This review originally appeared at Grimdark Magazine on July 17, 2025.

Conan the Barbarian #21

By Jim Zub (Writer) and Fernando Dagnino (Artist) – Titan Comics – June 11, 2025

Review by Robin Marx

Emotionally adrift after the death of his pirate queen Bêlit, Conan wanders his way aimlessly through the jungles of the Black Kingdoms. An encounter with a pampered princess from Ophir once again gives him purpose, however. After rescuing her from an attempted human sacrifice, Conan and his loyal tribe of Bamula warriors journey northward, hoping to deliver Princess Livia from the jungle and into the hands of someone who can get her safely home. As they reach the border town of Daynt, nestled between Kush and serpent-haunted Stygia, the party receives an astonishingly gracious welcome. Naturally, Conan is instantly suspicious. In the dead of night, he sets out to uncover the darkness lurking behind the villagers’ obsequious smiles.

In terms of the Titan Comics Conan the Barbarian chronology, the “A Nest of Serpents” story arc that launches with this issue takes place after “The Age Unconquered” (Conan the Barbarian issues #9-12). For readers of the original 1930s short stories by Robert E. Howard, it’s interesting to note that this issue takes place immediately after the events of “The Vale of Lost Women.” Never published during the author’s lifetime (and possibly never even submitted for publication by Howard), “The Vale of Lost Women” occupies an uneasy place in the Conan canon. Not only is it a lesser effort creatively, the casual racism endemic in 1930s America is more prominent here than in the lion’s share of Howard’s work, and there are hints of sexual violence as well. The Conan appearing in “The Vale of Lost Women” is uncharacteristically brutish, and the dismissiveness with which he regards the African-coded inhabitants of the Black Kingdoms also doesn’t make sense if the story takes place after Conan’s extended tenure among the majority Black crew of Bêlit’s pirate ship.

Rather than go through elaborate contortions to salvage “The Vale of Lost Women,” Conan the Barbarian scribe Jim Zub simply uses the events of the short story as a launching pad for his own original tale: Conan is deep in the jungle, surrounded by local warriors, and has a delicate princess that he must escort to safety. The climactic bat-winged “devil from the Outer Dark” is shown in the opening pages of this issue, so readers do not miss out on anything by not receiving a full adaptation. Masterfully handled, Zub!

Conan the Barbarian #21 brings aboard a new artist for the monthly title, Fernando Dagnino. A DC Comics veteran, Dagnino’s work previously appeared in The Savage Sword of Conan #4. I rated his art highly then, and he continues to impress in this full-length issue. While he cites several other Conan artists as influences in the post-issue interview, Dagnino’s depiction most reminds me of Ernie Chan’s. He captures the brawn and ferocity of Chan’s classic representation while avoiding slavish imitation. His costume work in this issue is also worthy of note; newly introduced Stygian sorceress character Athyr-Bast is particularly impressively outfitted.

While the “Scourge of the Serpent” event miniseries doesn’t begin in earnest until September (excepting the Free Comic Book Day prelude), the dark Egyptian-inspired land of Stygia and the snake cult of Set have figured prominently in this year’s Conan the Barbarian issues. As the story arc title “A Nest of Serpents” suggests, this issue continues the trend, also reintroducing a fan-favorite villain previously teased at the conclusion of Conan the Barbarian #18.

Issue #21 takes the best elements of a forgettable Conan short story and sets to work making something more interesting out of them. Fernando Dagnino also makes a strong addition to the stable of Conan the Barbarian artists.

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This review originally appeared at Grimdark Magazine on June 9, 2025.

Conan the Barbarian – Free Comic Book Day 2025: Scourge of the Serpent

By Jim Zub (Writer) and Ivan Gil (Artist) – Titan Comics – May 7, 2025

Review by Robin Marx

The 2025 Free Comic Book Day issue of Conan the Barbarian is set shortly after the beginning of his adventuring career. Though the Cimmerian is only 17, already he has participated in the Sack of Venarium and then fallen in with a raiding party in the frozen north. After an uncanny close encounter with the divine (as seen in the “Frozen Faith” storyline, concluding in Conan the Barbarian issue #16), the youth ventures south towards warmer climes and his earliest encounters with the “civilized” world. He promptly becomes a thief, using his remarkable muscle and agility to enrich himself at the expense of the soft city-dwellers of Numalia. His latest heist turns out to be a bust, however, when he breaks into the manor house of Aztrias Petanius, nephew to the city-state’s governor. Not only is he caught in the act, but it turns out Petanius doesn’t have any gold to steal: the dissolute fop has run up massive gambling debts and been cut off by his uncle. Just as Conan is about to cut his losses and withdraw, Petanius attempts to sweet-talk Conan into another burglary, one that promises to both mollify the frustrated barbarian and wipe out Petanius’ debt.

