Archive for the ‘Reviews’ Category

REVIEW: Aesir Redeemed, Buryat Conquered & Betrayal

“Conan is finally ready to rally the Aesir to battle against the forces of King Aosoka and the Grandsons of Heaven. But once Buryat is liberated, are more sinister forces at work? Friends are not always friends and things are not always as they appear in the final part of this four-part story arc by Rascally Roy Thomas!”

(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, #112.)

By WALLY MONK – Paint Monk’s Library Editor

This issue marks the end of Roy Thomas’ adaptation of the Norvell W. Page novel “Sons of the Bear God” – and I’m glad it’s over.

The late 1960s, 70s and 80s saw a resurgence of much of the early pulp material and piles of pastiches and re-adapted stories saw print. While this was certainly a treasure trove of tales to choose from, not all of them were good. This story by Page is a perfect example of one such bad story.

Thankfully, and I say this selfishly, fellow librarians Bob Freeman and Andy Maglothin got the worst comics in this four-issue arc to review (although in all honesty, that was not by design!) Mine was the conclusion, and in my opinion, the easiest to read of them all. Perhaps it was merely that I knew the arc was over and I felt the need to be gentler with my thoughts.

Review: Conan the Barbarian (Vol. 1) #112

It is time to rally the imprisoned Aesir, and Conan heads back to talk to Niord and convince him to join his warband in their overthrow of King Aosoka and the Dwarves of Buryat, a.k.a the Grandsons of Heaven.

But Niord is not interested and afraid, believing that the Grandsons of Heaven (whom Conan scorns and calls merely the “Dwarves of Buryat”) cannot be overcome because of their magic. Conan insults him and the honor of the Aesir – naturally, a scuffle ensues.

The Aesir are kept full of mead and other drink by the dwarves, and Conan suspects this is what is dulling their senses and the will to fight against their oppressors. The barbarian also believes their drinks are being laced with Black Lotus, a Stygian flower well known for its hypnotic powers.

Having found a cure for the lotus-created stupor, Conan gives the antidote to the Aesir. Marching up a hillside, they manage to kill some bears (or find some bearskins) and begin their march on the city. The Aesir, heading towards Buryat, cause a panic – the Heaven Bear is angry with their grandsons the dwarves, the citizens believe – and the city and King Aosoka are soon overcome.

“Arrhr! I’m A BEAR!” – Niord of the Aesir

What about Thanamund and his “sister” Tossa? There’s more to the pair then meets the eye, as Conan will find out as he tries to enter the liberated City of Buryat!

CAPSULE REVIEW: Funny looking magical bear ears, viewing glasses, and dwarves overcoming the Aesir is far too much for this classic Conan reader. These are not Tolkien dwarves or Warhammer dwarves – they look more to me like fat hobbits with beards. King Aosoka looks like an overweight little girl. I cannot imagine the many conundrums Roy Thomas dealt with while adapting this mess to accommodate Conan’s Hyborian world.

While John Buscema’s artwork is still strong, it’s difficult to draw realistic and compelling fake bear ears. It’s true. The whole idea is just silly. Did I mention the bear ears? I think I did. For some reason, they really stuck out (pun intended) in this tale. In fact, after reading this story, I felt the strong urge to run around in a bearskin shouting “RRRAR!” at anyone who crossed my path. Well, not really, but I did laugh out loud.

I certainly understand Roy Thomas’ desire to make Conan as real as possible by using references from both Robert E. Howard and other Howard inspired authors. But Norvell W. Page’s novel was just a poor choice that resulted in a poor comic, despite a talented cast of creators.

On a scale of 1-10, I’d rate this isue a 5. Buy this only if you insist on having a “complete” Conan collection.

REVIEW: Moon Knight Shines in Debut Appearance

(EDITOR’S NOTE: Paint Monk’s Library, in collaboration with the enthusiastic fans 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 RUSSELL MORAN – Guest Writer

In 1975, writer Doug Moench and artist Don Perlin brought life to a character they intended to be a villainous foil for Werewolf By Night Jack Russell. Little did they know, that villain would blossom into one of the most complex, creative, and downright crazy heroes the Marvel universe had ever birthed. This is the debut of The Fist of Khonshu himself, Moon Knight, although his personality bears little resemblance to the Marc Spector we would grow to love…

REVIEW: Werewolf by Night 32

We begin the issue with our bone-crushing duel already in progress. Jack Russell has once again succumbed to his lycanthropic curse, only this time he’s the victim. Weakened and outmatched, the werewolf is helpless against this mysterious new foe called The Moon Knight. Armed with a plethora of werewolf-slaying gear, including a cestus, a truncheon, and the now-iconic crescent darts, it looks like our monstrous “hero” is at his end.

As our werewolf’s apparent end draws near, we flashback to the previous night’s events. Jack’s best friend Buck is mauled by the werewolf after heroically saving a young girl named Buttons. Buck is rushed to the emergency room in critical condition. Later that morning, Jack regresses back into human form injured and confused and begins searching for his ill-fated friend. Upon returning home, Jack’s stepfather tells his stepson of Buck’s peril. Buck has slipped into a coma, and he may never recover. Jack is distraught with these macabre events and once again returns home. This ends up being a mistake.

The Moon Knight is waiting for Jack. We learn he is a mercenary named Marc Spector, hired by the devious Committee to hunt and kill the werewolf. The Committee has provided the suit and the arsenal to take down the creature of the night. Jack’s stepfather distracts Spector long enough for his son to escape, but not for long.

