(EDITOR’S NOTE: Welcome to The Classic Conan Countdown, a series of reviews focusing on the original 275 issues of Marvel Comics’ Conan the Barbarian, which were published from 1970 to 1993. This is a review of Conan the Barbarian Vol. 1, #104.)

By WALLY MONK – Paint Monk’s Library Editor

Of all the Conan stories Roy Thomas adapted during his long run on the title, Conan the Barbarian #104 sticks very closely to the source material. But I am convinced that Marvel today would not publish this particular comic book as it was drawn or written. You’ll see what I mean in the actual review. 

During Howard’s time, society looked at many things differently, and Howard’s blatant (and often caustic) observations about race and women were things that wouldn’t make it past editors today, and rightfully so. But we must be careful to remember that Conan’s world is a place in which the social niceties and patterns of respect established today do not exist.

The original story “Vale of the Lost Women” first saw print in The Magazine of Horror in Spring 1967 and was reprinted later that year in Conan of Cimmeria, by Lancer Books. 

Howard’s original story, though printed for the first time long after his death, is considered to be part of Conan’s history and continuity. It involves a bargain that Conan will save a woman from her captors in exchange for intimate favors, something I’m surprised the Comics Code Authority didn’t scream about, given that this story was published in 1979. 

Roy Thomas tones down some of the darker implications of the story; which, again, I’ll touch on during the capsule review. The cover, by Ernie Chan and Danni Crespi, is perhaps my favorite of the entire series. I’ve actually been looking to acquire the original art of this particular cover since my early twenties. 

Review: Conan the Barbarian (Vol. 1) #104

Livia, a captive from Ophir, lies nervously on her bed, listening to members of the dark-skinned Bakalah tribe dance around their campfire. She is brought food by a Kushite woman, who gives the  Ophirian an evil look. “Are they coming for me now?” Livia asks, to which she receives no response.

On the next page, we see the bloated and overweight king of the Bakalans, Bajujah, eating food on his throne. He is a loathsome sight to look upon (according to Thomas’ description) and in theory, not much of a king. For some reason, these people serve him out of fear…or something. I’m not exactly certain. 

Conan and his Bamula tribesemen march into the Bakalan village and everything stops for a moment, but soon the two tribes are feasting together, as an alliance – or at least a temporary peace – has been struck. Livia, who has been watching from a distance, notices that Conan is different from her captors and perhaps she can elicit some help from him. 

Conan, the Bamulans and the Bakalans all have a feast together, rife with food and lots of drink. As the chieftain begins drooling on himself and passing out (as depicted in the artwork), Conan makes his way to a hut – escorted by Bakalan soldiers – where he will be spending the evening.

Livia sneaks out of her room, lifting up a floorboard and crawling underneath to the place where she learns Conan will be bedding down for the night. My first question was if she could get out that easily, why didn’t she run away sooner? She’s certainly not greeted well by our Cimmerian, who grabs her by the hair and yanks her out from the floorboards, before noticing that she’s a woman, and one from Ophir at that!

Knowing that Livia risked her life to get to Conan, he allows her to tell her tale – although he doesn’t seemed moved at all, to which Livia reacts poorly. She was accompanying her brother to Stygia with special permission for him to study in the great city of magicians. Along the way, they were captured by these Bakalahs and her brother was tortured to death before her eyes. Angry that Conan isn’t moved by her story, she says she’ll give him the only thing a savage like he understands – if he kills the Bakalah chief, she will be his slave.

In a break from Howard’s original source material, Conan takes offense to her words. “Women are cheap,” Conan tells her, adding that Bajujah would probably “give” her to him if it meant he wouldn’t kill him or follow through on a war against his tribe. He explains that he will help her for “reasons of his own.”

As Conan returns to his feasting, it seems that Livia’s plan was the same as Conan’s all along. The new “corsairs”, Conan’s Bamula tribe, approach the feast and attack. After a short-lived battle, Conan heads back to Livia’s hut-prison cell. But she, in fear, realizes that Conan is coming to “claim” his reward – terrified, she jumps onto a horse and rides away. 

