“Conan saves a woman and her mute companion but soon learns they are not without resources of their own. Escorted to a land above the clouds by a princess on winged pegasi, the Cimmerian will soon come face to face with the ‘goddess’ who protects them and who allows them to live in their world high above the earth.”
(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) #121.)
By BOB FREEMAN — Paint Monk’s Library Writer
“It was TOTALLY INTIMIDATING following Roy Thomas on CONAN. I had such incredible respect for his work on that book (and everything else he did) that I was like a deer in the headlights, measuring every word, wondering if it was Thomasworthy!”
– J.M. DeMatteis
Conan works best not as a fantasy, but as a force of nature present in the genre that was given birth by his creator — sword and sorcery.
What’s the difference?
The wiki definition of fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. Magic, the supernatural, and magical creatures are common in many of these imaginary worlds. It is a story that children and adults can read.
All well and good.
As for sword and sorcery, the dictionary definition calls it, a genre of fiction characterized by heroic adventures and elements of fantasy. The wiki response takes this a bit further, calling it a subgenre of fantasy characterized by sword-wielding heroes engaged in exciting and violent adventures.
For me, the best sword and sorcery strays far and wide from more whimsical settings, and I think that may be where JM DeMatteis gets into trouble. DeMatteis has a tremendous imagination, but he leans heavily on the side of whimsy and high fantasy, whereas Conan’s element shines brightest in street-level grim and gritty.
Conan tales are intelligent without being cerebral. They are visceral and primordial, kinetic, and lustful… Sometimes a great writer is an ill-fit, but I do appreciate the effort.
Review: Conan the Barbarian (Vol. 1) #121
Conan strolls through the city with a pair of Korshemish prostitutes when they come upon a gang of bandits attacking a woman and her towering companion. Conan enters the fray, easily dispatching the villains. Conan is introduced to Prem, and her mute brother Atreah. The mute thanks Conan for his assistance, but Prem says it was unnecessary as they could have handled the brigands on their own, proving so when she calls forth sentries astride pegasi.
Prem invites Conan to fly with them, and although hesitant to interact with this sorcery, givens in and rides with them to the floating city of Mreead-Za.
The pegasi land, where they are welcomed by Prem’s father, King Pragma. Princess Prem desires to keep the Cimmerian as her own, so the king uses magic to render Conan unconscious. When he awakens, Conan has no memory of his former life, believing his name is Kalna-Faker, betrothed to Prem.
Conan is led through the city as Prem “reminds” him of how their stone-age ancestors were raised to the clouds by a goddess. He is accepted by all he meets, but when he enters the sparring arena, his barbarian nature is not so easily subdued by the magics that have clouded his mind.
Later that evening, they don black robes and Prem takes Conan into a ritual chamber where Atreah is bound to a sacrificial altar. Conan is uneasy as the ritual proceeds. Prem explains that Atreah has escaped before, but then a gust of wind blows through the chamber and Atreah disappears. Conan becomes enraged, demanding the wizard tell him what has become of the mute. The Cimmerian is told to seek Atreah by following the Road of Black Jade.
Conan secures a black pegasus and takes to the sky, riding through black smoke for days until he come to a volcano, the home of the goddess that granted them paradise. He makes his descent into the depths of the volcano, taunted by the goddess’ face in the lava. Conan sees giant bug-like creatures carrying Atreah and follows after them.
Conan attacks, hoping to rescue the mute, but the goddess emerges from the fiery pit, lashing out with her tentacles. Conan strikes true into the goddess’ heart and she falls back into the lava as the Cimmerian’s memories are restored.
He collects Atreah and they take flight, but the people of Mreead-Za are devolving as the city crumbles around them. Conan and Atreah return to earth just as the black pegasus disintegrates like everything else the goddess had fashioned.
CAPSULE REVIEW: This is one of those instances where Conan is shoe-horned into a great story that he has no business being a part of. It just doesn’t feel like a Conan yarn, because, quite frankly, it isn’t. It is a great fantasy tale, however, and I respect what DeMatteis was trying to do here. It just rings false for the Hyborian Age and Conan in particular.
As for the art, here we see Bob McLeod embellishing John Buscema’s pencils. McLeod has always been hit or miss with me, but in this instance, I find the art quite enjoyable. I suspect Buscema turned in tighter pencils for McLeod to work with.
I’d rate this issue 6.75 out of 10 Skulls of My Enemies.
“Conan’s female companion Jenna has cheated death numerous times, and now the Hand of Erlik comes to claim her! But no matter how hard Conan tries, this adversary is immune to his sword-strokes. Can Jenna’s feminine wiles charm the servant of death, or will she finally meet the demise she has eluded for so long?”
(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) #120.)
By ANDY
MAGLOTHIN – Paint Monk’s Library Writer
Traveling down a winding road through Shem, Conan and Jenna are startled by the sudden appearance of ghostly, vaporous forms. They hear the sounds of a flute, causing the apparitions to move along with the music. They discover the source of the melodies…Vonndhar, self-proclaimed servant to Erlik, God of Death. Vonndhar expresses his desires for Jenna, but Conan is not about to let her go. Vonndhar challenges Conan to a sword duel which ends with what Conan thinks is a fatal blow.
Vonndhar’s body is on the ground, yet he appears suddenly and explains why he is after Jenna. She survived Myya L’rrasleff’s mystic plague and Erlik wants to understand how. Taking advantage of the distracting conversation, Jenna flees the scene. She finds a camp of brigands lead by Okkan and convinces them she just escaped from a wealthy prince and his servant. Okkan and his crew immediately decide to follow her to find the prince and rob him of his wealth.
Okkan, Jenna and the crew ambush the “prince and his servant” to discover they face Conan and Vonndhar. The ambush changes to a battle between the brigands and the pair of Conan and Vonndhar who quickly kill many of the men. Realizing he’s been had, Okkan calls off the attack and once again Jenna flees the scene. One of the brigands catches her and returns her to the group. Okkan explains there is a war between Akkharia and Pelishtia and convinces Conan and Vonndhar to join them in an attack on the Pelishtia caravan with the intent of stealing their gold. Never one to turn down an opportunity for gold, Conan agrees to join them in the attack.
