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Archive for the ‘By Wally Monk’ Category

April 13th, 2019 By Wally Monk, Reviews 1 Comment »

REVIEW: Belit Hauls in a Dead Sea Beastie in AOC #2

*Review: Age of Conan – Belit #2*

By WALLY MONK – PM Library Editor

When we last observed young Belit in the first installment of this mini-series, she had killed her father (at his request), and later began to brace the crew of the Tigress for an encounter with one of her long-sought ocean beasties. In this issue, Belit argues with the Tigress’ new captain, behaves like an unbearably spoiled brat, and shows none of the fierceness that would make a reader believe she will become the Queen of the Black Coast so beloved by Robert E. Howard fans. 

The young she-pirate comes across more as an angsty young lass with something to prove and serious self-esteem issues. In truth, I am curious why the captain didn’t throw her overboard. This is the Hyborian Age, after all, and the deadliest cutthroats on the ocean blue certainly wouldn’t put up with a petulant, pushy child – and certainly not without her legendary father to protect her. 

In a continuing unfortunate series of events, writer Tini Howard brings more of the same; poor writing, poor story telling, and a world that is the world of Conan in name only. Truth be told, if I were reading this for enjoyment, I would not buy another issue. Alas, I have committed to reviewing the entire run and I pray that it gets better and shows me some reason why Marvel even bothered sending this off to the printing presses. Despite this – and contrary to how this review may appear – I am desperately trying to find something good to say about this book. 

I have read many average reviews of this comic, and I’ve heard from readers who have been critical of harsh reviews. Some say this is a Conan comic for younger readers; that it could be a jumping-on point for younger boys and girls. While this is possible, I don’t buy it.

In the last issue (as I wrote above), Belit kills her marooned father at his request. Her behavior is more annoying and radically immature than truly fierce. One would certainly hope that this is not the sort of fare we want to serve kids in any form, although I am certain this will prompt some to call me  too “old fashioned”.

Without further complaint, here’s a brief look at the comic.

Synopsis: Age of Conan: Belit #2 (Spoiler Alert!)


The pirates aboard the Tigress are relatively eloquent with their language for people you would expect to be formidable, black-hearted sea dogs.

Deep at sea (the front page tells us so), the crew of the Tigress sounds an alarm, as tentacles are spied attacking the lead vessel in their fleet, the Imperatrix. An enthusiastic Belit orders the men to arms, as she begins to try and steer the ship to assist. She’s pushed off the wheel by the fleet’s captain, who normally mans the Imperatrix but is aboard the Tigress. Belit responds, “I hope that thing eats the trash that was your stupid ship and no one ever speaks its name again!”

When the captain goes to strike her, she looks at him and defiantly says “do it.” Apparently, he is intimidated by this young girl, yet he blames his departure on the beast going back into the depths. He heads to the captain’s quarters, but Belit beats him there, slamming the door behind her. Inside, she mopes for a moment about the deep sea beast, then dresses herself in pirate jewels and looking in a mirror, tells herself that the Tigress is hers.

Much of the issue is a back-and-forth between Belit and the ship’s captain, as she finally convinces him she’s the real deal by slamming his hand in a door. I’m not kidding. Young Belit has convinced the captain that they can become feared by going fishing for a sea beast – and bringing it back to the coast, offering the people their their services as protector from all of the sea creatures that live nearby and will one day threaten them all.

Does the crew catch a beastie? If they do, how will they bring it to shore? And what will the reactions be if they succeed? 

CAPSULE REVIEW: First and foremost, I think the biggest problem with this issue is the artwork. That’s not to say that both the writing and plot are sorely lacking; rather, any impact the story could have is dulled by comedic, superhero artwork that has no place in a fantasy comic. The action sequences (involving human characters) are uneventful, even poorly drawn.

I still can’t wrap my head around this, as Kate Niemczyk’s artwork in the Mockingbird limited series from Marvel was much better. Is Niemczyk channeling her inner Mike Allred here? It’s clear she has talent (anyone who can draw more than crude stick figures has talent compared to me), but it’s also clear that she has no idea whatsoever what the sword and sorcery genre and Conan’s world are all about. 

And if she does, then her artwork is a poor match to said genre and any Marvel editor worth their salt would have caught this. Roy Thomas details in his memoir “A Barbarian Life” just how much effort he and Stan Lee made to make sure they found an artist who could bring the world of Conan to the readers in a dynamic, in-your-face and otherworldly manner. 

At this point, it is obvious the editors at Marvel felt here that two talented creators with big names could assemble an effective comic, the rest be damned.

It’s truly sad. I don’t think either Tini Howard of Kate Niemczyk should have been set up for failure like this – they are both talented, but very out of their element with the subject matter in this book. They may know contemporary society and today’s social mores – but based on the two issues thus far, they have no idea who Howard’s (or Thomas’) Belit was, or are trying to completely re-invent the wheel. 

The pirates aboard the Tigress are caricatures, and between bad dialogue and the way they are drawn, I’d be more likely to laugh when they tried to board my ship than give their threats any weight whatsoever. At least we got to see some combat, and those are all sequences which Niemczyk handles well. It’s the character-to-character dialogue panels and smaller fight scenes where she drops the ball. 

On a scale of 1-10, I’d rate this issue a 4.0. It’s a Marvel comic, after all, and in theory it takes place in the Hyborian Age. In the words of Forrest Gump, comics are “like a box of chocolates”. If that’s the case we’re expected to eat a tofu-filled, boring and tasteless morsel with this book. 