Livia flees into the night on her horse, riding in fear, not knowing in which direction she is heading. As she rides, her horse finally tires, stumbling headfirst off a rise, and landing upside down, tossing Livia to the ground.

The Ophirian woman finds herself in a valley with orchids everywhere, and she is approached by a group of fair, dark-skinned women with orchids in their hair. Thinking herself safe, she approaches them, but is soon carried aloft to a round, sacrificial altar.

The zombie-like women dance rhythmically around the altar, apparently in some sort of summoning ritual. Livia lays atop the altar unmoving, until the flapping of leathery wings wakens her from her trance. Conan, of course, is nearby to hear Livia’s screams. 

As the women who danced around the altar have now fled, it is Conan alone left to face the Elder beast which has come to devour its prey. Strangely, this is one of the few Conan comics where Conan doesn’t defeat the creature – rather, he injures it enough that it decides to fly away, living to fight (and perhaps feast) another day.

Instead of being grateful for Conan’s arrival, Livia trembles as Conan approaches her. When Conan asks her why she is afraid, she refers to him as a “beast coming to claim his prize,” reminding him of her offer to be his slave if he slew Bajujah. Conan refutes her, saying that he reconsidered his part of the agreement when he left to save her – “Oh, don’t cower there like a scolded puppy, Livia” Conan tells her. “It was a foul bargain that I made; I discovered that on the way here. I don’t regret killing Bajujah, but you’re no wench to be bought and sold. The ways of men vary in different lands, but a man need not be a swine, no matter where he is.”

Hear, hear, Conan. Good for you.

Pleased with Conan’s announcement, Livia suddenly warms up to the Cimmerian and becomes very friendly. hugging his bare leg and thigh. “Crom, girl, don’t do that! Haven’t I explained that you’re not the proper woman for the war chief of the Bamulas?” 

CAPSULE REVIEW: This was one of the first issues of Conan I read growing up. Buscema’s artwork throughout is fantastic, the battle sequences between the tribesmen and Conan’s battle with the Elder beast are all top-notch. I also loved the cover with the Elder beast, which as a kid, usually prompted me to buy a comic (dinosaur/monster covers were always a winner!)

The inking of Ernie Chan is clean and improves on Buscema’s pencils. The colors by Ben Sean are nearly perfect – clean, yet dark where appropriate in the story, with different shades of color used to imply mood with effectiveness.  Howard’s original story reflects lots of things, as I’ve said, that we’d find largely inappropriate today. The concept of Livia seeing possible redemption in a lone person of the same skin color is troublesome, although given the context, it’s obvious to see its place in the story.

Some writers who have looked at and considered the original tale imply that Livia found solace in the “Vale of Lost Women” because it was a lesbian sub-culture, one where a woman could feel free of male oppression. Roy Thomas carefully avoided these elements in his story and managed to tell it effectively any way.

Re-reading this issue as an adult, I couldn’t help but be jarred by the artwork of Conan dragging Livia around by her hair, but it’s no surprise, as we’ve already established our Cimmerian as the hashtag-Me-Too poster boy of the Hyborian Age. I am surprised, on the other hand, that the CCA allowed that artwork without having it re-drawn. Perhaps someone was asleep at the editorial desk.

On a scale of 1-10, I’d rate this issue an 8.9 – it would have been a 9.5, but I knock some points off for Conan’s indiscretions being depicted in the artwork. Good (although edgy) story, great penciling/inking, and a classic adaptation of one of Robert E. Howard’s posthumous works.

It’s also one of the few CCA-approved comics that I’d avoid letting young kids read, simply because of Conan’s treatment of Livia. Parents, you’ve been warned. 

Copies are available on eBay for less than $5.

As always, I am – Wally (AKA Paint Monk)