezebel in the chest. In her dying words, she screams this curse at Jim:

“You've killed Joel and you've killed me, but by God, you won't live to brag about it. I curse you by the big snake and the black swamp and the white cock. Before this day rolls around again you'll be branding the devil's cows in Hell. You'll see, I'll come to you when the time's ripe and ready.”

It is these chilling final words that haunt Jim. Soon he becomes paranoid and begins having accidents that nearly kill him. In the story's finale, there is a hint of a supernatural entity that comes for him. Whether it was or wasn't is in the eye of the beholder. I'd like to think it was supernatural. 

These types of “curse you” horror stories are a dime-a-dozen, but Howard sure had a knack for reeling the reader into the macabre. What makes this story interesting is the fact that it is presented in a series of letters by the various characters that interact with Jim through the story. These are all presented in a detailed way that doesn't reveal everything at once. As the letters are presented from different points of view, it is up to the reader to ascertain what is really happening. 

If you like your horror westerns then don't let this one slip your memory. After all, the dead remember. 

Buy a copy of this book HERE

Sea Curse

Robert E. Howard earned $17 when he sold his story “Sea Curse” to Weird Tales. The magazine published the story in the May 1928 (Vol. 11 Number 5) issue with a Curtis C. Senf cover. This selection falls into the category of Howard's horror/weird stories and has been featured in dozens of publications over the past 94 years including Marchers of Vahalla (Sphere 1977), The Howard Collector (Ace 1979), and Shadow Kingdoms (Wildside 2004). My reading of the story is from a paperback titled Eons of the Night, published by Baen in 1996 with a Ken Kelly cover.

“Sea Curse” is set in the small coastal village called Faring. Howard used this same town for his stories “Restless Waters” (pub 1969, aka “The Horror at the Window”), “Out of the Deep” (pub. 1967), and his poem “A Legend of Faring Town” (pub 1975). Don't be thrown off by the impression that these stories are somehow connected. They aren't. The characters are specific to just the story and never spill into the other tales.

The story begins as readers learn of old Moll Farrell, a rumored witch that has very little to say to anyone, minds her own business, and makes a living from gathering clams and driftwood while raising her young niece. This is a fishing town, which brings lots of weathered sailors in and out of the harbor. Unfortunately, two of the very worst hang around Faring – John Kulrek and his pal Lie-lip Canool. Off-page, Kulrek rapes and kills Moll's niece, casting her broken little body into the raging sea. 

After a few days, the young girl drifts to shore, cold and lifeless. Word quickly makes it to the village and they all run to the coastline. Standing over the dead girl, a drunken Kulrek raises his drink and says, “A health to the wench's ghost!”. Immediately, Moll Farrell screams a curse on Kulrek with the main point being addressed to Canool:

“You shall be the death of John Kulrek and he shall be the death or you! You shall bring John Kulrek to the doors of Hell and John Kulrek shall bring you to the gallows-tree! I set the seal of death upon your brow, John Kulrek! You shall live in terror and die in horror far out upon the cold grey sea!”

Kulrek and his small crew set sail at dawn on a long voyage. Months later, Canool arrives in town and tells the village that Kulrek deserted ship in Sumatra after a fight with the skipper. 

Later, the narrator of the story, a “harum-scarum” lad (no name provided) and his friend Joe are out in the water in a thick white fog. They hear the sounds of a large boat, but can't make out the direction. They spend hours drifting through the fog honing in on the sound of the oars. They finally locate a gloomy rotten galley and climb aboard the rickety planks. I won't ruin the surprise for you, but they discover a horrifying sight that ties into Kulrek's desertion and departure from Canool. Moll Farrell's curse comes to fruition in a terrifying climax.

I can't say enough great things about this Robert E. Howard horror story. While the idea of a curse being wielded to avenge the loss of a loved one or friend is overused in these types of stories, the format works perfectly for this eerie tale. Howard's writing is so descriptive with the veiled sea, grey fogs, and the shivering end of the wharf. I love the way he presents the story's most emotional and moving aspect, the grisly discovery of the young girl. He does it in such a smooth, elegant way that hits like a fist on a hollow coffin:

“All the while beyond the shoals, we heard the never-ceasing droning of the heaving, restless grey monster, and in the dim light of the ghostly dawn Moll Farrell's girl came home. The tides bore her gently across the wet sands and laid her almost at her own door. Virgin-white she was, and her arms folded across her still bosom; calm was her face, and the gray tides sighed about her slender limbs.”

That is just such a powerful description that contrasts with the loud-mouthed drunken rage of the girl's killer. As Moll Farrell screams the curse, Howard digs in deep with rage and despair clashing with insults and warnings for the two sailors. It's nothing short of brilliant. 

If you love nautical stories, then you'll be seduced by the coastal atmosphere of Faring and the chill of this ghostly seaside tale. Highest possible recommendation. 

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.