Like the 2024 Free Comic Book Day issue, which acted as the prelude to last year’s Battle of the Black Stone miniseries, this issue sets the stage for this autumn’s “Scourge of the Serpent” spin-off. Hints about another epoch-spanning crossover involving other characters penned by Conan creator Robert E. Howard are dropped in the final pages of the issue, and in his closing essay pulp fiction scholar Jeffrey Shanks helpfully lays out the plan for the event. As fans familiar with the original source material have likely recognized, the Conan story will be an adaptation of “The God in the Bowl” (the climax of which was glimpsed in Conan the Barbarian #20). Interestingly, that tale will be interwoven with a comic book treatment of “The Shadow Kingdom,” a classic 1929 Sword & Sorcery adventure starring King Kull and Brule the Spear-Slayer. Finally, the “Scourge of the Serpent” will also incorporate “The Haunter of the Ring,” a 1934 occult horror tale featuring Professor John Kirowan (last seen in Conan the Barbarian: Battle of the Black Stone #4). While Jim Zub’s repeated tendency to shoehorn crossover events into Conan the Barbarian still feels like a storytelling device better left to superhero comics, the story choice here is admittedly intriguing. “The God in the Bowl” is a fun story, but one of the weaker Conan tales; augmenting an adaptation of that with additional material seems like a wise decision. “The Shadow Kingdom” is perhaps the best Kull story, to the extent that which I’m surprised they would use it here, rather than reserve it for a future standalone King Kull comic title. Finally, “The Haunter of the Ring” is one of the more obscure Howard stories, but even in its original form it includes a built-in connection to Conan’s Hyborian Age. While simultaneously weaving together three adaptations feels ambitious, the more limited cast of characters should help “Scourge of the Serpent” avoid the overstuffed feeling of “Battle of the Black Stone.”

Artist Ivan Gil is a newcomer to Conan the Barbarian, but I look forward to seeing more Conan material by him. His character work in this issue is superb. His Conan is brawny, but he captures the panther-like agility that so many other artists regrettably deemphasize. His Conan also looks appropriately young; hardened by his barbarian upbringing, but still youthful and new to the ways of the civilized world. Gil’s supporting cast is likewise strong. While avoiding caricature-like exaggeration, the guards in Petanius’ manner are delightfully ugly in a characterful way. His background work with the furnishings in Petanius’ manor is intricately detailed, which gives me high hopes for the riches we’ll be shown within the vault of antiquarian Kallian Publico during “The God in the Bowl.”

For those who were unable to acquire Conan the Barbarian Free Comic Book Day 2025: Scourge of the Serpent from their local comic store, a digital edition is available directly from Titan Comics. This issue is an enjoyable read for current fans of the series, but it’s also an excellent place to pick up the series. There’s no encumbering backstory to absorb, just a young barbarian with a sword looking to hit it rich and ominous hints of sinister forces lurking in the background.

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This review originally appeared at Grimdark Magazine on May 15, 2025.

Conan the Barbarian #20

By Jim Zub (Writer) and Doug Braithwaite (Artist) – Titan Comics – April 16, 2025

Review by Robin Marx

Confronted by a hostile shapeshifter, Conan has no choice but to defend himself. Mystified by the invective hurled at him by his assailant, he spares his foe’s life in an attempt to learn the reason for the unprovoked aggression. Zula, as the stranger is named, accuses Conan of being a “servant of the serpent.” In other words, an agent of the cruel Stygian snake god Set. Despite his misgivings, Zula offers Conan the means to cleanse his soul of Set’s influence. He orders Conan to present himself at an ancient monument, where a risky ordeal awaits. As Conan pushes through the dense jungle, it gradually dawns upon him that the stab wound he incurred from a Stygian artifact called the Fangs of the Serpent during his botched heist with the thief Tarnasha (Conan the Barbarian #18) must have marked him with Set’s malign taint.

