This review originally appeared at Grimdark Magazine on June 2, 2024.

Conan the Barbarian #11

By Jim Zub (Writer) and Roberto De La Torre (Artist) – Titan Comics – May 22, 2024

Review by Robin Marx

At the conclusion of Conan the Barbarian issue #10, Kull led Conan, Brule, and the Red Slayers to his homeland in Atlantis, only to find that the village of his birth has been replaced by a yawning abyss. As the party descends into the chasm, Conan flashes back to his conversation with Yag-Kosha (in Conan the Barbarian issue #9), a pachyderm-headed alien god who he slayed a decade ago in his own life (during the events of the 1933 Robert E. Howard story “The Tower of the Elephant”), yet encountered alive and well just days ago in Valusia. Yag-Kosha emphasizes that Conan’s soul has been “set adrift” in time, but that his fate is entwined with Brissa, a Pictish warrior woman from his own era (missing and presumed dead as of the conclusion of Conan the Barbarian issue #4) and her distant ancestor Brule.

Upon reaching the bottom of the pit, Conan and Kull discover a series of ancient cyclopean chambers that—judging from the arms and armor left behind—appear to have once been inhabited by giants. The situation quickly becomes deadly as the explorers inadvertently release a horde of hostile subhuman creatures. Even accompanied by the elite Red Slayers, Kull and his companions face a difficult struggle.

Rob De La Torre’s artwork is a visual feast, as always. His John Buscema-inspired character artwork and dynamically staged combat scenes receive a great deal of justified praise, but his backgrounds are also worthy of attention. His oppressive monolithic architecture and craggy, menace-filled subterranean passages create a real sense of place for the events of the story. Diego Rodriguez’s color work in this issue was also effective. Whether an intentional reference or not, the bluish-white coloration of the subterranean attackers brought to mind the Morlocks from the 1960 film adaptation of H.G. Wells’ The Time Machine.

Jim Zub’s storytelling continues to excite, with the issue’s climax leaving this reader full of questions and wanting more. The flashback to Conan’s conversation with Yag-Kosha felt a little lengthy and redundant, however. By this point it should be abundantly clear to both the reader and Conan himself that the barbarian is outside of his natural place in time and space. Additional, talk of “fate” and “destiny” in Conan pastiche never sits well with me. While there was occasional foreshadowing in the Howard stories that Conan would one day become a king, I’ve never had the sense that outside forces were in play or that his claiming the throne was in any way preordained. Much of the appeal of Conan is that he is a self-made hero who uses his wits, skills, and physique to accomplish his objectives. He’s no “chosen one”; Conan forges his own destiny.

On the other hand, while Howard purists may balk, I appreciate that Zub has been incorporating elements of the 1982 Conan the Barbarian film into the comic. While originally created by Howard as an antagonist for King Kull, Thulsa Doom was the memorable movie villain and has been an “off-screen” presence in this comic since the first story arc. Movie fans will also doubtless appreciate the appearance in this issue of a certain instantly recognizable sword.

This issue features not one but two essays by Robert E. Howard expert Jeffrey Shanks. The first goes into detail about Thulsa Doom. In addition to listing Thulsa Doom’s appearances across Howard’s body of work, Shanks also suggests that the skull-headed sorcerer was an inspiration for both the lich monster in Dungeons & Dragons and Skeletor from the Masters of the Universe franchise. The second, briefer essay examines the Nemedian Chronicles epigraph (i.e., “Hither came Conan…”) that accompanied Conan’s debut in “The Phoenix on the Sword” (1932) and has been a popular inclusion in Conan films, comics, and novels ever since. The premise of the essay boils down to “Some versions of the quotation begin with ‘Know, oh prince…’ and others ‘Know, O prince…’; which is correct?” This sort of pedantry is real “inside baseball” stuff, unlikely to be noticed or remarked upon by any but the most hardcore Conan fan, but the essay both informed me and made me grin.