The new team rests for the evening and Vonndhar describes his origin. He was around in the times of King Kull; before the oceans drank Atlantis. Vonndhar was killed on a battlefield and offered eternal life by Erlik, AKA Death. Vonndhar accepted Erlik’s offer and thousands of years later, he’s relaying this story to Conan and Jenna. During the course of the night, Jenna and Vonndhar’s attraction to each other lead to them sharing some “quality time” adult-style. (Yikes, and Conan was right next to them…ouch!) Jenna awakens in the middle of the night and sneaks away from Vonndhar yet he suddenly appears and she realizes the magnitude of his power.
The next day, prepared for the ambush, one of the men lie on the ground with Jenna pretending to cry over his dead body. They were in the path of the oncoming Pelishtian caravan to stop them long enough for Conan, Vonndhar and the brigands to attack. The Pelishtian group then reveals their tarp covered trailer is actually filled with soldiers who spring into action. Who has the advantage now? Despite having multiple arrows in his torso, Vonndhar’s attack continues to the surprise of the Pelishtians. Their shock provides Conan the window to attack and between he and Vonndhar make quick work of the men.
At the conclusion of the battle, Jenna walks next to the horse-drawn cart which inexplicably flips; landing on her. Conan lifts the cart, freeing Jenna’s body and they realize she is dead. Vonndhar cries out to Erlik blaming him for the deception. Erlik offers to bring Jenna back: and does so at the expense of Vonndhar who dies in the deal. Jenna does not understand why Vonndhar agreed to this and Conan explains he was in love with her and she still does not understand. This enrages the Cimmerian who leaves her with the dead bodies, stranded to find her own way.
CAPSULE REVIEW: A bland cover sets the stage for a slightly above-average issue. Protecting Jenna, Conan is about to face off against Vonndhar featuring the script “When the God of Death Beckons, Even Heroes Must Fall!” I expected the God of Death to look more menacing than Vonndhar. With the combination of an orange shirt with yellow sleeves, yellow pants and thigh-high red boots with heels, Vonndhar looks he just left the audition for a fast-food chain mascot.
Issue 120 is the fourth issue into J. M. DeMatteis’ run on the Cimmerian and it presents a great balance between character development and action. I enjoyed Vonndhar’s origin and it left me wondering if he appeared in any issues of Kull. The deal with Death was a great part of the character, but of course it comes with consequences: you end up in a yellow suit with thigh-high red boots. Remember that folks – there are some fates worse than death.
Conan’s fighting abilities are on display in this issue with his overwhelming abilities taking out many normal people. DeMatteis also shows off Vonndhar’s fighting skills when he battles Conan. One wonders had Jenna not been pinned under the cart, would Conan have been able to defeat Vonndhar? I also enjoyed Conan’s ongoing frustration with Jenna. She takes off on multiple occasions and Conan puts his neck on the line for her one too many times. Abandoning her to deal with the mess she created at the end was a great touch. We’ve all been there – sometimes you just need to walk away, right?
The artwork is the low point of this issue: specifically the coloring. Have I mentioned the eyesore that is Vonndhar? If I’m missing something, please explain it to me, but that was just bad. The team of John Buscema, Bob McLeod, and George Roussos left me thinking I’ve seen better comics featuring our favorite Cimmerian. Issue 120 is the second issue featuring the Buscema’s pencils and McLeod’s inks and shows it takes some time for a creative team to perfect their version of a character.
Many of the panels feature blank backgrounds, so they provide little depth and texture in the images. There are some standout moments like the silhouette of battle behind Vonndhar as he is dying on the battlefield and when Vonndhar and Conan are ambushed. Finally, I think the character’s facial features stood out, especially the brigands, allowing the reader to easily discern characters.
On a scale of 1-10, I give it 6.5 Aquilonian Luna.
“Conan feels a brooding and malevolent presence watching him from the darkness, and he’s in no mood to celebrate despite recently reuniting with a long lost flame. As the mysterious entity from the shadows reveals itself, our barbarian is drawn into an interdimensional confrontation by a member of his own family!”
(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. Installments of the countdown appear weekly on Wednesdays. This is a review of Conan the Barbarian (Vol. 1) #119.)
By WALLY MONK — Paint Monk’s Library Editor
J.M. DeMatteis’ run on Conan continues in this issue, and somehow, his take on the Cimmerian just seems off. DeMatteis is an extremely talented writer, but as other Librarians have mentioned here, he just never seems to get the nuances of Conan to shine through in his work.
Perhaps following in the shoes of Rascally Roy Thomas was a daunting task, or possibly readers had become too familiar and comfortable with Thomas’ style. But from my perspective, DeMatteis just tried too hard and failed to connect with the concept of sword-and-sorcery. Much of the writer’s work on Conan seemed to cross the line of high fantasy, and there are stark differences in the two (albeit similar) genres.
The one thing consistent about Conan – at least for a few more issues – is the artwork of John Buscema, inked here by Buscema and Bob McLeod. It’s that consistency that makes this an enjoyable tale, although this particular story might have been better if it were written for a generic fantasy hero.
Review: Conan the Barbarian (Vol. 1) #119
Conan, reunited with his long-lost femme fatale Jenna, observes the celebrations in a local city following his defeat of Myya L’rrasleff (see Conan the Barbarian #118). But the barbarian is in no mood to celebrate, as he later reveals that he’s felt a presence watching him from the darkness.
Jenna wants to participate in the revelry; Conan does not, so she bids him adieu until a drunken patron wantonly makes a pass at her. Instead of enjoying the company of the intoxicated sot, she pursues Conan, and soon the pair are sitting at a campfire outside of town. Jenna promptly passes out from too much wine.
Conan reminisces about his grandfather Drogin, one of the few people for whom the Cimmerian becomes emotional. Drogin, he recalls, was a strong man who taught him how to fight and how to survive. The barbarian remembers Drogin walking into the snowy Cimmerian wastes to die as he approached old age. Conan even stifles a tear, glad that Jenna is not awake to observe his reactions or hear his emotional talk.