March 24th, 2019 By Wally Monk, Classic Conan Countdown, Reviews Comments Off on REVIEW: A Fallen Star-Stone, Brother Kings & A Hawk God

REVIEW: A Fallen Star-Stone, Brother Kings & A Hawk God

(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 was published from 1970 to 1999. This is a review of Conan the Barbarian Vol. 1, #76.)

By WALLY MONK – Paint Monk’s Library Editor

Roy Thomas did an impressive job adapting Robert E. Howard’s stories and poems to the sequential art form used in comic books. His “Queen of the Black Coast” story arc is very good, as are later adaptations we will visit this year, including Conan the Barbarian #98 (based on Howard’s poem “Sea Woman”) and Conan the Barbarian #104 (adapted from Howard’s short story “The Vale of the Lost Women”).

While trying to remain true to the timeline established by Robert E. Howard and later authors who tackled his works, Thomas also had the monumental task of “filling in” missing years and months throughout the Cimmerian’s timeline with tales he created himself. The story arc here is one of these endeavors, and I think Roy Thomas very solidly hit the proverbial mark. This issue pushes his latest story forward.

In Conan the Barbarian #75, the Cimmerian was following the trail of his beloved Belit to the Stygian city of Harakht. The rulers of this independent city-state have been engaging in piracy along the River Styx. Using giant hawks, the Harakhian raptor riders have absconded with Belit, and now they’ve earned the ire of a certain dark-haired savage.

This tale continues the multi-issue story arc which will be concluded in Conan the Barbarian #77.

As a reviewer and long-time reader of Conan’s comic book adaptations, I must admit that I am biased toward stories that take place within Stygia. It’s a fantastic location, drawing on the darkest aspects of the Egyptian mythos to create a vivid milieu of serpent worshipers, dark magic, and  evil clerics.

In this issue, John Buscema once again shares a “co-illustrator” credit with the talented Ernie Chan. The artwork is excellent, and the two make a great pair. Lettering was done by John Costanza and the capable coloring completed by George Roussos.

This is what I call a bridge story, one of many that doesn’t tell a complete tale in itself – rather, it sets the stage for the remaining installments of what I’ll the “Harakht” storyline for lack of a better term.

Review: Conan the Barbarian #76

Conan follows his beloved Shemite hellcat to the city of Harakht!

Having fallen from the back of a dying hawk, Conan emerges from the River Styx. The body of the giant crocodile he barely was able to defeat lies on the shore, and the Cimmerian finds himself without a sword. Looking toward the south, he knows that he must travel to Harakht to rescue his beloved pirate queen.  In the brush along the river, Conan finds the hawk-shaped helmet belonging to a defeated rider. As he slides it onto his head, he heads toward the city where Belit is being held captive.

Meanwhile, Belit is in the clutches of the hawk riders, who alight atop a building in Harakht. Belit wastes no time punching her captor in the face, only to be subdued by their leader named Ator, who  happened to stop by to check on the returning riders. (As an off-topic aside, I’m curious if the name of the bad 1980s film Ator the Fighting Eagle was inspired by this character and his hawk-headed helmet). 

A hawk-helmeted rider named Ator stops Belit’s short-lived escape attempt.

Belit is taken to the throne room of Harakht’s king, Hor-Neb. The monarch determines that Belit will be added to his harem, but there is an objection. Mer-Ath, the high priest of Harakht and co-ruler of the city, enters and tells him that Belit is better suited to be with him. An angry dialogue ensues, as Hor-Neb threatens the high priest, telling him that if he does not relinquish his claim to Belit, there will only be one king in Harakht. As Mer-Ath leaves, Hor-Neb tells Belit that the high priest of Harakht and co-ruler of the city is also his brother.

Hor-Neb wins his bid to add Belit to his harem.

Conan has made his way to the city gates. Knocking on massive, wooden doors, the guards give entry to Conan. They soon realize – after observing his boots – that Conan is not a hawk-rider but an outsider. This particular series of panels is one of a few poorly written exchanges I’ve observed throughout the Roy Thomas Conan run. In a country of dark-skinned locals and inhabitants, they had to see Conan’s boots to realize he was an outsider? Apparently his bronze skin, build, complexion and accent were not enough – darn those boots!

Once inside the city, the remainder of the issue becomes a battle for Conan and Belit’s escape. Sadly, they do not. Captured and brought to Hor-Neb’s throne room, Conan is dragged to the edge of a pit as Belit refuses to join the king of Harakht in his harem or add her corsairs to his army. This month’s tale ends with Conan facing off against a massive giant at the bottom of the pit.

Will Conan survive the hulking guardian of the star-stone?

CAPSULE REVIEW – It’s easy to enjoy the Stygian setting, as I’ve said before. The fact that both rulers of Harakht are brothers adds an interesting dimension to the story. Conan and Belit’s failure to escape shows that the guards in Harakht are not just caricatures in a story line, but a formidable force with which to be reckoned.

The artwork in this issue is good, but compared to others, there aren’t many opportunities for Buscaema and Chan to draw beautiful splash panels, except for the opening page. We’re treated to plenty of competent fight scenes, but as an issue that serves to move a larger story along, it’s merely serviceable.

On a scale of 1-10, I’d rate this issue a 6.0. Not bad, but just a cog-in-the-gears of a larger Conan story. On eBay, copies of this issue were available for less than $5.

March 18th, 2019 By Wally Monk, Classic Conan Countdown, Reviews Comments Off on REVIEW: The River Styx, Giant Crocodiles & Hawk Riders

REVIEW: The River Styx, Giant Crocodiles & Hawk Riders

(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 was published from 1970 to 1993. This is a review of Conan the Barbarian Vol. 1, #75.)