Jack stumbles into a crowded alleyway and once again is tormented by his dreaded metamorphosis into the Werewolf by Night. But Moon Knight is not far behind, tailing the beast in his mooncopter. The battle begins, but it’s one-sided – a squash match, if you will.

Elsewhere, Frenchie (his first appearance!) kidnaps Jack’s sister and his friend. The battle rages on, with Moon Knight practically begging the beast to stay down. But this is a werewolf we are talking about; apparently they don’t know when to quit. Jack lands a mighty right hook with his broken hand on the lunar assassin, but it just isn’t enough. The werewolf is in captivity and his conqueror is Moon Knight.

CAPSULE REVIEW:  Doug Moench and Don Perlin do a masterful job with this book. The writing is smart, but also very basic in that it’s very easy and enjoyable to read. I enjoy Moench’s almost self-awareness in this story, making a few remarks that border on being breaking the “fourth wall”. He weaves a tale that gets you to care about its characters, keeps you guessing on what’s coming next, and evokes sympathy for the title character. His introduction to Moon Knight is stellar; he’s immediately a force to be reckoned with and that’s complemented by Perlin’s fantastic art.

Don Perlin was one of the best illustrators of his time, and this issue really lets him shine. The Werewolf is scary, but not too scary – he is the “hero” after all. Moon Knight’s early design here is effective, but somewhat lacking, especially in the face. My favorite part of this issue is the wonderful fight choreography Perlin crafts. I’m a big fan of good dialogue and drama, but sometimes, I just wanna see the good guy and the bad guy just have a slugfest. This is something most comics lack, but this issue has in droves. It perfectly balances action and narrative.

The colorist on this issue is Phil Rache and he helps define Moon Knight here for his debut. The issue is very colorful – the werewolf jumps off the page with his bright green pants. The backgrounds are vibrant, and the cast of characters catch the eye. And then there’s Moon Knight, nothing but white and black. It works so well, he stands out most of all by lacking the most color. He shines in every panel he’s in.

I mentioned earlier that this is very different from the Moon Knight we would come to know later. And that’s mostly because a lot of this issue is retconned away in Moon Knight (Vol. 1) #1 (also by Moench). However, staples of Moon Knight’s character are brilliantly defined in this first appearance. We know immediately that Moon Knight’s real name is Marc Spector; Moon Knight has battle experience and worked as a mercenary; he has a pal named Frenchie (although he is literally unrecognizable as the character we know today) and finally, he has a host of gadgets and weaponry and is a force to be reckoned with.

All in all, I really enjoyed this issue. It’s a fun ride, with likable characters and a perfect spotlight on a brand-new rogue for the werewolf to battle. The only things I really felt dragged were some of the extended hospital scenes and a side plot involving Raymond Coker.

I can’t really fault the book for that because it involves characters I’m unfamiliar with but readers at the time were not.  This issue is effective, and the story and art sucked me right in. I knew the werewolf was going to be okay, but for a moment there, I really thought “My goodness, Moon Knight is going to kill poor Jack!” I’d recommend this book for sure. It’s a nice taste of what’s to come

On a scale of 1-5, Moon Knight’s debut appearance in Werewolf By Night #32 earns a 4.

REVIEW: A King, Plans Overheard & A Daring Escape

“Roy Thomas continues his adaptation of Norvell W. Page’s “Sons of the Bear God”. In this third installment, Conan is taken away by dwarven guards on charges of treason and stirring up rebellion. Will the Cimmerian escape the clutches of King Aosoka and succeed in an attempt overthrow the dwarves?”

(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) #111.)

By BOB FREEMAN — Paint Monk’s Library Writer

Roy Thomas’ near perfect run on Conan the Barbarian is almost at its end. This issue has to rank as near the lowest of his creative output. It’s a pain for me to read, truthfully. The only thing that gets me through it is the absolutely beautiful artwork that Buscema and Chan deliver.

Reading this adaptation of Norvell W. Page’s “Sons of the Bear God” leads me to compare it to the current state of Conan in the Marvel Universe.

As much as I loathe what’s happening in the pages of Conan the Barbarian, Savage Sword of Conan, Age of Conan: Belit, and Avengers: No Road Home (Man, Conan sure gets around), from a story standpoint, each and every one of the titles released thus far in 2019 is better than the “Sons of the Bear God” storyline… damning praise, but there you have it.

But, and this a pretty big ‘but’, not a single issue of these new releases hold a candle to the illustrative genius on display, even in this lesser work.

John Buscema and Ernie Chan, who now both sit beside Crom on his mountain, rarely strayed from perfection. We were lucky to have them.

REVIEW: Conan the Barbarian (Vol. 1) #111 

Tossa sensuously dresses in the morning as Conan wakes. He rebukes her for calling herself his wife. He has no interest in being betrothed. As they dress, the Cimmerian talks to her about the slaves of the city needing to rebel against their diminutive overlords when there is a knock on the door.

Conan thrusts open the door, ready to do battle, but finds a family gathered on his doorstep. They are the family of Visimar, the Aesir warrior he cut down the night before. As is their tradition, they are there to offer themselves up as slaves to the victor.

Conan sends them away, giving them a gold chalice that they might buy back their freedom. As they leave, Erfu rushes in with news that the long-eared priest overheard Conan’s talk of a revolt and soldiers have been dispatched to bring him before the king.