As Conan sits by the fire alone, the presence reveals itself. A middle-aged man appears, claiming to be none other than Drogin himself. The Cimmerian, always distrustful of magic, accuses the stranger of being a demon-spawn or wood-sprite. But within a few moments, Conan realizes that this person is indeed his long lost grandfather.
Grandpa came back for a reason, though, as Conan soon learns. Drogin tells Conan that he must follow him to the “place where he dwells” and leads the Cimmerian to a shimmering portal. Our barbarian, sensing that Drogin is truly his grandfather, listens to the demanding tone of his elder and obeys.
On the other side of the portal, Conan and Drogin enter a nightmarish dimension where reality seems to shift. The pair eventually find themselves in a luxurious palace and throne room, where a morbidly obese man named Ravenna is seated.
As Drogin begins to speak, Conan learns how Ravenna saved his grandfather from death in the frozen wastes and instead gave him a new life in the strange dimension where he knew luxury and every pleasure possible. But now, it seems Drogin wishes to be released from this life – and has selected Conan as the one who will fight for his freedom.
Who will Conan have to fight for the release of his grandfather to the oblivion he so desperately seeks? Or is something far more sinister afoot at the hands of the barbarian’s long lost relative and the bulbous Ravenna?
CAPSULE REVIEW: Well, before I even try to critique the story, the premise here is troubling. Conan is no fool when it comes to magic, and this is where “the J.M. Dematteis thing” I was talking about comes into play. There is no way – evidence or not – that Conan would follow his dead-but-now-living grandfather through a magical portal. It would be tough to get Conan to follow his living grandfather into such a thing had he never perished in the first place! Despite several attempts by the author to justify Conan’s behavior in the narrative, I just don’t buy it as a reader.
The ending to the story is a common trope and the manner in which DeMatteis arrives at the finale is troubling, rather cliche, and in full disclosure, sadly uninteresting. It’s clear the author may have lifted the plot here from Conan the Barbarian #1, (SPOILER ALERT!) where the Cimmerian is destined to be a new host for a different, otherworldly entity. This time around, the tale fails badly.
Gird your proverbial loins, as we have 11 more such issues to shuffle through before a new scribe applies his writing hand to the Conan title. Thankfully, some of the upcoming issues are salvaged by the fantastic artwork of Gil Kane.
To reiterate, my criticism of writer DeMatteis is not that he is incapable; on the contrary, he has a sizeable comics resume, is well-respected, and very talented. This has been proven in much of his other work, including Marvel’s The Defenders and Captain America as well as DC’s Justice League. He just doesn’t tackle Conan well at all.
On a scale of 1-10, I’d rate this issue a 5. If it were a generic barbarian and not a Conan story, I’d bump that up to a 6.5.
May 25th, 2020 Editorial, News, ReviewsComments Off on EDITORIAL: Smith-Thomas Run Revisited, COVID-19 & More
(EDITOR’S NOTE: Welcome to Musings from the Monk, a semi-regular column written by the chief archivist and comic nut who organizes Paint Monk’s Library. Expect bloviations on many topics here, from comic books, pop culture and current events to reviews, random thoughts, and sometimes, things that are even relevant.)
By WALLY MONK – Paint Monk’s Library Editor
Welcome to Musings from the Monk! If you’ve made it this far, then I’m off to a rousing start. This is the space where I’ll keep everyone informed with news, snippets and what’s going here at the monastery library. Sometimes it will be a short little update, other times I plan to ramble like I will today.
Your thoughts, opinions, and insights are always welcome. You can comment on any article here at Paint Monk’s Library using your Facebook or Google accounts. I look forward to hearing from you, and maybe even building a little community here in a dusty nook near the bookshelves.
Classic Conan Countdown Resumes May 27th
I’ve received several emails from readers the last week inquiring about the absence of recent installments of our Classic Conan Countdown. This feature will begin again this coming Wednesday with a review of Conan the Barbarian (Vol. 1) #119 by yours truly.
A review of Conan the Barbarian #119 coming soon!
I can’t lay blame here on any librarian but myself. In the course of my day-to-day work and other obligations, I’ve lost many of the advance reviews I had already written and have been re-writing many of them as I go – and Conan #119 is one such victim. Bob and Andy have both done an admirable job staying ahead of things, and I, sadly, have not.
A Familiar Face Returns to the Library
As the Library looks to resume regular posting and roll out some new features, I’m pleased to welcome back Dean Plakas to the fine group of scribes here. Dean was one of the first volunteers to begin writing with me here on the blog and was a regular contributor to the Classic Conan Countdown, with occasional feature stories and interviews also. He has also graciously contributed artwork to the blog, including the logo and banner for the Conan countdown.
It’s great to have him back, and I hope you all give him a warm welcome. In the meantime, keep an eye out for the launch of Into Skartaris! – the Warlord chronology in review. Dean has graciously volunteered to head up and organize that particular project.
A Tentative Schedule as Posting Resumes
Assuming that I can get ahead once more on editing, my hope is to have a weekly schedule as follows:
Mondays – Moon Knight Chronology Reviews
Wednesdays – Classic Conan Countdown
Fridays – Into Skartaris! Warlord Chronology Reviews
Tuesdays, Thursdays and the weekends will be left open for reviews of new comics (Conan the Barbarian, Red Sonja) as well as interviews, columns by our bloggers and this Musings column.
Check out the Reviews of Conan #1-24
As of this afternoon, the first 24 installments of the Classic Conan Countdown have been re-edited and re-formatted from our old eBlogger site and are now “fit to read” here on WordPress. You can now read complete reviews of the entire Roy Thomas – Barry Winsdor-Smith run on the site by clicking here, without worrying about misformatted pages and weird objects stuck in the middle of each page.
“TO CUT AND TO BLEED! The epic continues. Sonja The Red can save her kingdom…by abdicating her throne.
If she agrees to lead a man’s army, and kill indiscriminately, then her people will be fed.
By MARK RUSSELL (DC’s Year Of The Villain) and BOB Q (Captain America). ”
By BOB FREEMAN – Paint Monk’s Library Writer
It’s no secret that I love Howard’s Hyborian Age, and while the character only marginally could be considered a creation of the Texas-born author, Red Sonja fits into the landscape beautifully.