By WALLY MONK – Paint Monk’s Library Editor

It seems like ages ago that I shared the sad tidings that our reviews of the first volume of Marvel Conan would come to an end. In reality, it’s been a mere three months, but your letters and encouragement have prompted Paint Monk’s Library to resume the countdown – and we plan to stick it out this time until the bitter end in Conan the Barbarian #275.  

Before we begin anew with a review of Conan the Barbarian #75, I would like to thank all of you for following this blog, sharing your thoughts, and passing along kind words of encouragement both here, on Facebook and on Twitter.

A hearty “huzzah!” is also due to PM Library writers Bob Freeman, Andy Maglothin, Joeseph Simon, Troy Chrisman and Dean Plakas, who have continued to support the blog  – and who all eagerly (and enthusiastically) agreed to help continue our classic Conan the Barbarian reviews.

When we last saw our intrepid Cimmerian in Conan the Barbarian #74, he had made swift work of a massive sea serpent while the crew of Belit’s Tigress set the Stygian fleet aflame in the Port of Khemi. This issue begins with a beautiful splash page featuring Belit, Conan and a slave-girl named Neftha outside the city of Khemi, watching the Stygian fleet burn.

This tale, and perhaps parts of Conan the Barbarian #74 begin a multi-issue story arc which will be concluded in Conan the Barbarian #77. One of Robert E. Howard’s most vivid landscapes within Conan’s world, these tales take place in Stygia, a dark land full of sorcerers and ruled by worshipers of the snake god Set. Inspired by mythological Egypt, Stygia is perhaps my favorite land in the Howard mythos.

Review: Conan the Barbarian #76

Conan battles Stygian raiders high atop the wings of massive raptors!

In the Stygian city of Khemi, it’s not safe to wander the streets at night. Briefly admiring their work in setting the city’s fleet ablaze, Conan, Belit and Neftha knock on the door of an Argossian merchant. When the tradesman answers, cursing the intruders, Belit’s drawn sword ensures their entrance to his home and temporary sanctuary from the wandering city guard.

Conan and his companions make small talk with the merchant, who bemoans his bitter luck and the late night intrustion. Belit makes certain to note that they have seen the merchant’s small skiff, loaded with merchandise, asking him if he is headed down the River Styx to the great city of Luxor. When this is confirmed, Belit informs him he’ll be taking three new passengers along.

Belit wears black dye to disguise herself. This wouldn’t fly in comics today.

Morning dawns, and soon Conan, his companions and the merchant are headed to Luxor. Conan is dressed as a slave trader, and both Belit and Neftha have dyed their skin to fit in more with the locals. As they travel down the river, both Belit and Conan reflect on the crocodiles along the riverbanks and the birds who nest among them. Here, we are given a good reflection and history of Stygia – Belit notes that at one time, an Ibis headed god was prominent, but the snakes and Set are the masters of the land now.

As the sun makes its way across the sky, the merchant becomes concerned, telling his oarsmen to pick up their pace. Conan asks him why he seems so shaken, and he informs the Cimmerian they are passing the City of Harakht. A mid-point between Khemi and Luxur, Harakht is ruled by a despot whose bad behavior is largely ignored. Harakht, the merchant says, is a safeguard against the neighboring land of Shem and the ruler’s misdeeds are overlooked because of the importance of the city.

Their conversation is cut short by brigands swooping down to raid the vessel atop giant birds of prey! These thieves, sanctioned by Harakht, have been raiding merchant trading vessels, intercepting them before their luxurious goods reach the capital city.

The hawk riders strike swiftly and decisively.

The first arrow takes the merchant down, and his body topples over the edge of the boat. Crocodiles swarm in for the kill, accustomed now to fresh meals whenever the hawk-riders appear.

Belit manages to hold her own, injuring one of the hawks, but is soon grabbed in one of the massive raptor’s mighty talons. Conan helplessly watches as Belit is carried away – but he has a plan of his own. As another raptor-rider swoops in, Conan grabs the bird’s tail, losing his sword in the process. The barbarian manages to throw the rider off, but finds that he cannot control the hawk.

Mustering all the strength he has left, Conan breaks the bird’s neck and it falls to the earth.

Conan breaks the giant raptor’s neck in an effort to save himself.

Conan lands on the banks of the River Styx, the dead body of the hawk nearby. He struggles to remain conscious, drifting in and out of reality. He finally regains his senses when he hears the sound of splashing water and a flock of ibis taking wing. Having just fallen from the heights, he now has to contend with the beasts of the deep. With only a dagger in hand, Conan dispatches the enormous crocodile, setting his sights on the city of Harakht and his beloved Belit.

Belit, Conan is coming to save you, never fear!

CAPSULE REVIEW:  This was an excellent issue of Conan, both in the artwork and in Roy Thomas’ narrative. I miss the days of narration boxes, which do a great job fleshing out bits and pieces of immersive stories that artwork alone can’t express. The combination of Ernie Chan and John Buscema is a hit, and you can see the influence of Chan’s work in collaboration with Buscema’s pencils. The two make a true dynamic duo.

The action sequences within this book are first-rate; this issue contains some of the best fight scenes I’ve read in all of my issues of Conan thus far. Ironically, the cover wasn’t the strongest I’ve seen, and it certainly does not “pop” like many of the legendary covers featured on the iconic Savage Sword of Conan magazine. The final panel, pictured above this capsule review, is one of my favorite – you know that Conan is angry and ready for battle. After all, his Belit is gone, and there is no stopping the Cimmerian now.