As the sound of the approaching soldiers resounds outside the swelling, Erfu accuses Tossa of being a wife to as many warriors as there are in the Aesir camp. Tossa attacks him, and Conan has to separate them.

The dwarven soldiers arrive and lead Conan away. Once alone, Tossa scolds Erfu for his ruse as he begs forgiveness, calling her “Highness”.

Conan goes with the soldiers peacefully. The entourage is soon joined by a band of Aesir. Once they arrive en masse at the palace stairs, the priest orders Conan to be disarmed and slain, but Conan charges the dwarf and pulls off his ceremonial ears.

Clutching the ears, Conan avoids the attack of dwarves and Aesir alike as he rushes into the palace, barrings the door behind him. The Cimmerian then sets out to find the throne room, having to fight his way past dwarven archers and swordsmen.

Finally, Conan uncovers the throne room and he bursts inside only to find King Aosoka sitting upon his throne with but a tapestry of mesh netting between them. Conan attempts to thrust it aside, but a surge of electricity courses through his body. With a mighty effort, Conan tears the netting free and hurls it at his tormentor, but it passes straight through the king.

The Cimmerian approaches and discovers the king is but a mirrored reflection. The palace guard finally gathers and attack, but Cona cuts his way through them, running out of the palace. Seeking higher ground, he scales the pyramid outside, taking note of the blue globe at the top.

The globe is tied to another and they in conjunction allow him to see far off into the distance.

Conan puts on the priest ears that he had been carrying with him and he hears an Aesir, Tossa’s brother Thanamund, across the courtyard urge him to traverse the thin brass rod that stretches between the two buildings that separate them.

As Conan makes his way slowly across as dwarven archers attempt to pepper the Cimmerian. Thanamund pours a dark wheat-like substance from a bag that covers the entire courtyard in smokey darkness.

Conan, once safely across, is lead out of the city by Thanamund. Conan counsels him to send Tossa and Erfu into hiding until he returns in that hour when the Heaven-Bear turns against his dwarven grandsons.

Outside the city, Conan sets out to find the encampment of the men of Aesgaard, intent on raising them to overthrow the dwarves at last.

CAPSULE REVIEW:  Man, that was painful. While my review of issue #109 was kind, I had a much tougher time with this one. It is again, well written and well-drawn, but it is the plot that fails in every possible way.

On a scale of 1-10, I’d rate this issue a 5. On eBay, this issue generally is available for less than $7, and as low as $3. Buy it only if you must. And read it only for the pictures.

Alba Gu Brath – Bob Freeeman (aka The Occult Detective

REVIEW: Arena – Conan Battles A “Heaven Bear”

“This time, the bear is no illusion. King Aosoka puts Conan in the pit, where he goes face-to-face with the Heaven Bear! This issue is the third part in Roy Thomas’ adaptation of the Norvell W. Page novel ‘Sons of the Bear 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 were published from 1970 to 1993. This is a review of Conan the Barbarian (Vol. 1) #110.)

By ANDY MAGLOTHIN – Paint Monk’s Library Writer

Picking up after the events in the previous issue, Conan is face to face with a giant bear but he quickly realizes the bear is an illusion – it is not displacing any of the surrounding grass. The bear quickly changes to a mist enveloping the Cimmerian, rendering our hero unconscious.

Conan slowly rouses to discover a group of Aesgaardians is carrying him upside down like a boar to the slaughter. He also notices they are carrying Erfu on a litter like royalty. Conan begins to argue with the group and a warrior wearing a panther tail on his helmet strikes Conan. The barbarian silently vows to seek revenge…we have learned along the way he does not take kindly to a beating while he is bound. A bit of foreshadowing here?

The Aesgaardians carry Conan to a city featuring low-rise walls and buildings filled with families of dwarves. The procession moves through the city to the outskirts where they arrive at a large white pyramid with a lone dwarf in the courtyard. He is wearing what appears to be over-exaggerated bear ears covering his own and standing next to an eternal fire. The procession enters the pyramid and stops at the foot of the Throne of the Heaven-Bear where King Aosoka resides.

As the procession kneels to the dwarf on the throne, he calls for Conan’s release. Muttering every ounce of strength and using the pole for leverage, Conan overcomes the incredible pain from the torturous journey to stand and confront the dwarf. The music from a distant flute rings out along with the female voice in a language Conan does not understand. Almost immediately a trio of dwarves charges through the gold tapestry behind the throne. We recognize one from the earlier approach to the pyramid, one is dressed as a bear and the third as a serpent. A guard nudges Erfu who chants in a foreign tongue then explains to Conan he won for the barbarian a chance at life – after fighting hand to hand with the true Heaven-Bear.

Weakened from the agonizing journey and with little option, Conan agrees to fight the bear but requests Erfu’s presence in the pit. Erfu explains Aosoka already set that expectation. With no delay, they are escorted into a pit surrounded at the top by a large group of dwarves excited for the battle.

Conan asks Erfu to draw spells in the dust before the battle begins and Erfu explains he is already on the task. As they talk, Erfu is curious as to Conan’s plan to battle the beast. Conan says he is as unsure as Erfu, but notices a chain lying in the sand. The dwarves release the massive bear and understanding he must be aggressive to defeat the beast, a chain wielding Conan rapidly charges the upright bear.