Part IV of the “Twisting Loyalties” story arc, this issue is appropriately titled “Purged.” Conan the Barbarian #20 both concludes “Twisting Loyalties” and provides more resolution for the two-issue storyline Jim Zub worked on with artist Danica Brine. It also leads directly into the upcoming “Scourge of the Serpent” event. While I prefer self-contained episodic storytelling in the Sword & Sorcery genre and don’t feel a title like Conan the Barbarian demands epic events, crossovers with other heroes, and ongoing continuity, I do think Zub is adept at this sort of comic book storytelling. He drops hints and plants seeds that bear fruit several issues down the line. On the other hand, the “shadow” Conan that appears in this issue feels a little too close to the Black Stone-influenced Conan seen in the “Thrice Marked for Death!” storyline (e.g., Conan the Barbarian #8). Mind control and possession have appeared frequently across multiple arcs in this series to date, affecting both Conan and King Kull (e.g., Conan the Barbarian #9), and perhaps that particular device could use a rest.

Artist Doug Braithwaite continues to shine. From both a narrative and art perspective, the “Frozen Faith” storyline was a disappointment, but these past two issues have given me a much greater appreciation of Braithwaite’s talents. His jungle scenery and wildlife depictions are ultra-detailed and bring the Black Kingdoms to life in a way that wasn’t as pronounced with the Nordheim tundra setting of “Frozen Faith.” His one-on-one fist fights in this two-parter also felt more dynamic and impactful than the mass battles he depicted in “Frozen Faith.”

From a plot perspective, issues #19 and #20 of Conan the Barbarian serve as “the prelude to the prelude,” laying the groundwork for the Free Comic Book Day 2025 issue and the “Scourge of the Serpent” event miniseries to follow. That being said, these two issues benefit from having the right artist paired with the right material to showcase his strengths. A fun story well told.

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This review originally appeared at Grimdark Magazine on May 7, 2025.

Conan the Barbarian #19

By Jim Zub (Writer) and Doug Braithwaite (Artist) – Titan Comics – March 19, 2025

Review by Robin Marx

Two years have passed since Conan’s ill-fated heist with the unreliable thief Tarnasha. He and his pirate queen Bêlit terrorized the high seas, but their journey together has come to an end. Bêlit and her crew is dead (a story originally related in the 1934 Weird Tales story “Queen of the Black Coast”), the beached vessel The Tigress serving as their funeral pyre. Conan finds himself alone in the hostile jungles of the Black Kingdoms. He is left little time to grieve, however, as danger lurks behind every primeval tree. Hornets nearly chase him into the waiting maw of a crocodile, and the human life he encounters is nearly as unfriendly. Suspicious villagers rebuff his attempt to barter for water and directions, flatly stating that he brings danger and is tainted by death. Forced back into the jungle, Conan is stalked by a supernatural presence, its hostility apparent but its motive unknown.

Entitled “Hunted,” this issue is listed as the third part of the “Twisting Loyalties” story arc that began with Conan the Barbarian #17. Interviews with series writer Jim Zub had given the impression that the previous two issues with artist Danica Brine would comprise a two-part storyline, with this issue and next making a second two-parter with Doug Braithwaite handling art, but the Part III suggest more of a connection than is apparent just yet. Conan’s present jungle survival saga is separated by a significant amount of both time and distance from the events of issue #18, but more than enough unresolved plot threads remain to complicate his current situation.

While I haven’t always been the biggest booster of Doug Braithwaite’s artwork—I find his female characters insufficiently alluring compared to Zub’s breathless prose descriptions, and his depictions of young Conan look prematurely aged—this issue finds Braithwaite firmly in his element. Bereaved and beset, his barbarian looks appropriately haggard. The relentless animal attack scenes also play to Braithwaite’s strengths. And while background art is often overlooked, the dense jungles of the Black Kingdoms looks fantastic here. Diego Rodriguez also deserves special mention for the fine color work. Not only is he working with a vivid, vibrant palette, but his colors effectively communicate the temperature of every scene, from steamy heat to midnight chill.