The action sequences in Conan the Barbarian #75 are lavishly illustrated.

Conan the Barbarian #19-29 featured what we’ve called here the Makkalet storyline, involving the Turanians, Prince Yezdigerd and the Livng Tarim. Where that particular story arc got old very quickly, this one seems much more promising and certainly just as action packed. Before this 4-issue story arc is finished, we’ll be treated to more action and even more Stygian foulness.

On a scale of 1-10, I’d rate this issue a 7.9. Copies on eBay were available in various conditions for $5 or less.

March 13th, 2019 By Wally Monk, Reviews 4 Comments »

REVIEW: Belit Makeover Has Potential, But Ignores Canon

By WALLY MONK – PM Library Editor

One of the things that makes Disney World a beloved destination for all generations is that everyone knows Mickey Mouse and his friends. Minnie, Goofy, Pluto and Donald Duck have always been the same.

They might behave slightly differently or be voiced by different actors; Minnie wears clothes these days instead of just a hair bow to differentiate her character from that of her male counterpart, But even people who remember Mickey from his debut in 1928’s “Steamboat Willie” cartoon would recognize The Mouse today.

Sadly, Marvel’s parent company forgot that business model in Marvel’s latest adaptation of Belit, the Shemite she-pirate of the Black Coast. In the inaugural issue Age of Conan – Belit #1, the character is given a major re-vamp. In this up-to-date re-envisioning, Belit is the daughter of a retired pirate king, and the writer has re-named the city of Asgalun as Asgulin, unless this was a faux pas by Marvel’s editorial team. 

To be fair, writer Tini Howard is trying to present a younger Belit and the story of how she grows up. But after reading this issue, I’m hard-pressed to see how this young, angsty-goth Belit will grow up into the fierce she-pirate we know and love from Thomas’ original comic book incarnation.

In my attempt to find the positives and not more of the glaring negatives that are coming out of the House of Ideas in connection with Conan’s re-launch, I will try to present the good and bad without constantly looking at this comic in the eyes of the Conan many people over 30 know. Now on to the story.

Review: Age of Conan – Belit #1

This variant cover of Belit #1 is perhaps the closest we get to the character we know.

The dread pirate Atrahasis is looking for his daughter. When he asks some local boys if they’ve seen Belit, they inform him that she’s always spoiling their play with talk of “ocean beasties”. Within moments, a loud bell is being rung aboard a ship (which we learn is the Tigress). Atrahasis finds Belit to be the hands behind the clanging bell, telling her dad that she’s sighted one of said “beasties”.

Here we observe young Belit and her feisty character. She looks at one of the ropes on the deck, suggesting that the man who tied it be flogged. She tells her father that she knows more about the sea than many of his hired men. Atrahasis here provides plenty of fatherly advice, sharing with the young Belit that you can’t flog all of your men if you expect loyalty and other pithy proverbs meant to be teaching moments. At the end of their conversation, the young Belit leaves her father on the shore. He calls from land, telling her that the lesson of the day is to head out to the Tigress and not look back to the shore.

Belit does not listen, and observes men approaching her father and assaulting him. It would seem the pirate admiral owed some debts that now need to be paid. 

What will happen to Belit’s father? Will the young she-pirate summon all of her courage to save him? What role will N’Yaga play in raising the young pirate queen into adulthood? And what of this “beastie” Belit claims she saw from the decks of the Tigress? 
 
CAPSULE REVIEW – Age of Conan: Belit #1 is a pretty tough comic book for classic fans of Robert E. Howard to swallow and an average read with nothing special inside for newcomers.
 
In my introduction, I mentioned Disney’s ability to keep Mickey Mouse as a character that appeals to many generations at once, while keeping the look of the characters “updated” for modern audiences in many ways.
 
Marvel doesn’t do that here – in this comic, writer Howard spits on Belit’s established history at Marvel, while stealing a few names and locales. Artist Kate Niemczyk draws the she-pirate like a youthful Death from DC comics right down to the pale skin. Most of the art is static, and even action poses are lacking depth of movement. The overhead imagery (as on the first page) is flat and geometric. This is not fantasy art – it would be better served in a superhero book, because it does nothing to create a world of fantasy or present anything different than we are served in mainstream MCU fare. It’s not bad art – but it’s not Conan, and the editors should have known better.
 
Despite these glaring flaws, this issue isn’t without some bright spots. In the spirit of Howard’s original “Queen of the Black Coast”, the issue begins with a “lost verse” from the Song of Belit (assuming it was written by Tini Howard, not Robert E…). We learn that Atrahasis’ right hand man is N’Yaga, a familiar name that most Conan aficionados will recognize. Strangely, N’Yaga appears as a well-dressed mentor to both the young Belit and Atrahasis’ right hand man. He is depicted here in the art more like a cultured Mongol than a future Black Corsair. It will be interesting to see how N’Yaga influences the story as it continues. 
 
Finally, but certainly not least, is the Michael Stackpole Belit story at the end of the issue. Most of these tales have been excellent, and his is no exception. What is truly sad is that the best part of the Marvel Conan re-launch are the short stories at the end of each comic.
 