Conan buries his head and upper chest into the bear’s lower chest and flings the chain around the beast’s back; catching the end with his right hand. Tapping into every ounce of his great strength, Conan squeezes the chain so tight it begins to choke the air from the bear. The bear claws Conan’s back and ignoring the extreme pain, Conan continues to apply massive amounts of pressure to the bear’s back; ultimately breaking it’s spine and crushing the life from its lungs.

The massive bear flops to the ground with an exhausted Conan landing on the beast’s chest. Aosoka congratulates Erfu for his slave’s victory against the bear and appoints Erfu as Executioner of the Throne. Erfu accepts and slowly nurses Conan back to health.

After the great battle with the bear, Conan is unconscious for an undisclosed amount of time, but awakens to the sounds of Erfu arguing with a female we discover is Tossa; an Aesir woman who lives in Buryat and has been looking for a husband and her eyes are on Conan. He refuses her offer and turns her away. Conan discovers Aosoka thinks Conan is Erfu’s slave and immediately regrets turning Tossa away. As Tossa crosses through the courtyard below, a black panther approaches her.

Tossa screams out for help and Conan leaps to her rescue. He slashes at the great cat but is shocked when his sword meets steel and the panther changes form to the Aesir warrior who struck him earlier. As they battle, Conan backs into a potted plant, falling to the ground. The Aseir lunges, but Conan promptly issues a fatal blow. This heroic action prompts Tossa to proclaim Conan as her husband yet he refuses and she leaves for his chambers. Conan protests he will “be NO wench’s husband” but decides to explain that to her….after he catches up with her in his chambers.

CAPSULE REVIEW: Impressed with the action-packed cover, I proudly say that I purchased this from the newsstand in 1980. The team of Buscema and Milgrom capture the epic battle between man and beast. It provides the intensity of the scene and overwhelming might of the bear versus Conan’s strength and determination to win in battle.

Inspired by the book “Sons of the Bear God,” Thomas applies the concept of the book to our beloved Cimmerian. The story flows from the miserable journey to the pyramid, through the battle with the bear and Conan getting the golden-haired woman at the end. Thomas’ narrative provides the reader with the misery Conan endured as he was held captive, the struggle with pain after his release and during the battle with the bear. I want to also point out again the foreshadowing early in the issue between the Aseir and Conan. I also appreciate Thomas’ ability to weave sorcery into the mix without attempting to explain how it works. The mirage of a bear at the beginning…Erfu’s ability to have a golden aura about him…did the spell he cast assist Conan in the battle against the bear…Erfu’s ability to assist Conan with his wounds…the Aseir’s shapeshifting…all of these things happen without Thomas explaining the ‘how.’ The ongoing bits of mystery set the tone for other situations in the future.

In a very Return of the Jedi / Three’s Company inspired scene, the Buryat are confused about Erfu and Conan’s relationship. In prior issues, we learn Erfu was devoted to Conan yet the Buryat see him as the ruler and Conan the slave. I expected to see another procession with the Ewoks hauling the Rebels and C-3PO through the woods of Endor. Wait a minute..that was 1983….*looks slyly at Lucas*

Buscema, Chan, and Sharen provide visual content which captures the reader’s eye and augments Thomas’ prose. Between the description and the visuals of Conan’s journey to the Buryat pyramid promotes both a passage of time and misery. The battle between Conan and the bear is very tense and although limited by the comics code, the creative team does their best to show the damage inflicted by the bear. As pointed out in other reviews, the different races of people are easily discernible with distinct features.

Another enjoyable read from this awesome creative team. This is my favorite era of the Cimmerian and I rarely find a clunker in the group.

On a scale of 1-10, I give it 7 Aquilonian Luna.

Living life my own way – Andy from Aquilonia





REVIEW: Zub Continues to Impress in Serpent War #2

“In an unprecedented comics event, Robert E. Howard’s characters join forces along with Marvel’s Moon Knight, in an all-new saga built on REH and Marvel lore from across the ages! The serpent god SET plans to usher in an eternity of darkness, and only the chosen warriors across time and space have a hope of stopping him: CONAN THE BARBARIAN, SOLOMON KANE, DARK AGNES, and the man known as MOON KNIGHT!”

By BOB FREEMAN – Paint Monk’s Library Writer

In the second chapter of Conan: Serpent War, Jim Zub delivers another solid issue, proving yet again he is a worthy custodian of Robert E. Howard’s creations.

The central premise is intriguing, with a dying James Allison acting as a conduit between the Elder God, Wyrm, and two sets of heroes in separate time periods — Conan of Cimmeria and Dark Agnes de Chastillon in the barbarian’s Hyborian Age, and Solomon Kane and Marvel’s Moon Knight in Kane’s 14th Century Europe — in a concerted effort to thwart the machinations of the serpent god, Set.

That said, there is clearly more than meets the eye in this tale, as the Allison sequences make clear. Zub is carefully unraveling the thread for us, as the heroes too are wary of Allison’s direction.

Speaking of heroes, I enjoyed the interplay between Agnes and Conan best. Their distrust, but grudging respect for one another makes for some fun, playful banter.

Conan and Dark Agnes’ playful banter is well-written and fun.

Moon Knight and Solomon Kane are a different matter, and I believe this plays more into Moon Knight just not being a good fit for the story. I understand why he’s there. It is a Marvel Comic after all, but I would have preferred, perhaps, someone more fitting to the tale, like Hawkeye, or Valkyrie, or even, Misty Knight. Someone less “super-heroic”, if you follow.