With Conan the Barbarian issue #11, Zub has laid the groundwork for an epic showdown with the potential for repercussions throughout both the Thurian Age and Conan’s own distant Hyborian Age. While it feels like there may be too much plot remaining to neatly resolve in a single issue, I look forward to seeing where Zub takes us.

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This review originally appeared at Grimdark Magazine on May 18, 2024.

Conan the Barbarian – Free Comic Book Day 2024: Battle of the Black Stone

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

Review by Robin Marx

Set some years after the events of the current Conan the Barbarian story arc, Conan is shown working out of Fort Tuscelan, defending the frontier outpost from incessant attacks by the Picts (making this story a prequel to the 1935 Robert E. Howard story “Beyond the Black River”). Raids have been a constant threat since the kingdom of Aquilonia carved out the province of Conajohara from the Pictish wilderness, but Conan is troubled by their growing frequency and intensity. After defeating a particularly formidable foe, he discovers evidence of dark forces at work: a medallion carved with a strange “searing eye” symbol. Laying eyes on the sigil causes a flood of memories to rush over to Conan: recollections of his deadly encounters with the malignant Black Stone and its undead minions. Simultaneously, in other lands and eras distant from Conan’s Hyborian Age, other heroes have their own encounters with the mysterious searing eye…

Subtitled “Battle of the Black Stone,” this year’s Free Comic Book Day issue of Conan the Barbarian is intended to serve as the prelude for a large-scale event that will get underway this autumn in The Savage Sword of Conan issue #4 and the Conan: Battle of the Black Stone miniseries. While the monthly Conan the Barbarian title has featured other non-Conan characters created by Robert E. Howard in the past—most notably King Kull—the Free Comic Book Day 2024 issue lays the groundwork for what may be the biggest crossover event the so-called “Howardverse” has seen to date.

While I’m excited to see the direction in which Jim Zub takes the story, while reading this issue I had a distinct sense of déjà vu. Back in 2019, when Marvel Comics still had the license for the character, Zub penned a title called Conan: Serpent War. The four-issue miniseries involved snake-worshipping cultists attempting to summon a malign god, an interdimensional and epoch-spanning threat that compelled Conan to join forces with some of Howard’s other characters, Solomon Kane and Dark Agnes de Chastillon, with James Allison appearing as part of the framing device. While there are some new additions, the Battle of the Black Stone prelude also includes those same three characters grappling with a supernatural menace that affects their own disparate eras in parallel. The apparent similarity between Conan: Serpent War and what we’ve seen thus far of Battle of the Black Stone makes me wonder if Zub is attempting to realize a creative vision that was either thwarted or otherwise left unfulfilled during his tenure on the Marvel Comics Conan the Barbarian. Either that, or Heroic Signatures (the rightsholder for Robert E. Howard’s various literary creations) is planning to launch new comic titles for non-Conan characters and is hoping to raise their profiles in advance.

The Jonas Scharf artwork in this issue appeals. His Conan is a bit hairier than many depictions, certain to please the subset of fans who prefer to see the barbarian with chest hair and furry forearms. Scharf’s expressive faces are another highlight of the issue.

For those who were unable to acquire Conan the Barbarian Free Comic Book Day 2024: Battle of the Black Stone from their local comic store, a digital edition is available directly from Titan Comics. Foreshadowing an exciting event, this issue is engaging for existing fans while simultaneously providing a gentle introduction to newcomers to Conan the Barbarian.

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This review originally appeared at Grimdark Magazine on May 15, 2024.

The Savage Sword of Conan #2

By Jim Zub (Writer), Richard Pace (Artist), and Patch Zircher (Writer & Artist) – Titan Comics – May 1, 2024

Review by Robin Marx

Following a strong first issue, the second bimonthly installment of Titan Comics revived version of The Savage Sword of Conan has arrived. The eye-catching painted cover illustration by veteran artist Dave Dorman (Star Wars, Aliens: Tribes, etc.) shows an axe-wielding Conan locked in combat with a multi-legged monstrosity atop a pile of skulls.