Roy Thomas was very skilled at adapting characters and repurposing them into Conan’s world. Sonja is no exception. Part Dark Agnes, part Sonya of Rogatino, Red Sonja, metal bikini notwithstanding, is a strong female character that can stand toe-to-toe with the best sword and sorcery icons in comics.
Which is why I have been such a fan of Dynamites current Red Sonja series. Sure, it has a few warts, but overall, it’s a comic that utilizes all of the strengths that Thomas crafted into the character and, under Mark Russell’s stewardship, develops and enhances not only Sonja but the Hyborian Age itself.
This book focuses on political intrigue and hard choices, and the consequences thereof. While some of the humor is off-putting for me, personally, it is the balance of character and plot that keeps me coming back for more.
Flashbacks are used to tell a tale of political intrigue.
Issue 15 is no exception.
It begins with an intriguing cover by Jae Lee, depicting Sonja as both fierce and delicate. I like the contrast and it certainly makes one want to pick up the issue, despite the static nature of the composition.
Inside, the illustrations of Bob Q blend well with Dearbhla Kelly’s colors. It’s not a comic filled with rich, vibrant detail. The focus is on the characters more than the landscapes. Being a bit longer in the tooth, I long for the dynamic artistry that used to fall from the pencils of folks like Big John Buscema and Barry Windsor Smith, but I appreciate what Red Sonja is offering because it is the story that drives the action.
Russell is weaving a narrative, utilizing flashbacks, to direct a tale of hard choices, in which the lessons of the past influence Sonja in the present. As I stated, this is a book about political intrigue, first and foremost, with a bit of swordplay thrown in for good measure.
It’ a strong comic with a unique take on the character. Red Sonja is certainly recognizable to the long-time fan, but Russell’s approach is a breath of fresh air.
My only complaint is the humor which is a bit hit or miss. Everything doesn’t need to be “Guardians of the Galaxy” but that seems to be where we’re at…
Anyway, I give this issue a solid 7.5 skulls of my enemies. It’s a comic well worth picking up.
(EDITOR’S NOTE: Paint Monk’s Library, in collaboration with the enthusiastic staff over at the Into the Knight Podcast, is tackling the Moon Knight chronology! Each week we’ll take an in-depth look at the Fist Of Khonshu in a series of reviews, all in order of character appearance! These reviews will appear on Monday each week until we’ve covered them all, or until the enthusiastic Loonies get too exhausted to write. Whichever comes first!)
By REYNALDO G. – Guest Writer
Overall, the Moon Knight back-up story, “Graven Image of Death” in TheHulk! Magazine #11 proves to be an entertaining read, evenly complemented by both writing and art.
There are shortcomings in the writing, and often there are too many elements shoved in. The dialogue of Moon Knight and the supporting cast are consistent and satisfactorily varied. The plot may be over baked, but the story itself is engaging and the art doesn’t hurt the overall reading experience.
It’s apparent that writer Doug Moench is having fun with not only the character of Moon Knight but with the world-building that frames the Fist of Khonshu. Investing time to create supporting characters like Curt from the Sun-Times (whom I can only assume was replaced by Detective Flint in Moench’s 1980 title series) and villains such as Anton Varro, Joel Luxor, and Fenton Crane enrich and add tone to the world into which we are drawn. It’s a world that appears in perpetual night.
Synopsis: The Incredible Hulk! #11 (Moon Knight tale)
Moon Knight scours the streets of New York in search of a killer. Three murders have occurred, and Moon Knight eyes a shady customer he believes to be behind at least some of them. Before he can glide down on his cape to apprehend the suspect, the man pulls a gun on a spectacled individual walking out of an office and shoots him dead. Moon Knight can only watch as the man empties the victim’s pockets and flees. Rather than chase him as Moon Knight, the caped avenger restrains himself and flees in the other direction, intent on catching the perpetrator a different way.
The killer finally stops running and hails a cab to hasten his retreat. He gets in and is greeted by a chatty driver, who introduces himself as Jake Lockley. They arrive at the mansion of Joel Luxor and just as the man is about to begrudgingly pay the fare, Lockley shocks him by calling him out as a murderer.
Before the criminal can react, Lockley removes his attire to reveal Moon Knight underneath and he launches himself at the villain, finally pinning him to a tree with a crescent dart. Moon Knight questions him and it’s discovered that the man was hired by Luxor (owner of the mansion where they have arrived) to kill the poor victim in the street and retrieve a key he was carrying. Moon Knight grabs the key, ties up the criminal and leaves him in the back of the cab as he goes to investigate.
Luxor is seen with an associate playing pool when Moon Knight crashes their game. Busy with Luxor’s associate (who it turns out is his bodyguard), Moon Knight cannot prevent Luxor being shot by a bullet from outside. It kills Luxor but not before the sniper fires off another bullet into the wall nearby.
Moon Knight calls in Marlene to assist with the case – he asks Marlene to come to Luxor’s mansion and search for anything suspicious before calling police to report the murder. Before leaving, Moon Knight pries out the bullet lodged in the wall and discovers it’s an old fashioned round and most likely fired from a musket. With bullet and key in hand, Moon Knight races outside but is surprised to see his cab (and the criminal in it) gone. The Fist of Khonshu calls on Frenchie to pick him up and take him to the Fourth Estate – that being the Sun-Times Newspaper Office.
Moon Knight arrives at the Sun-Times and pays a visit to one of his contacts there, a man named Curt. It happens that the key that was stolen and intended for Luxor belonged to a storage unit at the newspaper’s office.
Curt takes Moon Knight to the locker of Jim Polhaus (a features writer) and it contains a manuscript detailing a statuette of Horus and how Luxor intends to claim it. It goes on to say that the statuette is in the personal care of Fenton Crane, an assistant curator at the museum. Frenchie takes Moon Knight to the museum, and Moonie suspects that the authentic statuette is in Crane’s hands, and a fake is being exhibited to the public.