Still, Zub writes them well, and there is plenty of breakneck action that keeps the story rolling along. But for all that action, it’s the underlying mystery that is the glue that holds the story together and keeps it from being just another event cross-over. Well, that and the fact that we get four Howard protagonists all taking the stage.

Moon Knight might not be the best fit, but the writer makes it work.

As for the art, once again it falters. While Vanesa del Rey and Jean-Francois Beaulieu continue to amplify the creep factor with their Allison sequences, we have Stephen Segovia unevenly replacing Eaton and Hanna for the issue.

I have yet to track down the original art for the issue, but I suspect the main culprit for my disquiet is Frank D’Armata’s coloring. Looking over it again now, it is the teeth, particularly in Conan and Kane’s respective mouths. Yeah, I know, seems weird to nitpick dental renderings in a comic book, but man, it’s jolting.

However, just like the first issue, whatever problems I have with the art are minor. The story is solid, a slight downgrade from the stellar debut, but easily in my top 5 comics of the week, and leagues better than the majority of Marvel’s Savage Sword and Conan the Barbarian output this year.

It bears repeating, I am thrilled Jim Zub is handling Conan the Barbarian beginning with issue #13. The fact that he’s paired with Rogê Antônio is the proverbial icing on the cake. I expect great things from them.

As for Serpent War #2? It gets 8.75 out of 10 skulls of my enemies this time out.

REVIEW: Conan Meets the Dwarven ‘Sons of the Bear God’

“This issue begins the four-issue adaptation of Norvell W. Page’s tale ‘Sons of the Bear God’. While not one of Thomas’ stronger efforts, it is intended as a direct sequel to ‘Flame Winds of Lost Khitai’, which was adapted from another Norvell Page story. This editor is still trying to figure out how dwarves could overtake the Aesir, but it is fantasy after all!”

(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, #109.)

By BOB FREEMAN – Paint Monk’s Library Writer

I often speak of Roy Thomas in almost glowing and near infallible terms, but he, on rare occasions, makes cringe-worthy missteps. Case in point: the issue(s) I am about to review for you.

I’ll be covering two parts of Thomas’s four part adaptation of Norvell W. Page’s “Sons of the Bear God,” with my contributions being a look at the first and third portions. I will be curious to see how my partners in crime deal with the second and fourth acts as I am just not a fan of the story.

It’s not a Conan tale, even though the Cimmerian is never out of character and the artwork continues to breathe life into the Hyborian Age.

This isn’t the first time one of Page’s novels has been adapted to feature Conan. Issues #32-34 of Conan the Barbarian featured Page’s “Flame Winds,” of which “Sons of the Bear God” is a sequel.

While Thomas does an admirable job of adapting Page’s story and inserting Conan in the starring role, “Sons of the Bear God” was an insufferable novel, in my opinion, greatly improved by porting it into Howard’s Hyborian Age. It was made almost bearable (please excuse the pun) by Buscema and Chan’s illustrations and Thomas’ comfort in writing Conan.

But the work still suffers. And so close to Roy’s exit from the title. Luckily, better stories are on the horizon, as #113-115 are a marked improvement.

REVIEW: Conan the Barbarian #109 

Conan and the wizard’s apprentice Erfu are traveling to Argos, passing through Shem, when they are ambushed by Shemite tribesmen. Wounded by an arrow to the shoulder, Conan is able to take down several of the tribesmen with both bow and sword before his stolen horse is cut down. As more attackers swarm them, the Cimmerian and wizard flee into the brush to hide.

Erfu attempts to frighten the Shemites away using trickery and deception disguised as magic, but he is soon assaulted by a strange mist and Conan is forced to rescue the diminutive wizard, plunging further into the high grass.

Conan strikes out at the mist, forcing it to dissipate. Moving forward, cautiously, they find the Shemites all killed, slain by the mist.

The Cimmerian and wizard keep moving, but they detect sounds of someone coming toward them, so Conan lifts Erfu over the grass to see who or what approachs. It is an Aesir warparty marching through the field. Conan, surprised to find Northerners so far south heads out to greet them, but stumbles onto dwarven slavers who seemingly hold the Aesir captive.

Conan cuts through the dwarves with ease, but is shocked to discover the Aesir do not join him in battle. The Cimmerian is recognized by one of the Northmen — It is Niord, who he served as a young man when they raided the borders of Vanaheim.

Conan is confused as to how a warrior like Niord could have been captured and enslaved by such creatures. The Northman replies that their strength was not in their sword-arms or whips, but in what they could summon.

The Cimmerian asked Niord and his men to join him in heading north, but they are interrupted by a savage roar. Conan turns to see a God Bear, taller than an elephant and ready to avenge the death of the dwarves.

CAPSULE REVIEW:  The issue is not as terrible as I remembered. It’s got a lot going for it. It’s well written, expertly drawn, and we get to see an old familiar face from the earliest issues of the series. In fact, it reads so much better than I remember that I suspect my displeasure with this four-parter lies not in the set-up, but in the follow-through.

The highlight of the story was Conan’s battle with the Shemites. Is there an artist that draws horses better than Big John Buscema? Yeah, I didn’t think so. The fluid movement of that battle, especially once Conan steals a horse and is riding against his attackers…

My favorite panel in the issue is very subtle, but powerful in its execution. Conan, on horseback, is riding toward a bow on the ground. He is leaning in the saddle, preparing to snatch it up to use against his foes.