On a scale of 1-10, I would rate Age of Conan: Belit a 4.5 – and that is only because there’s a chance some interesting things could happen here. Belit is young in this series, and there remains a slim chance that Howard will somehow find a way to add elements of the real Robert E. Howard character. This title is currently available at local comic book stores and was released today. 
September 25th, 2018 By Wally Monk, Interviews 2 Comments »

INTERVIEW: Embrace Your Inner (Radioactive) Hamster (Part II) – A Chat With Creator and Comic Writer Don Chin

(EDITOR’S NOTE: It’s time for the rodents to get off their wheel, as we conclude the Paint Monk’s Library interview with Don Chin, creator of the Adolescent Radioactive Black Belt Hamsters. If you enjoy this interview, Don told me he always welcomes care packages of sunflower seeds and carrot-shaped chew sticks, with an occasional piece of lettuce thrown in for good measure.)

This image has an empty alt attribute; its file name is DonChinBanner-1.jpg

By WALLY MONK – Paint Monk’s Library Editor

WALLY MONK

You got a chance with ARBBH to make one issue in 3-D, and also a spin-off for Clint the hamster. Were other projects planned that got cut once the comics market changed? And what would we have seen from the radioactive rodents had the market not fallen apart following the indie explosion?

DON CHIN

“We actually did four 3-D ARBBH issues and probably my favorite was issue #1. That had an awesome cover by Par and interior art by Ty Templeton that was about professional wrestling. I actually had another talented Bay Area artist, Ken Hooper, start drawing a revival of the Hamsters where they all had super powers.

He and artist Greg Espinoza actually drew ARBBH Massacre the Japanese Invasion #1 for Eclipse, which was a one-shot where the Hamsters completely annihilate Japanese comic book characters like Speed Racer and Lone Wolf and Cub. 

Unseen cover art from what would have been “the new” ARBBH.

In the revival, the hamsters were maturing and weird side effects from the Cosmic Jello were coming into play. Chuck had the power to summon an iron fist (sorry, Marvel), Clint had a white-hot laser he could shoot out of his visor, Bruce was the huge, towering hulkish furry beast, and I believe I had Jackie as a super speedster. That project never saw print, but I really loved Kurt’s version of the Hamsters…they were more cute and furry than previous versions, but had an edge.

So if the market hadn’t imploded from the glut of comics being produced, you probably would have seen a “super-powered Next-Gen John Byrne era X-Men version” or ARBBH, and I would have loved for it to be in color.”

WALLY MONK

In issue #8 of Teenage Mutant Ninja Turtles, Leonardo, Donatello and company met and fought alongside Cerebus the Aardvark. Were there any crossovers planned between the ARBBH and other comic properties at some point?

DON CHIN

“I think Blackthorne Comics approached us to do a possible ARBBH / Hamster Vice cross-over, but it wasn’t something Eclipse or myself were really into. However, Parsonavich and some friends of mine did do some short ARBBH stories in Blackthorne’s Laffin’ Gas humor anthology book. I would still love to see a TMNT/ARBBH cross-over. Also, since Dynamite Comics has the exclusive rights to ARBBH, I always thought teaming up Clint and Ash from the Army of Darkness comic book to fight legions of zombies would be a riot.”


Don and the folks at Eclipse weren’t
particularly interested in a team-up
with Blackthorne’s Hamster Vice.

WALLY MONK

In addition to ARBBH, you wrote another comic book series called Enchanter, and another book for Eclipse. Did you have other plans for comics at the time, and do you still have plans for future work?

DON CHIN

“I think the only other book I did for Eclipse was another incarnation of Overload, The Fantasy-Humor Magazine. There has always been a character dear to me that I created in my youth called Arrowman and a bunch of his sidekicks, like the Amazing Boll-Weevil that I would love to share someday. They are kind of goofy anti-heroes like The Tick. I published a one-shot of Arrowman with Parody Press Comics that I drew and that my friend, the late Sam Wray, inked. Sam was a kind of a comic book mentor to me and the rest of the northern California crew. His talented son William Wray worked in animation on Ren & Stimpy and a Batman project with Bernie Wrightson.

I would guest write anything new for the ARBBH if someone asked me to. I also saw that Chuck Dixon is doing a book called Trump’s Space Force – I think that would be a hoot to work on, as I love political satire and relevant current events in my writing.”

WALLY MONK

Looking at your Facebook, you’re a kindred spirit in many ways. I value my Christian faith tremendously as a professed religious in the Roman Catholic Church – and I see from a quick look at your information on the web that your faith motivates you as well. How have your beliefs impacted your work in the medium and your views about the industry in general?

DON CHIN

“Thank you for noticing that aspect about me, Paint Monk. I have been a professing Christian for quite awhile, but to be honest, it has been a hard walk as I am a stubborn man unlearning bad habits and slow learner at times, but am thankful we have a patient and loving God.

Most of the times I would use Chuck in ARBBH to be the example of how I thought a sensible and loving Christian would act. It was also fun to partner in my comics career doing a lot of projects with my friend, Nate Butler, who does have a ministry teaching and publishing. He asked me to go to the Phillipines in the 1990s to reach international students and teach them how to put comics together. I got to join comics legends Kerry “Superman” Gammill and Carlos “Star Wars” Garzon.

We helped distribute some of Nate’s books like PARO-Dee and Behold 3-D into the direct comics market. We also worked on doing some comics tracts for American Tract Society and some Russian-translated evangelical comics for CBN and some “Truth for Youth” New Testament Bibles that had comic book stories inserted in them that were drawn by Frank “TMNT” Fosco.”

More unpublished ARBBH art. (Courtesy of Don Chin)

WALLY MONK

What are your thoughts about where the comics industry is headed, and have you considered work for a company like Kingstone, that publishes Christian comics?