His suspicions prove correct and Moon Knight’s detective work also reveals a missing musket from the wall – the same sort of gun that could have been fired upon Joel Luxor moments ago. With suspicion mounting, Moon Knight asks Frenchie to take him to Crane’s apartment in the hope of finding more clues, or even Crane himself.
Crane’s apartment is empty – there is no sign of him or the statuette. Finally, Moon Knight checks the closet, where out falls the unnamed criminal Moon Knight apprehended earlier, still bound and gagged.
It turns out he wasn’t contracted by Luxor, but by another rival collector, Anton Varro. Luxor had contracted Crane to kill Polhaus in order to retrieve the key, but Crane was beaten to it by the unnamed criminal, now lying bound at the feet of Moon Knight. Convinced that Crane doesn’t have the statuette, Moon Knight leaves the bound criminal to the police and heads for Luxor’s mansion once again. It’s the only place Crane would go, after all, if he’s in search of the statuette. With Marlene there investigating on his behalf, Moon Knight fears for her safety.
Just as the Fist of Khonshu arrives, he hears a gunshot from inside the mansion. Marlene stands in terror, with a gunshot wound to her arm and a crazed Fenton Crane, armed with a musket, bearing down on her. He demands she tell him the whereabouts of the Horus Statuette or the next shot will be her death!
REVIEW & FINAL THOUGHTS: What is immediately apparent when reading this issue of The Hulk! Magazine is how a great pulpy vibe is created; it’s put together not only through fluid art but also Moench’s grounded writing.
Moench has gone on the record to say that he much prefers the non-powered superheroes (the likes of Batman and Shang-Chi come to mind) and Moon Knight is no different. You could almost replace Moon Knight here with a hard-nosed sleuth and it would still make a good read. Moon Knight tails a suspicious perpetrator; he has connections in the press by way of Curt at the Sun-Times, and he partakes in the occasional fist fight. Nothing makes him stand out from any other hard-boiled detective at work in a city that never sleeps.
There are glimpses of the fantastic – Moon Knight’s outfit for one is as striking as ever, and the use of his gliding cape paints him out as something more than human. But, for the most part, Moench keeps Moon Knight’s nose to the ground, to do all the detective work for us.
Unfortunately, detective work is much needed as Moench overreaches with the plot in this issue. For me, there are far too many double takes and twists.
Take, for instance, the first encounter Moon Knight has with Luxor at his mansion. It seems pretty straight forward that the killer on the street Moon Knight apprehends at the mansion works for Luxor. There has also been a spate of murders too, so again it seems the murderer is tied to this directly.
That’s not the case, as it appears another killer is out for Luxor. The killer whom Moon Knight apprehends, in fact, does not work for Luxor but is actually a rival, Anton Varro. Luxor and Varro are also after a Horus Statuette which as we read, has also a fake version and that museum curator Fenton Crane may possibly have switched the genuine article for the fake.
And what of the key that sets off this chain of events? Moon Knight has to figure this out too, and it turns out the key is connected to a Sun-Times journalist, Jim Polhaus, who wrote code into his article which reveals information about the Horus Statuette…Fenton turns out to be a partner of Luxor too, but it turns out that Fenton may have double-crossed Luxor too by selling him the fake, instead of the real one that both he and Luxor had originally agreed upon …. confused yet?
Upon re-reading, the pieces do seem to fall into place. For anyone reading this issue for the first time, you’d be excused for being lost among the cast members who seem to make up the whole conspiracy. Still, the story is a testament to Moench and his ability to introduce multiple layers to a story. He doesn’t quite get the mix right here, but this tale is one of his early works, and his writing becomes much more refined over the years.
The premise for the Hulk! Magazine featuring a Moon Knight back up story was perhaps two-fold; first, it allowed the House of Ideas to promote a lesser-known character by piggybacking their story with that of a proven success. Secondly, featuring Moon Knight allowed for a nice contrast and offset to the more extravagant and superhuman stories of Bruce Banner’s alter ego.
(EDITOR’S NOTE: Paint Monk’s Library, in collaboration with the enthusiastic staff over at the Into the Knight Podcast, is tackling the Moon Knight chronology! Each week we’ll take an in-depth look at the Fist Of Khonshu in a series of reviews, all in order of character appearance! These reviews will appear on Monday each week until we’ve covered them all, or until the enthusiastic Loonies get too exhausted to write. Whichever comes first!)
By REYNALDO G. – Guest Writer
It’s always great to see Moon Knight step out of the shadows and team up with other heroes in the Marvel Universe, and this romp with Spider-Man is no exception.
Picking up where Peter Parker, The Spectacular Spider-Man #22 left us, this installment – “Guess Who’s Buried in Grant’s Tomb” – has plenty to offer. Not only do we learn more about Moon Knight and his place among the heroes, but we are kept mesmerized by the relationship dramas that are synonymous with Spider-Man comics.
But first, it’s Spider-Man and Moon Knight versus the French villain Cyclone!
Synopsis: Peter Parker, The Spectacular Spider-Man #23
The Maggia’s assassin, Cyclone, has Spider-man and Moon Knight under his thumb as he tosses them like rag dolls with his hurricane-force powers. As Spider-Man desperately grasps for purchase on a nearby wall, Moon Knight attempts to lunge unnoticed at Cyclone. But the devious villain is too quick, and before Moon Knight can make an impact on his attack, he is hurled blocks away with a mighty gust of wind. With Moon Knight gone, Spider-Man rushes at Cyclone in the hope to incapacitate him. It seems the two have unfinished business. Cyclone is bitter at the Web-Head for sending him to jail last they met – and it’s Cyclone who is adamant that their confrontation won’t end in the same result.
Calling upon more wind and breezes than ever before, Cyclone appears to defeat Spider-Man in a torrent of gusty force, and as the dust clears, Spider-Man is no more. With both heroes defeated, there’s only one loose end to tie up, and much to the other assassins’ dismay (that very same assassin pinned to a nearby payphone by Moon Knight’s crescent dart), Cyclone puts an end to him too.
Not long after Cyclone leaves the scene, Spider-Man pops up again from under a manhole. It seems the wall-crawler managed to hide underground during the colossal winds that Cyclone conjured. Spidey discovers the dead assassin and reproaches himself for not being able to save him. Moon Knight also re-appears. Having swung back after being blown blocks away, Moon Knight calls a truce with Spider-Man and they both agree to team up to take down the Maggia.