Just a magnificent example of superior draftsmanship.

Here’s to hoping the rest of this storyline makes a liar of my fading memory.

On a scale of 1-10, I’d rate this issue 7 skulls of my enemies.. On eBay, reading copies of this issue are readily available for less than $5.

Alba Gu Brath – Bob Freeeman (aka The Occult Detective

REVIEW: Good Art & Bad Writing In SSoC Finale

“A DEMON IN ARGOS! After witnessing a heinous crime, CONAN hunts down a mysterious demonic sect. But whatever his intentions, Conan may well doom the nation if he doesn’t solve the mystery in time! An epic quest across the Kothian Hills and a surprise twist! Plus: The final chapter of Scott Oden’s “THE SHADOW OF VENGEANCE”!

By WALLY MONK – Paint Monk’s Library Editor

It was with much trepidation that I opened the latest – and final – issue of Savage Sword of Conan. Topping Roy Thomas’ and his predecessor, Jim Zub’s takes on the Cimmerian would be a tough thing to accomplish. And given Marvel’s track record on Conan since January, if it’s not Jim Zub or Thomas at work, I am leery.

Sadly, writer Frank Tieri keeps the presentation problems ongoing with a great plot and some of the worst dialogue I have ever read in a Conan comic book. What’s even sadder is that a book that began on tenuous ground at the onset ends with a whimper and another missed opportunity to tell a good Hyborian tale.

I am not certain whether or not whether this was Frank Tieri’s writing or a script mashed up by editorial. Either way, the end result is an issue that leaves you wondering how a good idea can be so problematically assembled.

But there’s some good to be had – the final chapter of Scott Oden’s compelling novella “The Shadow of Vengeance” is a treat and Andrea De Vito’s pencils, coupled with the inks and colors of Scott Hanna and Java Tartaglia, are first-rate.

REVIEW: Savage Sword of Conan (Vol. 2) #12

Conan travels the land, in pursuit of…someone or something…in the Kothian hills. Then the story flashes back to the City of Argos, days earlier.

Conan has just ended a tavern brawl and is angry that he spilled his drink. He asks the barkeep if he will be reimbursed, but the barkeep says he’s more worried about the tavern the Cimmerian just trashed than reimbursing the barbarian for a mere ale spill.

After a terse exchange in which Conan gives the barkeep a mere coin for his troubles, Conan spies a child with a harness around its neck. We learn the little girl’s name is Tama, and she is supposedly on the run from her “family”.

Soon Tama’s “family” arrives and they capture the child, with seemingly nefarious intention. Conan is in hot pursuit, facing off with the would-be familial kidnappers. He dispenses most of them, leaving one alive to reveal a surprising truth. Is there more to this “child” than our Cimmerian knows?

CAPSULE REVIEW: In the first pages of this issue, we see a Conan who is so rude that he flips a bartender a coin for trashing his establishment and then takes it back when the innkeeper says it’s not enough. A few panels later, he’s worried about a peasant girl who can’t afford food. These are odd choices here from Conan – he’s always had a strange morality, but the transition in this story is poor from one interaction to the other.

The art by Andrea De Vito is overall very good, and the colors are bright when necessary and subdued in other panels. The backgrounds, when not minimized, are enticing. Conan’s face is good on some pages, yet distorted on others. Ultimately, the artwork is enjoyable and I’d like to see more from De Vito.

Its the dialogue here that’s disconcerting. Conan is like a warrior-poet in this issue. “Serves me right for dispelling you earlier with but a glancing blow,” he tells one cultist as he engages his enemy. In another panel, he snarls at a menacing demon, “What’s happening is this is actually going exactly as I thought it would. Mayhap I’m actually nothing more than a distraction.”

The demon at one point tells Conan, “And since I have use for you no longer, you’ll excuse me as I now proceed to devour your face.

Good grief. Who writes this garbage? I sure hope it’s not Frank Tieri. My wishful thinking is that it’s an editor who totally missed the boat. What’s saddest is that the plot is actually good. It’s the dialogue that is a mess.

On a scale of 1-10, I’d rate this issue a 6. If the script contained good dialogue, it’d garner a 7.5 or an 8 based on the interesting plot and good artwork.

So long Savage Sword, we hardly knew ye.

REVIEW: Conan Battles Against the Devourers of Darfar!

“Conan and Diana are free from the clutches of Tananda, the queen of Meroe – but have they stumbled into a new nightmare as they find themselves face-to-face with the Devourers of Darfar? In this issue, we see the return of a familiar face and our Cimmerian acquires a new traveling companion for his long journies.”

By ANDY MAGLOTHIN – Paint Monk’s Library Writer

(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) #108.)

In this month’s issue, we catch up with Conan and Diana riding a horse through a dense rainstorm north of Kush. A pair of Kushite sentries stop them, requesting that Conan and Diana surrender their weapons. Conan attempts to explain his identity, yet the sentries do not accept this and attack. Conan quickly kills one and the other escapes. The dead Kushite’s horse remains, so Diana mounts it and they ride to shelter for the night.