DON CHIN

“To be honest, I don’t read that many current comics anymore, so I’m a little out of touch on what the industry has been producing. I’m not a big fan of the dark shift in comics where it’s hard to tell the heroes from the villains due to moral ambiguity, probably because of my faith, and since I grew up reading a lot of the 1970s and 80s books where things were still pretty distinguishable between good guys and bad guys. I think the last books I picked up were relaunches of Rom and Micronauts, which were staples of my youth. My grandkids are both really into Star Wars, so it’s cool to introduce them to comics and collecting Star Wars graphic novels and memorabilia. I’m not so familiar with Kingstone, but more power to them if they can make a living doing faith-based comics.”

WALLY MONK

In 2007, Dynamite Entertainment got the license to produce ARBBH stories and added a female character to the mix! Can you tell us a little bit about Dynamite’s version of the hamsters?

Dynamite Entertainment licensed the ARBBH in 2007.

DON CHIN

“I was contacted by Nick Barucci at Dynamite to see if I would oversee and give my blessing to a relaunch of the Hamsters, and it was really exciting to see them pull out all the stops and give the ARBBH a slick, color treatment.

Keith Champagne and Tom Nguyen and colorist Moose Baumann did a great job expanding the ARBBH universe and adding additional action-movie inspired characters that were inspired by Arnold Schwarzenegger, Jean Claude Van-Damme and Lucy Lawless, who was the female hamster you are referring to.

I’m pretty sure you can find the back issues for sale online on eBay, or even buy digital versions to read. They were a lot of fun to work on, and I was honored that Nick and Dynamite were willing to give them another opportunity for fans to enjoy them almost 20 years later from the time they were first introduced.”

Once again, a special thanks to Don Chin for taking the time to share his thoughts with our readers. Perhaps one day the Adolescent Radioactive Black Belt Hamsters and the scribes at Paint Monk’s Library will get together to tackle the modern comic book industry. I can envision a team up, where the two get together to restore the “old school” look of comics back to the industry.
Hmmm…Don…sounds like an idea for a parody comic!


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

June 30th, 2018 By Wally Monk, Classic Conan Countdown, Interviews 7 Comments »

INTERVIEW: Will Barry Windsor-Smith work on New Conan?

By WALLY MONK – Paint Monk’s Library Editor

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.)
 
Thank you, Mr. Windsor-Smith, for your time.

As always, I am – Wally (AKA Paint Monk)
May 28th, 2018 By Wally Monk, Classic Conan Countdown, Reviews Comments Off on REVIEW: The Check is In the Mail…And So Is Conan’s Art

REVIEW: The Check is In the Mail…And So Is Conan’s Art

(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) #22.)

By WALLY MONK – Paint Monk’s Library Editor

For a complete review of this issue, please see my previous post about Conan the Barbarian #1. 
 
Ok, Paint Monk, you screwed this one up. The cover of this comic book promotes “The Shadow of the Vulture” in the lucid pencils of Barry Windsor-Smith, but your review is about Conan the Barbarian #1! What were you thinking?
 
If you feel cheated by today’s Classic Conan Countdown post, you’re not alone. I normally prepare my reviews at least a week in advance and was shocked to see that the Conan review I’d been highly anticipating was nothing more than a reprint of Conan’s first comic book appearance. Given that Barry Windsor-Smith is gearing up for his departure from Marvel here and there were some delays with certain inkers along the way, it’s not surprising this happened, but this is a waste of a darn fine cover. 
 
After being teased with this tantalizing illustration, we open the comic to find a nice little disclaimer from Marvel Comics editorial, along with a very familiar splash page – Windsor-Smith’s very first splash from Conan the Barbarian #1. To add insult to injury, the text box with narrative introducing Conan is replaced with Marvel’s explanation. 
 
 
Instead of a review, I’ve included some text from the editorial of this issue’s “Hyborian Page” detailing the faux pas for your edification (below). For those of you who are still feeling cranky and thinking “What the he**?” I can assure you that blogger Dean Plakas has a fantastic and insightful review of the real “Shadow of the Vulture” tale already finished and not “lost in the mail” for Wednesday. 
 
In the meantime, consider catching up on any of our Countdown to Conan installments that you may have missed. 
 
As always, I am – Wally (AKA Paint Monk) 
 
 
SPECIAL ANNOUNCEMENT
(Editorial, Conan the Barbarian #22)

Well, it finally happened! As I’ve been telling you for months, it’s been a terrific strain for Roy, Barry and our hard-pressed, hard-working inkers to turn out an issue of CONAN THE BARBARIAN each and every month. Time after time, the ever demanding deadline has forced them to take desperate measures – including one issue reproduced partly from pencils, another finished up from Barry’s layouts by no less than four penciler/inkers. 

But this time, Fate as well went against them – and you. At the last minute – and believe it when we say we mean just that! – no less than thirteen pages of the 21-page spectacular planned for this issue went lost in the mail, necessitating either a reprint of an earlier CONAN issue – or the substitution of a few “Conan-presented” sword-and-sorcery tales gathered from earlier Marvel mags. There wasn’t even time to change the now-accidentally-misleading cover, since it was printed long before the loss could have been anticipated. (And please, people – don’t tell us we should simply have skipped putting out an issue at all this month. Nothing would have pleased Roy and Barry more – but, once printing schedules are definitely set up, that becomes impossible. By legal contract, Marvel had to put out something called CONAN THE BARBARIAN this month – even if the mag had been completely filled with re-runs of Millie the Model! No lie!) 