In a brief shifting of the scenes, we’re treated to snippets involving the White Tiger and the lament for his love, Holly Gillis; Mary-Jane Watson briefly dating an uninteresting Marty, and Betty Brant pining for her love Ned. All of these ongoing storylines are briefly covered before we return to the action with Spider-Man and Moon Knight.
Still a bit wary of each other, Moon Knight offers Spider-Man a ride to his secret headquarters (that of Grant Mansion) which is shrouded in man-made fog. Moon Knight quickly greets Marlene before rushing out to escort Spider-Man to his Command Center. It’s a high-tech, elaborate lair which shows Moon Knight has been tracking the Maggia for some time. With a clue taken from the dead assassin and Moon Knight’s scale model of New York City, the duo deduces that the Maggia must be hiding in Grant’s Tomb – a historic monument in New York. After a quick trip to the Mooncopter, the Web-Slinger and White Eyes arrive at the Tomb and peer inside.
Their hunch proves fruitful as they see the Maggia – and Cyclone – inside. They are waiting for Big M – their leader and someone as yet unseen. With a little pre-planning complete, Spider-Man and the Fist of Khonshu crash into the tomb, taking the Maggia by surprise. The fight is on as both Spidey and Moony prove to be a handful for the roomful of cutthroats. Cyclone joins the fray, but in haste to use his wind-generating powers, he causes cause just as much trouble for his own men as for the two heroes.
During the fracas, one of the tombs discreetly opens and in the shadows, Big M lurks. He still remains a mystery, as he quickly decides to avoid the conflict around him and returns to the tomb before being seen.
The Maggia members eventually try to escape the heroes and the strong winds summoned by Cyclone. But he exits to the premises are already locked – Spider-man and Moon Knight had seen to that before they instigated their attack.
With the Maggia beaten, Cyclone is the last man standing and it’s Moon Knight who has the solution. Previously, Moon Knight had consulted with Stark and had been given a weapon to counter Cyclone. Moon Knight hurls a silver capsule at Cyclone’s feet and the liquid gases immediately have an effect. Cyclone is disorientated at the immediate drop in temperature. Rapidly heading into shock, Cyclone stumbles and then becomes victim of his own contraption. He is flung hard against a wall by the whirling winds and with a ‘KRUMP’ he’s knocked out.
Another day, another victory for the heroes.
REVIEW: Bill Mantlo’s script and Jim Mooney’s art set a good pace for the issue and things pick up immediately where things left off after issue #22. Moon Knight and Spider-man put their differences aside, taking on the super-powered villain and for me, there’s always something utterly indulgent in seeing Moon Knight fight villains way above his pay grade.
Granted, he has Spider-Man alongside him, but the willingness to stare danger in the face is one of the defining qualities of Moon Knight. Mooney’s layouts are jam-packed and a marked difference to what some readers are used to today. Mooney’s action panels are claustrophobic, to say the least, and serve well to create a feeling of a close-quarter fight which is very much what is created in the fight with Cyclone. Spider-man and Moon Knight are cornered in an alleyway with intense and dangerous winds generated by the villain. One would feel a little pinned down by the situation and Mooney captures that perfectly.
Moon Knight doesn’t last too long in the fight (well, it is a Spider-man book after all!) and Spider-man is beaten too, which leaves Cyclone free to deal with the Maggia assassin who proves to be a loose thread to Big M. It’s interesting to compare this 1978 issue with comics of today, as Cyclone is portrayed as quite ruthless when he murders the assassin in cold blood. Perhaps it’s the classic style of writing and art which belies the tone of some of the characters, who would be better visualized by a grittier, darker art.
The middle section of the issue is dedicated to no less than four quick-fire dramas involving Spider-Man supporting cast and characters. Hector Ayala (White Tiger), Holly Gillis, Mary Jane Watson, and Betty Brant are all given moments to flesh out their relationship woes. For me, this is part and parcel of Spider-Man and what makes his book largely appealing. Although it has no bearing on Moon Knight, it’s a nice interlude that allows the two protagonists to reconvene at another location for the later part of the issue.
Mantlo pays respect to the short history which has been set up for Moon Knight so it’s good to see that Moon Knight’s estate and secret entrance are kept intact. What is interesting is how Mantlo has Spider-Man deal with this little corner of Moon Knight’s world. Initially having meant to follow Frenchie to meet Moon Knight inside, Spider-Man goes it alone and to Moon Knight’s surprise, Spidey is ready and waiting at their agreed-upon meeting point.
This is important, as it furthers the aspect that Marvel characters do not entirely trust Moon Knight. In fact, early on in the issue, this is called out repeatedly by Spider-Man. Mantlo consolidates this even more by reiterating the fact that Moon Knight does not trust Spider-Man (or other heroes for that matter). Although they eventually end up teaming up at the finale of the issue, it’s an important point. It keeps Moon Knight at a distance and it’s something we see in characters like the Punisher (the first appearance of the Punisher in 1974 predates Moon Knight’s by about a year) where the vigilante gains popularity and prominence. Moon Knight was one of the first introductions of the vigilante and a new breed of the superhero for decades to come.
Another fun aspect fleshed out here by Mantlo is the ‘War Room’ of Moon Knight (which incidentally we don’t ever really see developed, though it does come back in the 2006 Huston run and the Bendis run in 2011). If ever there were similarities made with a certain Bat-themed character from the Distinguished Competition, then Moon Knight’s War Room again seems to be a nod at this. Complete with various computers and terminals, the War Room sports a scale model of New York City, which is fortunate; it prompts Spider-man to connect the dots and make a HUGE guess that the villains are convening at Grant’s Tomb.
Part of the fun of reading these older comics is that the writing is clearly from another era and willingness to suspend disbelief is at a premium. Today’s savvy readers scrutinize plots a whole lot more. Today’s readers might take issue with Spidey finding a tourist guide in the back pocket of the now-deceased assassin whom Cyclone killed; or the heroes finding a circled image of Grant’s Tomb. They’re all a stretch…but they’re fun ones to read.