While I won’t reveal his identity, this issue reintroduces a supporting character created by Roy Thomas in a 1978 issue of the original Marvel Comics Conan the Barbarian. While my memories of this character were foggy, in his essay Jeffrey Shanks helpfully gives readers a detailed profile. Throughout his run on Titan Comics’ Conan the Barbarian, Zub has both proven himself loyal to Conan creator Robert E. Howard’s legacy while simultaneously demonstrating an eagerness to draw inspiration from post-Howard adaptations. Sometimes these references appear as visual Easter Eggs (like the Atlantean Sword first introduced in the 1982 John Milius film), other times in a more involved fashion. Here we have a non-Howard character that originated in a comic book, but he’s being used in a novel way: where originally he journeyed alongside Conan and Bêlit, here his first encounter with the barbarian is after Bêlit’s death. This sort of remixing is commonplace in superhero comics, but it’s fun to see Zub embrace the entirety of the Conan mythos.

The end of the issue suggests that plot threads introduced in previous issues will become more prominent in Conan the Barbarian #20, but issue #19 is a sleek survival tale that features some of Doug Braithwaite’s best artwork on the title to date.

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This review originally appeared at Grimdark Magazine on March 7, 2025.

Conan the Barbarian #18

By Jim Zub (Writer) and Danica Brine (Artist) – Titan Comics – February 19, 2025

Review by Robin Marx

Having decided to spare the life of Tarnasha, the foolhardy thief that invaded their bedchamber in Conan the Barbarian #17, Conan and Bêlit allow themselves to be talked into a plan to rob a local antiquarian of a priceless treasure of Stygian origin. Conan has misgivings, as his last encounter with Stygia and its Set-worshipping snake cult was an unsettling one, but he’s swayed by his pirate queen’s talk of riches and her eagerness to pull one over on the hated Stygians. The trio immediately begins plotting a daring heist. Once their hastily assembled plan is put into action, however, bloodshed and betrayal ensue.

This issue concludes the two-part “Fangs and Foolish Thieves” storyline. All previous arcs in Titan Comics’ Conan the Barbarian series have run across four issues, so it’s perhaps inevitable that this particular story feels abbreviated. Indeed, the pacing felt rushed the first time I read through this issue, with several elements introduced late into the story and left unresolved. That feeling lessened upon revisiting the issue, however. Tarnasha will doubtless reappear in a subsequent plotline, as will the other dangling threads established herein. The 2025 Free Comic Day Issue of Conan the Barbarian is set to launch an event called Scourge of the Serpent, and a Solomon Kane series entitled The Serpent Ring is scheduled to arrive even before that, so it appears that readers have a decidedly reptilian year ahead of them. Appropriate for the Chinese zodiac’s Year of the Snake.

Issue #18 includes some entertaining references for knowledgeable Conan fans. The Stygian episode Conan flashes back to in the opening pages is, of course, a nod to the original Robert E. Howard prose story “The God in the Bowl.” The Stygian relic at the heart of the story is unmistakably the same intertwined serpent dagger wielded by James Earl Jones’ villain Thulsa Doom in the 1982 Conan the Barbarian movie. The cinematic Atlantean Sword and Thulsa Doom himself (despite being King Kull’s foe in Howard’s work) have also appeared in previous issues of this comic, demonstrating Jim Zub’s fun willingness to embrace the Conan the Barbarian body of work in all its forms and expressions, rather than limit himself to strict Howard purism.

Judging from online commentary, Danica Brine’s artwork in the previous issue was a point of contention for some readers. While admittedly the art style does feel a tad on the “cute” side for Conan—Tarnasha and her truly outrageous pastel outfit would fit right in with Jem and The Holograms—I’d rather see a variety of representations of these characters than witness Conan the Barbarian stagnate and settle into dead-end “John Buscema Über Alles” conservatism.

While our reunion with Conan and Bêlit is regrettably a brief one, Conan the Barbarian #18 caps off a whirlwind caper. The shorter storyline and fresh artwork show that Jim Zub is still willing to experiment with the Titan Comics series, even as the title sprints towards its second anniversary.

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This review originally appeared at Grimdark Magazine on March 3, 2025.

Conan the Barbarian #17

By Jim Zub (Writer) and Danica Brine (Artist) – Titan Comics – December 4, 2024

Review by Robin Marx

Launching the “Twisting Loyalties” story arc, Conan the Barbarian #17 depicts Conan adventuring alongside the pirate queen Bêlit. Having served at her side for close to a year under the assumed name of Amra the Lion, Conan joins Bêlit and the crew of their vessel The Tigress for some rest and relaxation in the port town of Kyros. Conan and his beautiful captain settle in for a night of passion at a posh inn called the Hidden Haven, but reckless bandits hoping for an easy score literally drop in on the pair.