The cover feature for this issue is “Conan: Leaving the Garden,” penned by Jim Zub with art by Richard Pace (Batman: The Doom That Came to Gotham, etc.). Conan awakens to find himself buried alive, the caravan he was guarding devastated by bizarre, tusked humanoids. “Crom’s children are too stubborn to die,” muses Zub, and the barbarian hauls himself out of his grave through sheer force of will. Grievously wounded and with danger nearby, Conan must keep a low profile while learning more about the warped creatures that massacred his companions. A curious local boy offers Conan his assistance, but it soon becomes clear that the innocent child is enmeshed in a twisted culture. Zub’s storytelling is muscular and solid as usual, and through Conan’s interactions with the boy Zub shows a paternal side of Conan not often seen. Dark and sketchy, Pace’s artwork has an almost expressionistic feel that suits the grim mood of the narrative. The thick blacks and contorted facial expressions are especially effective in the early panels as Conan struggles his way to the surface.

Also included in this issue is “Master of the Hunt, Part Two,” once again written and illustrated by Patrick “Patch” Zircher. Solomon Kane continues his search for the missing Maddocks boy and the hairy beast responsible for a string of disappearances and livestock killings. He’s accompanied on the trail by Old Gruffudd, an elderly blind man who seems to have insight into the recent supernatural goings-on in the Welsh countryside. While the artwork remains stunning, the plot didn’t progress as much as I would’ve have liked in this exposition-heavy installment. The ultimate showdown is nigh, however, as the finale is set to appear in The Savage Sword of Conan #3.

Bonus material includes three full-page pinup illustrations—two of Conan and one depicting Solomon Kane—and the Chainmail letters page. In response to a reader’s letter, the editor promises not only that readers can count on more gorgeous painted covers in the future, but that they’ll also specifically relate to a story within the issue. (Something readers always haven’t been able to count on with the past incarnation of The Savage Sword of Conan.) It’s also mentioned that, while Conan will naturally remain the primary draw, other Robert E. Howard characters beyond him and Solomon Kane will be featured in future issues of the magazine.

While not quite as packed to the brim as the debut issue—there’s no short story this time, and one fewer pinup—The Savage Sword of Conan #2 remains an entertaining read for fantasy adventure fans.

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This review originally appeared at Grimdark Magazine on May 13, 2024.

The Savage Sword of Conan #1

By John Arcudi (Writer), Jim Zub (Writer), Patch Zircher (Writer & Artist), and Max von Fafner (Artist) – Titan Comics – February 28, 2024

Review by Robin Marx

Shortly after Titan Comics announced the return of Conan the Barbarian, the next question on fans’ lips was if companion series The Savage Sword of Conan would see a similar revival. Originally launched in the mid-1970s, a few years after the Marvel Comics debut of Conan the Barbarian, The Savage Sword of Conan differentiated itself from its four-color predecessor by adopting a more adult approach. As a black-and-white magazine, The Savage Sword of Conan wasn’t subject to the regulations of the Comics Code Authority, and as a result it was able to portray levels of violence and sensuality that were off-limits in the mainstream Conan title. Many readers enjoyed the added grit and mature tone of the magazine during the classic Marvel Comics run, and after such a long absence curiosity abounded regarding what a modern-day Titan Comics incarnation would look like. (Before losing the Conan license for the second time, Marvel Comics briefly revived the title for 12 issues from 2019-2020, but in this reviewer’s opinion this short-lived version did not significantly differentiate itself in terms of format or content from their parent Conan the Barbarian title.) The first issue of the relaunched The Savage Sword of Conan arrived simultaneously with Conan the Barbarian issue #8, finally giving readers basis for comparison.

Fortunately, this first issue seems geared to put longtime fans of The Savage Sword of Conan at ease. The standard cover artwork features a bold painting by Marvel Comics-era veteran Joe Jusko, showing Conan standing victorious over a pile of slain warriors in Stygian (i.e., Egyptian-themed) garb, a beautiful bronze-skinned maiden at his side. Precisely the sort of cover readers would have been welcomed with during the original magazine’s heyday. The nostalgic artwork is immediately followed up by a foreword by Roy Thomas, the fan-favorite writer and editor responsible for introducing the character of Conan to the comic book medium. Thomas provides some insight into the launch of the original magazine in the mid-70s and concludes with some tantalizing hints that he may be returning to the Conan character in future issues of Titan Comics’ incarnation.