Diana explains how over the past few months, she became a slave in Kush. Her father was sent to Messantia as part of the royal court. A plague broke out, which was perceived to be a curse, and the woman’s father decided they should leave on a ship headed to Zingara. Buccaneers took over the ship, slaying her father in the process. After having their way with her, the buccaneers sold her to a slave trader and subsequently to Shubba. Conan “keeps her warm” during the night and in the morning they ride off to Sukhmet.

As they ride through the high grasses, Conan spots a group of Darfari who were lying in wait for someone to attack.

One of the savages pulls Diana from her horse, but Conan slays him and scoops her up to flee. The Cimmerian and Diana stumble upon a group of people, one of whom he recognizes: Thutmekri. The Darfari are on their heels and Conan negotiates with Thutmekri to join forces long enough to fight off the group of attackers.

Thutmekri’s group is small, and even with the Cimmerian’s assistance, they are overwhelmed by the sheer number of savages. The Darfari’s language is understood only by Conan, and he learns they wish to capture Diana to use in their moon-dance ritual. It’s time for more negotiation, as Conan and Thutmekri agree to give two men to the Darfari instead of Diana, so Conan and Erfu, servants to Thutmekri, are sent off with the Darfari.

With Conan and Erfu chained up to separate poles, the moon dance beings. We discover Erfu is a sorcerer’s apprentice and has a potion that weakens his chains, allowing him to free himself. He uses a small amount on Conan’s chains, too, but not before the Darfari notice their captives are both free. A battle ensues, but Conan and Erfu are outmatched by sheer numbers so they flee the scene, finding a single horse and rapidly getting away.

A few days pass before they reach Sukhmet where they find Thutmekri and Diana. Conan is ready to leave with Diana but she decides to stay with Thutmekri. Conan and Thutmekri agree to Erfu and only two steeds joining the Cimmerian on his next journey.

CAPSULE REVIEW: A very mediocre cover to a likewise mediocre issue. The cover features Conan carrying Diana, running away from a group of Darfari savages. There’s a lot of negative space and for some reason the combo of Buscema and Layton does not work for me. Conan’s face is off-kilter and the proportions are odd. I’ll give it credit for capturing a scene in the comic, but it is a very average cover.

The story provides a brief background on Diana and Erfu, but neither story makes you care for the characters at all. Eh…Diana was a love slave for the bucs…she’s almost captured by the Darfari…she stays with Thutmekri…YAWN. Erfu’s assistance to free himself and Conan was a nice spin, but again, his character is a bit bland. The end made me chuckle as Conan and the talkative Erfu ride away. Conan simply asks him to keep his mouth shut, but Erfu continues with a story of riding the desert with a Eunuch.

The most redeeming quality of this issue is the interior artwork. It features Buscema / Chan artwork with George Bell’s work on colors. The characters’ facial features, size and skin color allow the reader to differentiate people and races. Background details are missing in some panels but others have enough detail to see the texture and depth of the scene. One of the best scenes is when Conan breaks free from the post and uses the chain to slay one of the Dafari savages.

On a scale of 1-10, I give it 5.5 Aquilonian Luna.

Living life my own way – Andy from Aquilonia

REVIEW: Conan Faces “The Demon of the Night”

“This issue of Conan is the conclusion of L. Sprague de Camp and Lin Carter’s story “The Snout in the Dark,” which was put together and completed from an unfinished Robert E. Howard manuscript. In today’s comic, Conan must wrap up unfinished political business while coming face-to-face with a demon!”

(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, #107.)

BY WALLY MONK – Paint Monk’s Library Editor

We’re a mere eight issues away from Roy Thomas’ parting-of-ways with our Cimmerian hero. I tend to savor these issues, from #100-115, as many of them came out during the height of my youthful comic-collecting days.

Rascally Roy will disappear from this title from issues #116-239, replaced by other talented writers, including J.M. DeMatteis, Bruce Jones, and later, James Owsley (now known as Christopher Priest). While Bruce Jones is one of my favorite comic writers, even he would not have the subtle grasp of Conan’s nuances that Roy Thomas was able to employ.

Thomas would re-appear to wrap up Marvel’s initial Conan run, scripting issues #240-275. His final issue was an ongoing tale that sees its end in Savage Sword of Conan. In the 1990s, Roy wrote a new series, Conan the Adventurer, which lasted a mere 14 issues. Several mini-series events would follow before the torch would be passed to Dark Horse Comics. You can read the review of one such mini-series, Conan: Lord of the Spiders, here.

But I am getting ahead of myself. For now, there are a few more Roy Thomas/John Buscema issues to enjoy, and many more issues of Conan’s original run to review! Today’s installment is the second part of Roy’s adaptation of “The Snout in the Dark” which began in issue #106.

Review: Conan the Barbarian (Vol. 1) #107

(For background information prior to reading this review, please read Bob Freeman’s review of Conan the Barbarian #106.)

Conan and the Kushite queen Tananda are at a stand-off. The queen is determined to torture Diana, who she suspects of being a political tool and a spy of the cunning Tuthmes. But Conan, her new captain-of-the-guard, isn’t having it. He barks at her, telling her to put down the whip. The political climate in Tananda’s city is tense, and punishing Diana will only rile up rival nobles.

The barbarian wins the argument, despite Tananda’s threats and anger. He takes Diana down from her shackles and carries her out of the room. An angry Tananda screams at the barbarian, accusing him of preferring the captive over her due to Diana’s “lily-white skin.”