As the mistrust for each other slowly fades, both Spider-Man and Moon Knight manage to successfully coordinate a team-up at the end of the issue. It’s during the fight that both heroes begin to respect the others’ prowess and this simple tool by Mantlo allows the reader to watch the trust build.
Similar to how they discovered the Maggia’s meeting place, the means to dispose of Cyclone is just as brief and glossed over. A capsule created by Stark Industries creates sub-zero temperatures at ground zero of the cyclone (i.e Cyclone’s feet) and that’s enough the incapacitate him with a flurry of comic science logic. A brief appearance of the mysterious Big M tantalizes the reader to follow the story and once Cyclone is defeated, the issue wraps up quite abruptly.
FINAL THOUGHTS: It’s good to see other writers continue to write about the aspects of Moon Knight laid out by Doug Moench. Mantlo has fun with it in this issue while still keeping the comic Spidey-focused.
Moon Knight still sports his original costume (i.e all in white, and most notably the moon glider attached to the wrists) and Mantlo builds on Moon Knight’s supporting cast and headquarters which were seen briefly a couple of years ago in 1976’s Marvel Spotlight #28.
Jim Mooney’s art is a pleasure to see and although the layouts can get crammed on each page, it either serves the purpose or is caused by the number of plots and sub-plots which Mantlo inserts into the book. None of this detracts from the art itself and both Spidey and Moon Knight look amazing in all their classic glory.
The dialogue and script are also very much of the era, but this in no way detracts from any enjoyment. Its the pacing here by Mantlo which ensures that this is a riveting read – typical Spidey relationship dramas, the slow trust built between Moon Knight and Spider-man, and two main action sequences at the beginning and end of the issue make this a thoroughly satisfying read.
(EDITOR’S NOTE: Paint Monk’s Library, in collaboration with the enthusiastic staff over at the Into the Knight Podcast, is tackling the Moon Knight chronology! Each week we’ll take an in-depth look at the Fist Of Khonshu in a series of reviews, all in order of character appearance! These reviews will appear on Monday each week until we’ve covered them all, or until the enthusiastic Loonies get too exhausted to write. Whichever comes first!)
By JOSH FIELDING – Guest Writer
Today we’re looking at the next installment in Moon Knight’s chronology – Peter Parker: Spectacular Spider-Man #22. This issue features the first meeting of Moon Knight and Spider-Man. It’s a perfect storm of talent, with the legendary Bill Mantlo writing and Mike Zeck delivering dynamic art.
Synopsis: Peter Parker, The Spectacular Spider-Man #22
The set-up is simple but classic. Moon Knight stakes out a gangland hit, watching from the shadows. The intended victim is Lindy, who has taken a plea bargain to inform on the Maggia. Moon Knight tackles the gang members before they can get a shot off – but he is distracted during the scuffle, and one of the hitmen manages to shoot Lindy. He tries to hit Moon Knight too, but the enraged vigilante takes him down easily.
The Fist of Khonshu rushes to Lindy, who uses his dying breath to tell Moon Knight that the Maggia are onto his secret identity as cab driver Jake Lockley (though they don’t know that he has more than one identity). Frenchie picks him up in the helicopter, and our hero flies away to make a new plan of action.
Meanwhile, Peter Parker has gotten back from a Maggia-related team-up with Iron Man. He is relaxing with a much-needed shower when Betty Brant shows up for a movie date, one he has completely forgotten about. Little does he know that his night will involve a lot more than going to the movies!
While Peter and Betty attend a Chaplin Festival, Flash Thompson takes a “study break” with his girlfriend Sha-Shan. Across the river, Hector Alaya (The White Tiger) bemoans being turned away by the woman he loves. These last two plot points have a lot more to do with the ongoing Spider-Man comic than the main Moon Knight-focused story, so we’ll move on.
After an awkward date with Betty, Peter suits up as Spider-Man and happens to swing past Jake Lockley being assaulted by Maggia goons. While Spidey tackles the gang members, Jake runs out and changes to Moon Knight. He beats a gangster into submission, but Spider-Man intervenes before he can get the man to talk.
He is still a relatively new crime-fighter, so the wall-crawler doesn’t recognize him, and mistakes him for a Maggia assassin. Thus follows the classic fight and misunderstanding that so often comes with the first meeting of heroes. Any well-read comic book fan can tell you that the second part of this story will likely feature the two having put their differences aside to battle a common enemy. But for now, the two heroes clash, when if they just talked it out they’d realize they’re on the same side.
During their fight, one of the gang members escapes and calls a superior. When they finally discover him, he calls Moon Knight by name and Spidey realizes who he is fighting. Before he can question further, they are both blown away by a Maggia higher-up…. Cyclone!
CAPSULE REVIEW: Moon Knight was last seen making his “Lone Ranger exit” from a team-up with the Defenders, so this issue picks up sometime after that.
Bill Mantlo is best known for his classic run on Hulk and for creating characters like Rocket Raccoon and Cloak and Dagger. He shows his deft grasp of character here, with a well-written clash of personalities between Moon Knight and Spider-Man. It’s a smart pairing of characters for a story involving violent gangsters. Moon Knight isn’t really one to readily team-up, and Spider-Man has some great dynamics with characters like Punisher and Wolverine, even if he doesn’t agree with their methods.
It’s no surprise that Mike Zeck draws a great Spider-Man considering he worked on “Kraven’s Last Hunt”, one of the Web Head’s most iconic stories. He’s a versatile artist, and he knocks Moon Knight out of the park too, giving him the right air of mystery and brutality to contrast with Spidey’s playfulness and agility. Marvel Comics at the time very much had a “House Style”, but Zeck manages to play to the brand while remaining distinctive.
The story itself is fun, and features a satisfying clash between two heroes of different strokes. As this is a two-parter, it’s perfectly lined up for a thrilling conclusion and proper first team-up between Moon Knight and Spider-Man.