Written by John Arcudi with artwork by Max von Fafner, “Conan and the Dragon Horde” is this issue’s main feature. Self-contained and unconnected to the ongoing Conan the Barbarian storyline, this comic portrays Conan as the leader of a mercenary band in service to an exiled Hyrkanian prince. Prince Zaahid promises riches untold to any man who helps him retake the throne from his estranged brother, but it soon becomes clear that Zaahid is keeping deadly secrets from his underlings. Increasingly skeptical and restless, Conan finds himself at odds with his employer. Not only must he deal with the giant, scaled beast defending Zaahid’s desired throne, Conan must guard himself against the lions and twin brutes that guard the prince. “Conan and the Dragon Horde” packs a great deal of adventure, violence, and sensuality within its 48 pages. Some may find the art style somewhat unconventional, but the exaggerated, detailed musculature on display vaguely reminded me of the Baki the Grappler manga by Keisuke Itagaki.

Conan the Barbarian writer Jim Zub’s contribution is something a little different than what we’re used to seeing from him: a prose story, rather than a comic. “Sacrifice in the Sand” is a short story based on Jusko’s Egyptian-themed cover artwork. The tale involves a Stygian captain named Nkosi, escorting a beautiful captive across the desert to be sacrificed as a bride of the snake god Set. Conan is depicted similarly to a stalking beast, striking from ambush to thin the numbers of Nkosi’s warrior band before ultimately pitting his sword against the captain in single combat. It was interesting to see Zub try his hand at regular fiction. When compared to Conan creator Robert E. Howard, Zub’s prose writing feels a little on the verbose side; Howard could have doubtless covered more ground given the same word count. But Zub’s enthusiasm is palpable, and he delivers an exciting vignette.

The final comic of the issue is “Master of the Hunt, Part One,” both written and illustrated by Patrick “Patch” Zircher. Instead of Conan, this story focuses on another of Howard’s literary creations: the vengeful Puritan swordsman Solomon Kane. Set in Wales, “Master of the Hunt” is a moody, gothic affair. Wandering through the countryside, rootless adventurer Solomon Kane encounters a family whose sheep have been rent apart in the night by a mysterious, hairy beast. With the husband away tracking the monster, Kane pauses to lend a hand to the Maddocks household’s wife and young son. An eerie appearance by Lord Arawn of the mythical Fair Folk leads Kane to become further embroiled in the family’s plight, and he vows to get to the bottom of the mystery. Backup stories featuring Kane were an occasional part of the Marvel Comics series, and his return in the Titan Comics reboot is a welcome one. So far Zircher’s depiction of the character seems a faithful one and his artwork is exquisite.

Other materials included in this inaugural issue include pinup illustrations of Conan and other characters, a map of the Hyborian Age, and an essay by Howard scholar Jeffrey Shanks providing additional background and publication details for Solomon Kane.

The days of the Comics Code Authority have long since passed, and Titan Comic’s Conan the Barbarian hasn’t shown any reluctance to depict either violence or (non-explicit) nudity. Is there still a niche for The Savage Sword of Conan to fill? Even lacking an all-ages/mature division in content between the two titles, I would argue that this magazine is a welcome addition to Titan Comics’ stable. With the ongoing Black Stone plot, the main Conan the Barbarian title appears increasingly invested in long-form storytelling, making The Savage Sword of Conan an ideal venue for shorter, standalone pieces. The primary title has committed itself to four-issue story arcs—so far with one writer and one artist per arc—but there is no need for The Savage Sword of Conan to play it safe; I hope to see further experimentation in terms of artwork and creative teams in future issues of the magazine. And as demonstrated with Solomon Kane in this issue, The Savage Sword of Conan also serves as a natural platform for the reintroduction of other long-dormant Howard characters to today’s audience. If the level of quality and variety on display in issue #1 of The Savage Sword of Conan is maintained, the magazine has the potential to surpass even the flagship Conan the Barbarian comic.

