Marvel Comics has announced the release of a new omnibus edition of their Conan the Barbarian series for release in 2019 well ahead of their expected new Conan series. This special release – set to be available in January 2019 – will include Conan the Barbarian #1-26, Savage Tales #1 and #4, Chamber of Darkness #4 and Conan Classic #1-10.
This new edition has once again been digitally re-mastered, but the inks and colors appear to be much closer to what perhaps the artists’ intended and is much different from the re-inking and re-coloring completed in the Conan: The Barry Windsor-Smith Archive Collection from Dark Horse Comics.
The new coloring (left) in Marvel’s Omnibus versus the Dark Horse BWS archive.
As we roll into the 13th week of our Classic Conan Countdown here at Paint Monk’s Library, we’ve covered reviews of all Conan’s “early” issues featuring the outstanding pencils of the legendary Barry Windsor-Smith. Months ago, I reached out to Mr. Windsor-Smith in the hopes he’d be kind enough to answer some questions for this humble blogger, allowing me to pay tribute to his time on the series as we rolled into the long run of John Buscema’s artwork on the Cimmerian.
Preparing just a few questions for the artist, I was excited! Will Mr. Windsor-Smith be a part of the Conan re-launch at Marvel? Is there a chance that the bullpen at the House of Ideas would do whatever it takes to bring a legend back to their creative fold? The answer, it seems, is a resounding “no”.
WALLY MONK
Did you have any idea at the time that the series on which you were working (Conan) would span 275 issues? And did you think you would be considered a “legacy artist” based on your Conan work alone? You have worked on many other fantastic projects, but your Conan artwork is a landmark for many fans.
BARRY WINDSOR-SMITH
“Conan the Barbarian was on shaky ground for the first year so I wouldn’t have guessed it would have such longevity. Although I enjoyed several of Robert E. Howard’s books and I was thoroughly involved in each story I created or co-created I wasn’t deeply invested in the REH mythology nor its place in Marvel Comics’ publishing history. Because Conan was not part of the Marvel Universe there was a greater freedom to pursue his character and his world. My involvement was more of a personal nature than any superhero book I created.
To be honest with you, I’ve got no idea what ‘legacy artist’ means. Who came up with this term and for what purpose? Is John Buscema also a ‘legacy artist?’ Or is he the main ‘legacy artist’ with I being the runner up?”
WALLY MONK
In an early interview (Comics Journal, I believe) you mention you were not particularly happy with your work on Conan. I don’t mean to re-hash things you’ve already spoken of, but would you share with our readers “why” you felt Conan was a let-down for you in some ways?
BARRY WINDSOR-SMITH
“I can’t recall the interview you’re referencing. I toiled passionately on the stories and art of those early issues. In fact, I worked so hard that I barely had a social life. I couldn’t afford to eat out and I had to make do with pizza and fish out of tins. I wasn’t paid nearly enough for my commitment to the work and I wasn’t credited or paid for my stories or dialogue.”
WALLY MONK
Had you remained onboard with Marvel, did you have any specific ideas for things you would have liked to do with Conan? And what parts of your work on Conan were satisfying? What was the favorite story on which you worked?
Art from Conan the Barbarian #4, which Barry Windsor-Smith considered a turning point for his work.
BARRY WINDSOR-SMITH
“I had many ideas and plans for directions I wanted Conan the Barbarian to go but c’est la vie. ‘The Tower of the Elephant’ story was a turning point for me, a milestone in the evolution of my storytelling. I dreamed most of the scenes before I composed them. The next day, I did my best to draw the pages as I had envisioned them the night before in my sleep. I created most of the adaptation that way. It was a practically mystical experience.”
WALLY MONK
The reprints of your work – such as the Barry Windsor-Smith Conan Archives by Dark Horse – are of high quality, but the newer inking style sometimes dilutes the fine lined artwork you worked so hard to see published. If a reader was to look for a “collection” of your work that you are comfortable with, what would that be?
BARRY WINDSOR-SMITH
“The re-coloring of the Dark Horse reprints was abominable and reprehensible. The only choice to see the comics as they were intended to be is to purchase the actual editions from the 1970s. That or the Conan Saga reprints in black and white.”
WALLY MONK
This is a long shot, but as you know, Marvel will be getting the Conan license back in 2019. Is there a chance we might see you re-visit the Cimmerian? Or would you have any interest in doing so?
BARRY WINDSOR-SMITH
“No. I won’t touch Conan again. That bird has flown.”
* * *
I’ve taken Mr. Windsor-Smith’s suggestion and so far have collected issues #1-7 of Conan the Barbarian, with the premiere issue sitting at CBCS while I type this article (UPDATE: It came back as a 4.5 and I’ve since purchased the first Marvel Omnibus which collects BWS entire run.)
BWS does not seem a very friendly chap,judging by this interview alone. Such a talent though, I do wish he would reconsider, and make a return to the character.
He was kind enough to answer my interview questions. I don't know how much of this is a reflection on BWS, as his responses I would imagine are based on the way Marvel treated him during his time on Conan. Even Roy Thomas acknowledged in an interview years ago that he wouldn't disclose "how little" BWS was paid as it would be an "embarrassment" to Marvel.
I think that Goodman had Barry paid a lower than standard page rate because they had to remit some negligible amount to the REH estate every month for the license… or so I've heard. That was the devil's bargain to bring CTB to Marvel.
Totally agree, Mike. I certainly hope that at some point Mr. Windsor-Smith gets his due for the quality work he produced. He certainly does deserve many accolades.
Conan: The Podcast (Episode 2)
Conan: The Podcast (Episode I)
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BWS does not seem a very friendly chap,judging by this interview alone.
Such a talent though, I do wish he would reconsider, and make a return to the character.
He was kind enough to answer my interview questions. I don't know how much of this is a reflection on BWS, as his responses I would imagine are based on the way Marvel treated him during his time on Conan. Even Roy Thomas acknowledged in an interview years ago that he wouldn't disclose "how little" BWS was paid as it would be an "embarrassment" to Marvel.
I think you'll find he's been screwed by both Marvel and Dark Horse, hence his terse responses.
I think that Goodman had Barry paid a lower than standard page rate because they had to remit some negligible amount to the REH estate every month for the license… or so I've heard. That was the devil's bargain to bring CTB to Marvel.
You're absolutely right, Drake. I talked that about that in our first installment of "Countdown to Conan" which you can find here:
https://paintmonk.blogspot.com/2018/04/of-aesir-and-vanir-conan-king-star-stone.html
Wow. It was very nice of BWS to take the time to answer some questions for you. Cool guy.
Totally agree, Mike. I certainly hope that at some point Mr. Windsor-Smith gets his due for the quality work he produced. He certainly does deserve many accolades.