April 2nd, 2018 By Wally Monk, Classic Conan Countdown 3 Comments »

REVIEW: Of Aesir and Vanir, Conan the King & a Star-Stone

(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 was published from 1970 to 1993. This is a review of Conan the Barbarian Vol. 1, #1.)

By WALLY MONK – Paint Monk’s Library Editor

Conan the Barbarian is a Marvel Comics legacy thanks largely to editor and writer Roy Thomas.

In 1970, Marvel put up an offer to license fantasy author Lin Carter’s Thongor as a comic book property. But according to a 2010 article in Comic Book Resources, Carter’s agent wanted more money than Marvel was willing to pony up at the time. That’s what prompted Roy Thomas to reach out to the estate of Robert E. Howard for Conan.

The deal was inked, but because Conan was a new idea for Marvel, outside the realm of their standard super-hero fare, the House of Ideas wasn’t willing to spend much on the project. As Roy Thomas told the publication Alter Ego in 2007:

“At the time, Marvel was owned by Martin Goodman, and he felt that my rate was too high to take a gamble [with] on some new kind of [project]. It wasn’t a superhero or anything that had been done before. The closest thing to that would be Tarzan. Anyway, he had no confidence in spending too much money on the book, and that’s where Barry Smith came in — [he was] very cheap. I know what he got paid, and I’d be embarrassed to tell you how much it was, because I’d be embarrassed for Marvel.”

Roy Thomas

Roy Thomas would continue writing Conan the Barbarian for Marvel from the first issue through issue #115 and would return to close out the series, writing a large number of the last thirty or forty issues up until the very end. And the “gamble” on Barry Windsor-Smith, of course, paid off – he won the 1970 Academy of Comic Book Arts Shazam Award for Best New Talent. Windsor-Smith drew most issues of Conan the Barbarian until issue #24.

Following the success of Conan as a comic, Lin Carter would later allow Thongor – the property that “could have been” the introduction to the swords-and-sorcery genre in comics – to be published by Marvel. Thongor, Warrior of Lost Lemuria appeared in several issues of Creatures on the Loose (as did Robert E. Howard’s King Kull.)  

*** Spoiler Alert ***

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

Conan the Barbarian #1 – “The Coming of Conan!”

It doesn’t take long for Conan to start doing what Conan does best! In the premier issue of Marvel’s barbarian adventures, we’re treated to a beautiful full-page splash by Windsor-Smith. This premiere issue doesn’t have the Conan introduction that we know and love – the one that begins with “Know, O Prince, that before the oceans drank Atlantis..” It’s a true introduction to an unknown comic, one that invites readers to visit the Hyborian Age, where “a man’s life-worth was no more than the strength of his sword arm.“

After this brief introduction, we’re thrust right into a battle. A young Conan has hired himself out as a sell-sword, and is fighting with the Aesir in a battle against the Vanir of Vanaheim. Conan makes it only to the second page before he slays his first Vanir! 

Conan sees Olav, the leader of the Aesir warriors outmatched by three Vanir, and he quickly steps in to save his ally. Olav compliments Conan on his honesty when the Cimmerian simply says he fights for the Aesir because they pay better. “Hmph! An honest Cimmerian!” Olav says, as the Aesir collect their fighters and bury their dead, letting the Vanir retreat. Olav makes it clear that when the group is rested, they’ll march to finish off their Vanir enemies.

Back at the Vanir encampment, the outlook is grim. Despite outnumbering the Aesir before this battle, now their numbers are seriously depleted. In the fashion of true villains, Vanir chieftan Volff decides it’s time to make a break for it, leaving his own men to die. 

As Volff and his lackey Hothar beat feet for greener pastures, they find a cave marked with strange sigils. From inside, a voice beckons to them both. Warily entering the cave, Volff and Hothar meet The Shaman and a woman named Tara. The Shaman has a way for Volff to defeat his enemies – the power that comes from the Star-Stone. It’s apparently a device that fell from the sky and allows The Shaman to call forth winged demons and see the future. All he needs is Conan’s body to fulfill an ancient ritual, and in exchange, he’ll help Volff be victorious.

Volff eagerly agrees, and Conan and his Aesir companions are soon beset upon by winged nightmares called forth from the Star-Stone. Olav is overcome by these demonic adversaries, and they eventually manage to capture Conan, as he’s knocked unconscious after being dropped by one of the demons from a dizzying height.

Conan awakens in a room with Tara, where he learns he is to be part of a “ceremony of transferal.” The Star-Stone begins glow, showing the future to all in the room. The Shaman is horrified when he witnesses the Cimmerian he is planning to sacrifice being crowned King of the Hyborian Empire.

How can Conan have a “future” if he is going to be sacrificed in the transferal ceremony? And what exactly is this mysterious ritual?

CAPSULE REVIEW:  It’s hard to argue that Conan the Barbarian #1 is anything less than an exciting and compelling introduction to the sword-and-sorcery genre in comics. It’s a gamble Marvel Comics took that paid off. Roy Thomas’ scripting is poetic in many ways, and it’s only complimented by the excellent artwork of newcomer (at the time) Barry Windsor-Smith. The art and story go hand in hand, and both are high quality.

If you’re familiar with the fantasy novels of the 60s and 70s, and their rich covers by Frank Frazetta and Boris Vallejo, this comic book tries to channel that spirit. It’s a book that sets the bar for fantasy comics of that era, and one of the examples of quality fantasy that made names like Windsor-Smith, Frank Thorne and John Buscema household names in fantasy artwork.