Despite being the guest character, this issue has much more of a Moon Knight tone than a Spider-Man one, and I’m curious if it will balance itself out in the next issue. The characters mesh organically, and I’m happy to wave away the fact that Spider-Man just happens to swing by. New York is full of heroes, so it’s not really surprising that they run into each other so much. Plus, he has a bone to pick with the Maggia anyway, so it’s pretty organic to his ongoing story.
The only quibble I have is that the single page devoted to Flash Thompson and White Tiger’s subplots feels very thrown in to keep regular readers happy. I think it would work better if they were weaved in more naturally or just left out of the crossover issues. The caption literally says “why don’t we check in on the other regulars”, so at least it’s self-aware.
Overall, this is a fun issue and a landmark first meeting
between Moon Knight and one of Marvel’s most popular heroes. In 1978 it was
still pretty early days for Marc Spector, so seeing him integrated more into
the Marvel Universe as a whole would have been a treat for readers.
We’ll see how this all wraps up in our upcoming review of Peter Parker: The Spectacular Spider-Man #23!
(EDITOR’S NOTE: Paint Monk’s Library, in collaboration with the enthusiastic staff over at the Into the Knight Podcast, is tackling the Moon Knight chronology! Each week we’ll take an in-depth look at the Fist Of Khonshu in a series of reviews, all in order of character appearance! These reviews will appear on Monday each week until we’ve covered them all, or until the enthusiastic Loonies get too exhausted to write. Whichever comes first!)
By JUSTIN OSGOOD – Guest Writer
Even though Moon Knight has a minimal cameo at the beginning of this issue, it’s important. The Fist of Khonshu appears to recount the exact details of his escape from Scorpio’s trap back in Defenders #48. I’d like to think that Marc Spector somehow learned the trick of using the air in a beer can back in his days a marine, or perhaps during his time as a mercenary.
Moon Knight always struck me as more of a Budweiser guy (Wally – Editor)
Or possibly someday, a Moon Knight writer might put that particular scene into a flashback sequence.
Mini-Review: Defenders #51
As Moon Knight tells Nighthawk about his escape, a delightful two-page spread shows the rest of The Defenders picking up the pieces in the aftermath of their battle with Scorpio’s LMD Zodiac. Hellcat is seen receiving medical care following her deadly battle with Leo.
One particular high note in this issue is the art. Keith Giffen is joined by Klaus Janson on inks, and it’s truly an ideal combination – I personally prefer it over the art of the previous three issues. I almost wish Janson had inked all of those (perhaps I would have liked the art better)!
As to Moon Knight and Night Hawk – the pair worked very well together in this story. It almost seemed like they had the beginning of a friendship that was never fleshed out. Admittedly, I’m not that familiar with Nighthawk, but I do know of his ties to the Squadron Supreme and that he was rumored to be Marvel’s version of Batman (which, as most Moon Knight fans know, is the comparison that constantly gets thrown at our own Lunar Avenger himself!)
I’m not certain if these two characters have joined forces again in recent years, but if not, I think it would make an interesting idea for an alliance, even if only for a single story.
Only five pages of this issue were reprinted in the Moon Knight: Bad Moon Rising Epic Collection, as Moon Knight departs after describing his escape. Interested readers might still check out the complete issue, if only for the quality art from Giffen and Janson.
“By Crom! For the first time, Robert E. Howard’s Conan is brought to life uncensored! Discover the true Conan, unrestrained, violent, and sexual. Read the story as he intended! Pursued for killing a judge, Conan finds refuge on a merchant ship. But soon after setting sail, the Cimmerian and his new companions face a threat: the legendary Bêlit, self-proclaimed Queen of the Black Coast! Bonus Material: The original Robert E. Howard short story is included!”
By BOB FREEMAN – Paint Monk’s Library Writer
Copyright. Public Domain. Cease & Desist. Not the words one would normally think to associate with a battle featuring Conan of Cimmeria and yet here we are. Now that the smoke has cleared, Ablaze is finally able to deliver translated versions of French Glénat’s Conan comics.
Let me see if I can sum it up succinctly. In Europe, most of Robert E. Howard’s works are in the public domain. In the United States? Not so much. In the US, Conan (as well as other Howard Intellectual Properties) is controlled by Fredrik Malmberg’s Cabinet Entertainment. When Ablaze attempted to publish Glénat’s Conan stories in America, they tried to skirt copyright issue by not using the Conan name on the cover, instead calling it The Cimmerian. Cabinet, looking to protect their legal stewardship, sent a Cease & Desist order to Diamond Comics Distribution and Ablaze’s publishing attempts were dead in the water.
Finally, however, Cabinet and Ablaze worked out a deal to allow them to proceed with their publishing plans and thus Queen of the Black Coast arrived in our comic shops, promising uncensored and faithful adaptations of Conan, in direct contrast to the comics Marvel Comics has been delivering since acquiring the license.
So, was it worth the effort?
Well, that’s a whole other kettle of fish.
There is a lot to like about Queen of the Black Coast. The production values are brilliant. The adaptation is solid. The colors are vibrant. The inclusion of Howard’s prose is a welcome addition as well (although the print is awfully tiny).
Near-legendary Howard scholar Patrice Louinet’s editorial hand is obvious as it is very faithful to the source material.
As for what doesn’t work for me? The art. Man, it pains me to write that, because it’s a beautiful comic in every aspect except the Pierre Alary’s interior illustrations. Not that he’s not a brilliant artist. Far from it. But his style does not mesh well with Conan, as far as I’m concerned.
Alary depicts great action, with an amazing array of facial expressions. The backgrounds are lush. The layout is exemplary. But that cartoonish style, which I see in a lot of European comics, just doesn’t strike home for me.
As for the covers? They’re okay. The Metcalf cover is my favorite of the four (five if you count the colorless Benes) and it’s a little flat, but it hews closest to the traditional art style I prefer.
All in all, it’s a comic I will continue to buy, and enjoy, despite my misgivings about the art itself. I give it 6 skulls of my enemies, though it feels like it deserves more.
Do you enjoy Robert E. Howard's classic Cimmerian in comic book form? Join Paint Monk's Library bloggers, as we review all 275 issues of Marvel's original Conan the Barbarian series. New installments added regularly!
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June 17th, 2020 