In the original source material, Conan’s time at sea with Bêlit is related in Robert E. Howard’s 1934 story “Queen of the Black Coast.” While that story begins with the barbarian throwing in his lot with the crew of The Tigress and concludes with Bêlit’s tragic death, the largely unchronicled gaps in the narrative have been fertile ground for subsequent creators. “Conan the Pirate” is a premise that immediately appeals, and Bêlit is one of the strongest female characters in Howard’s literary output. In the classic Marvel Comics Conan the Barbarian title, Roy Thomas showed Conan and Bêlit voyaging together for nearly 40 issues (1976-1979), and this era in Conan’s career was also revisited in Brian Wood and Becky Cloonan’s 25-issue Conan the Barbarian series (Dark Horse Comics, 2012-2014). While Bêlit has appeared in both flashbacks and in spirit (e.g., Conan the Barbarian #8), this marks her first appearance alive and in the flesh with Conan in the current Titan Comics title.

While this issue only offers a brief and—so far—landbound depiction of Conan and Bêlit, it feels good to see the pair back in action again. In both the artwork and the narration, Bêlit is portrayed as being appropriately competent and ruthless, and the issue concludes with a hint of the greed and ambition that led to her eventual demise in “Queen of the Black Coast.” From a storytelling standpoint, so far, so good.

Danica Brine is an interesting choice as an artist. While a handful of women (Rebecca Puebla, Ashley Izienicki, etc.) have done covers for Titan Comics’ Conan the Barbarian, Brine is the first to handle the interior artwork. She doesn’t have the deepest resume, but she did handle a variant cover for Conan the Barbarian: Battle of the Black Stone #3, and she previously worked with Conan scribe Jim Zub on some cover artwork for his Image Comics series Wayward (2014-2018). It appears that her most extensive work to date was for 2022’s Chef’s Kiss, a wholesome-looking gay romance comic from Oni Press. Perhaps due to that background, both Conan and Bêlit appear a little, for lack of a better term, “cute” in this issue. Her Conan is still brawny, but it feels like he’s rendered in a way that is more geared to appeal to heterosexual women readers than the more common scarred, veiny, brutish depictions of Conan. Brine’s version of Bêlit is beautiful but not as overtly sexualized as some versions of the character. Conan the Barbarian is quite a change of pace from Chef’s Kiss, but the violence in this issue is presented sufficiently dynamically, if not as gory as combat scenes we’ve seen from artists like Doug Braithwaite and Jonas Scharf.

Conan the Barbarian #17 brings back sword & sorcery’s original power couple, and it’s great to see Conan and Bêlit reunited. The series also features a fresh new look, and I suspect the artwork will be an area of special interest during this story arc.

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This review originally appeared at Grimdark Magazine on January 9, 2025.

Conan the Barbarian: Battle of the Black Stone #4

By Jim Zub (Writer) and Jonas Scharf (Artist) – Titan Comics – December 4, 2024

Review by Robin Marx

Conan the Barbarian: Battle of the Black Stone #4 opens with Conan succumbing to the injuries incurred during his last encounter with the Beast of the Black Stone. Kirowan calls upon his occult knowledge, making a significant personal sacrifice to resurrect Conan and simultaneously allow Brissa to remain in the physical realm. Only half of the Heroes of Man survive, yet the goal remains the same: to track down and destroy the source of the Black Stone’s power.

As promised, this final issue in the miniseries culminates in the titular Battle of the Black Stone. This scene is artist Jonas Scharf’s time to shine, and he makes full use of it. Dismemberments and decapitations abound. And while by now Brissa has been illustrated by multiple artists, in this reviewer’s opinion Scharf’s rendering appeals the most. She appears alluring but tough and physically robust, a believable Pictish scout rather than a pinup model who has picked up a spear. The momentum and violence of the massive Beast of the Black Stone also effectively comes across on the page. Seeing John Kirowan shooting magic mind bolts like Doctor Strange is a little eyebrow-raising, however.