The storytelling here is so good that both the story and artwork could stand alone – yet together they weave an intriguing tale that kept readers coming back again for decades. On a scale of 1-10, I’d rate this issue a 9.5 for trend setting artwork and story, the introduction of a genre, and the team of Windsor-Smith and Thomas. 

High grades of this issue are expensive, but not cost prohibitive for such a key comic. As of this review, two CGC 9.4 graded copies sold on eBay for $670 and $699 respectively. Mid grade copies at CGC 7.0 sold for less than $200. Ungraded copies claiming to be in “F/VF” condition sold for less than $100. 

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

January 27th, 2018 By Wally Monk, Editorial Comments Off on EDITORIAL: Retro Randy’s Xenozoic Tales Playset

EDITORIAL: Retro Randy’s Xenozoic Tales Playset

I am a huge fan of Xenozoic Tales by Mark Schultz. I’m a sucker for any comic book that has dinosaurs in it, and well-drawn dinosaurs at that! The series has a modernized pulp-art feeling to it that just makes me all warm and nostalgic inside. It’s got classic cars, too. And guns. And Hannah Dundee.

In a moment of free time a last week, I was surfing “Xenozoic Tales” on eBay and came across an unusual item…A “Xenozoic Tales Play Set.” Hmmm…what could this be? 

When in doubt, Google. In searching, I found an inconspicuous little blog that hadn’t been updated since 2016. The blog featured a rather zany header and was called “Retro Randy.” What I learned from this post prompted me to make an offer to the seller – and I acquired this eccentric item for a mere $12.Graphic designer Randy Dahlk writes the following:

From the Retro Randy blog, a post from January 23, 2009 (bold-faced type added for emphasis):

FROM THE BOX: Quo Hoon Brand.
Endorsed by Jack Tenrec and Hannah Dundee.
As seen in the hit funnybook Xenozoic Tales.
This could be the best play set ever.
 
 

“Each year for the San Diego Comic-Con, with Mark’s blessing, I’ve tried to create special limited edition products related to Xenozoic Tales. Each item is created in extremely small quantities, and is signed and numbered by Mark. Two years ago we presented this Xenozoic Tales Playset. 

Marx Toy Company created fabulous play sets from the 1950’s through the 1960’s. They usually contained hundreds of figures, along with buildings, vehicles, terrain, and creatures. They were quite likely to be the highlight of any Christmas during that period of time. 

Even though Xenozoic Tales didn’t exist then, it seemed like if it did, it would have been a good prospect to become a play set. So instead of a Marx play set, we created a Mark’s play set. This was a tribute to that era, and an attempt to recapture the excitement of Christmas morning. This was fun to try to approximate the feel and style of the packaging of those Marx play sets. This was designed in an edition of ten, it came with 4 people, 4 dinosaurs, a palm tree, and a rocky wall. I know that I can speak for myself when I say that this has given me hours and hours of quality play time.”

I had stumbled across an item created by a friend of Mark Schultz, sold at San Diego Comic-Con in 2007, and produced in a limited edition quantity of TEN. Whether it’s in demand or not to me is irrelevant – it’s still a really neat and very rare piece of Xenozoic Tales history.

In breaking down the play set, it really doesn’t have much that’s exciting inside the box – as Retro Randy himself writes, it has those (really bad) dinosaurs that you’d find in a plastic bag at the dollar store, along with a plastic wall, four soldiers, and a palm tree. But it’s not the contents that are important – it’s the retro-design to the box which makes this a bookshelf keepsake.

Judging from the photographs in the eBay auction, I’m not sure if this is one of the original ten that were produced. The signature does not appear to me to belong to Schultz. Plus, I’m not sure if the tag is numbered. The reverse side of the tag isn’t pictured. (EDIT: This is indeed one of the ten – it’s #8! Everything looks great! To break everything down: $12 for Mark Schultz autograph AND a limited edition Xenozoic product. JACKPOT!)

If you aren’t familiar with Xenozoic Tales or its successor, Cadillacs & Dinosaurs, I’ve included the Wikipedia entry for the franchise below.

As always, I am….Wally (AKA Paint Monk)

About Mark Schultz and Xenozoic Tales
(From Wikipedia, with links intact)

 
Xenozoic Tales (aka. Cadillacs and Dinosaurs) is an alternative comic book by Mark Schultz set in a post-apocalyptic future.[1]Originally published by Kitchen Sink Press, the series began in 1986 with the story “Xenozoic!” which was included in horror comics anthology Death Rattle #8. 
 
This was shortly followed by Xenozoic Tales #1 in February 1987. Kitchen Sink published 14 issues between 1987 and 1996 and it has since been reprinted by several publishers, including Marvel Comics, Dark Horse Comics, and Flesk Publications.
The series was well received and in the early 90s it won four Harvey Awards[2] and three Eisner Awards.[3] Despite this however issues started to be released further apart, eventually ceasing mid story arc in issue 14.
Xenozoic Tales also proved moderately successful under the title Cadillacs and Dinosaurs and spawned an animated series on CBS,[4] an arcade game from Capcom, a Sega CD video game from Rocket Science Games,[4] action figures, candy bars, and a Twilight 2000 system role-playing game.[4]
The comic book reprints from Kitchen Sink and Marvel, and the continuation from Topps Comics, also used the Cadillacs and Dinosaurs name. The title “Cadillacs and Dinosaurs” and the likenesses of classic Cadillac automobiles were used with the consent of General Motors, who holds the phrase “Cadillacs and Dinosaurs” as a trademark and has licensed it for the comic, the videogame and the animated series.[5