Shubba, the street dweller under Tuthmes’ employ, sees Conan leaving with the Nemedian “gift” and rushes off to tell his benefactor. Unamused but unsurprised, Tuthmes indicates that it is time to have the conjuror Muror summon the great pig-demon to kill Diana, should she reveal any of his plans to Conan, and the barbarian as well.

Meanwhile in the city square, Tananda has moved forward with her plan to have a man named Aahmes executed. With tensions already high in the city and unrest over Tananda’s violent rule, Conan knows this will only incite the populace more against the queen. In disgust, he goes off to find Diana.

Conan arrives in the nick of time, as the Cimmerian enters her chambers to see the great pig-demon beginning to form. Grabbing his sword, he rushes to her defense and a battle ensues.

The barbarian stabs the monster repeatedly and for moments it seems as if the beast may have the upper hand. But a deadly blow to the demon’s neck causes it to stagger away, bleeding and half-dead.

Conan trails the monstrosity to the town square, where it falls dead at the feet of the sorcerer Muru – the man who brought it forth! Since Muru is standing with Tuthmes, an angry man in the crowd – Ageera, a “witch smeller” – accuses Tuthmes and the wizard of controlling the beast and the mob attacks.

Queen Tananda orders her soldiers to stop the crowd, but they turn on her, killing her instead. As the city erupts in violence and mayhem, Conan takes Diana and together the duo flees the burning city.

CAPSULE REVIEW: An excellent ending to a good story. While I never read the original tale as written by de Camp and Carter, Roy Thomas did an excellent job in this tale examing the intrigues of the Hyborian Age, even in the uncivilized lands of Kush.

Once again, George Roussos quality coloring is evident in the different hues of the Kushite tribesmen. You can see people from different tribes all in different and subtle hues. This wasn’t an easy feat to accomplish and he deserves kudos for making the artistic distinctions. Even when comparing the Nemedian Diana to Conan we see different skin tones.

Conan again plays second-fiddle in this story to the ongoing plot among the Kushites, but as is always the case with our Cimmerian, he saves the day – or at least the girl – and rides off to fight another day.

On a scale of 1-10, I’d rate this issue a 7.5.

REVIEW: Serpent War #1 Crowns Conan Relaunch

“THE WRATH OF THE SERPENT GOD! WARRIORS ACROSS TIME DEFY THE ELDER GODS! JAMES ALLISON will soon die. But it’s not his first death. He’s lived many lives, in many places – lives he can recall in vivid detail. But when an Elder God called the WYRM reaches across time to James, an ages-spanning quest begins! The serpent god SET plans to usher in an eternity of darkness, and only the chosen warriors across time and space have a hope of stopping him: CONAN THE BARBARIAN, SOLOMON KANE, DARK AGNES, and the man known as MOON KNIGHT! In an unprecedented comics event, Robert E. Howard’s characters join forces along with Marvel’s Moon Knight, in an all-new saga built on REH and Marvel lore from across the ages!”

By BOB FREEMAN – Paint Monk’s Library Writer

I have, almost unerringly, been against crossovers on principle, particularly when it comes to Conan of Cimmeria. When Marvel began to shoehorn the character into their four-color universe, I stood firmly against it. While there have been interesting moments, by and large, these stories have not worked for me on any level. Conan interacting with the Marvel Universe outside of a “What If?” simply was grating to my sensibilities. The same could be said of Robert E. Howard’s other literary creations… That is, until Jim Zub took the reins.

Conan: Serpent War #1 is a crowning achievement and my favorite comic so far in Marvel’s re-acquisition of the Howard properties.

By Crom, this is how one bloody does it. Future authors, take note.

Using Howard’s James Allison as catalyst and framing device, Zub carefully and meticulously introduces us to the protagonists in his tale. First, Allison, seemingly on his deathbed in 1936 Texas, reaching out across time & space to gather a collection of heroes — Hunter, Knight, Paladin, Fighter, and Adventurer — to combat an ancient and slithering evil called Set.

Yeah. I’m on board.

Allison is a brilliant choice as the instigator. As a 1930s era Texan who recalls his past lives as ancient heroes, the character is a perfect bridge between Niord Worm’s-Bane, Marc Spector/Moon Knight, Solomon Kane, Dark Agnes de Chastillon, and Conan of Cimmeria.

While, to be fair, Moon Knight’s inclusion seems an odd pairing with a collection of Howard creations, I never once felt myself pulled from the narrative. Zub’s words carried the weight, and by freely adapting Howard’s own prose to the page, made the transitions seamless and intoxicating.

I’ve not had this much fun reading a comic in a long time.

Each of Robert E. Howard’s creations rang true, and that is the real test. Kane and Agnes felt lifted right off of Howard’s typewriter and dropped onto the comic page. And Conan himself? Yeah, that’ll do.

As for the nuts and bolts of the issue, the art is fairly solid. While uneven at times, Scot Eaton and Scott Hanna perform admirably, but it is the James Allison sequences by Vanesa del Rey and Jean-Francois Beaulieu that are the most eye-catching, projecting mystical surrealism that elevates the overall work.

Eaton and Hanna’s Conan is the weakest of the characters depicted, but the characterization is right and can be forgiven in the short term.

All in all, I count this as a major success that spotlights Jim Zub’s creative talents and bodes well not only for the rest of Serpent War but for Zub’s 2020 turn on Conan the Barbarian, beginning with issue #13.

As for the 1-10 skulls of my enemies…Crom, take them all. I am well satiated.