While the artwork is first-rate, taken as a whole, Conan the Barbarian: Battle of the Black Stone feels far from essential. The miniseries was overstuffed with characters. Even with the prologue shorts in The Savage Sword of Conan #4, readers were not allowed much time with the cast, and as a result their individual appeal too often fails to shine through and their deaths fail to have much narrative weight. Either halving the number of heroes appearing in this miniseries or taking another year to feature these characters singly in The Savage Sword of Conan would have given the crossover event a much firmer foundation.

On the more positive side, after a year of teasing across the first twelve issues of the flagship title, the identity of the cosmic entity ultimately responsible for the Black Stone is a fun revelation certain to be appreciated by fans of the original Marvel Comics Conan the Barbarian. Writer Jim Zub could not have made a better choice. For those readers lacking that familiarity, the accompanying Jeffrey Shanks essay provides some entertaining and enlightening context regarding said entity.

While the missed opportunities and underutilized characters in Conan the Barbarian: Battle of the Black Stone are regrettable, the climactic battle is genuinely exciting. The event still feels like a brazenly commercially motivated effort to (re)launch a Robert E. Howard comic universe, but—with the apparently obligatory Conan-facilitated crossover event out of the way—perhaps the characters incompletely showcased in this four-issue miniseries will live up to their full potential in their own solo titles.

Postscript: Solomon Kane: The Serpent Ring was announced in late December, to release in March. Writer/artist Patch Zircher previously handled Kane’s appearances in Titan Comics’ The Savage Sword of Conan issues #1-4.

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This review originally appeared on Goodreads on August 25, 2020.

Aliens Omnibus, Vol. 3

By Various – Dark Horse – Mar 18, 2008

Review by Robin Marx

While there are some duds among the miniseries collected in this third omnibus, the average level of quality felt markedly higher than in Vol. 2.

The highlights of this volume are “Sacrifice” and “Salvation.” Both featured exceptionally good artwork. “Sacrifice” involves a priest investigating how an isolated group of colonists manage to coexist with an alien lurking nearby. “Salvation” has a thinner plot, but gorgeous Mike Mignola artwork.

The remaining stories are mostly decent, but there's a particularly heavy reliance on formulaic mad scientist tropes. Once a scientist or doctor character is introduced you can guess where the plot is headed: “I've tamed the alien! Oops!”

★★★☆☆

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This review originally appeared on Goodreads on July 28, 2020.

Aliens Omnibus, Vol. 2

By Various – Dark Horse – January 1, 2008

Review by Robin Marx

Noticeable dip in artwork and storytelling quality with this omnibus. The over-long “Colonial Marines” saga is the worst offender, and particularly incoherent. Hope things pick up in the third omnibus.

★★★☆☆

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This review originally appeared on Goodreads on January 17, 2016.

The Adventures of Luther Arkwright

By Bryan Talbot – Dark Horse – April 29, 2008

Review by Robin Marx

While my awareness with British comics is mostly limited to second-hand knowledge of Judge Dredd, I had seen praise for this series and decided to check it out.

The book begins with a foreword by Michael Moorcock, which is extremely appropriate. The story that follows reminded very much of Moorcock's New Wave SF work on the Eternal Champion series and the Jerry Cornelius character in particular. The hero is a (somewhat groovy) super agent who journeys to various parallel Earths in a semi-mystical struggle against the Disruptors, a shadowy high-tech group trying to bring about their own ideal timeline.

Luther Arkwright debuted in the mid-70s, and the comic is definitely a product of its time. In addition to high tech weapons, over the course of his adventures Arkwright makes frequent use of psychic powers, meditation, and consciousness-expanding drugs. He powers-up via Tantric sex (narrated with myth-heavy stream of consciousness narration) goes on walkabout in Tibet and encounters mysterious Buddhist monks. The story never drags, but the psychedelic, Carlos Castaneda-style mysticism made the story feel a bit dated.

It's a very British story as well, dealing heavily with alternate history versions of Oliver Cromwell, the Royalists, and Roundheads. As an American reader I probably would have gotten more out of the story if I had more knowledge of the English Civil War. The twists where the story diverged from the true historical events were mostly lost on me. That's a problem with this reader and not the narrative, but it kept me from enjoying the story as much as I could have.

Minor issues aside, the comic was very interesting throughout. The artwork was excellent and with so many twists and turns it was impossible for me to predict the outcome. If you're a British Moorcock fan with a fondness for psychedelia, this is probably the ideal comic for you.

★★★☆☆

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