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This review originally appeared at Grimdark Magazine on May 9, 2024.

Dark Dreams of Nilztiria

By D.M. Ritzlin – DMR Books – March 31, 2023

Review by Robin Marx

The follow-up to 2020’s Necromancy in Nilztiria, Dark Dreams of Nilztiria collects nine more sword & sorcery stories set in D.M. Ritzlin’s setting, Nilztiria. While several characters from the previous volume reappear—including Xaarxool the Necromancer, barbarian hero Avok Kur Storn, and Vran the Chaos-Warped (also featured in the 2023 novel, Vran the Chaos-Warped), the stories here are self-contained, and no prior experience with the characters or setting is needed to enjoy this volume.

Dark Dreams of Nilztiria starts off strong with the cover story, “More Blood.” A warrior awakens in a phantasmagorical arena, with no memory of the circumstances leading up to his imprisonment. With no time to pause for reflection, he faces a series of increasingly strange opponents: twin martial artists, a jester armed only with his index finger, even a walrus. All the while, the colosseum echoes with a repeated cry for “Blood! More blood!” The nameless warrior battles his way to the arena’s bloodthirsty spectator but is unprepared for what he finds. “More Blood” boasts an intriguing atmosphere and a killer finishing line.

“The Necromancer and the Forgotten Hero” centers on a cat and mouse game between the necromancer Xaarxool and Acclain Dorso, the new magistrate in charge of the Bureau of Sorcerous Affairs in the city of Desazu. The pair’s rivalry has taken a nasty turn, with Dorso dispatching an assassin and a series of summoned monsters after Xaarxool. As he attempts to flee Desazu, Xaarxool brings some protection, however, in the form of legendary warrior Hyallbor. Revived 500 years after his death, Hyallbor finds himself ambivalent about his new lease on life. While resurrection is common in fantasy fiction, the exploration of necromancy from one of its subjects felt refreshing.

Like the story before it, “The Head in the Globe” stars another of Ritzlin’s recurring heroes: Avok Kur Storn. Wandering through the forest, the barbarian hero is approached by an alluring young woman who begs him to retrieve her father’s severed head from the top of a massive tree. Avok learns that the head remains quite alive, imprisoned in a glass sphere through the magic of Syrakoss, a warlock hoping to extort magical knowledge from the head. Avok discovers that reclaiming the head is the easy part of his task, as he soon finds himself caught in a struggle between two sorcerous heavyweights, dealing with treachery and a host of bizarre creatures. Fast-paced and subtly humorous, “The Head in the Globe” covers a great deal of ground in a scant 18 pages.

“Crowned in Madness” presents a dungeon delve from hell. After choosing the wrong victim to waylay, failed bandit Rythe finds himself press-ganged into the service of the arrogant wizard Altogg Keldoum. Keldoum’s band of mercenaries are on an expedition to loot a magical crown from a dead king’s tomb, but careless tavern chatter catches the ear of Verohssa, High Priestess of the BDSM-flavored cult of Tuntilla, the Sadistic Maiden. Disaster strikes deep within the tomb and Rythe is caught between a rock and a hard place, trying to preserve his own life while Keldoum and Verohssa struggle to possess the crown. Hapless Rythe’s constantly shifting allegiances add a welcome touch of wry humor to what is otherwise a very gory and grim tale.

The shortest episode in the collection, “Diabolical Symphonies” follows the ruthless sorceress Ytra as she prepares a powerful magical incantation to get revenge on her long list of enemies and rivals (including Xaarxool and Avok Kur Storn). Epic spellcraft demands rare components, and Ytra must go to great lengths to enact her mystical vengeance. Magic is fickle at best, however, and the stakes are high for Ytra as she grapples with ancient sorcery. This story is sure to be appreciated by readers left cold by the safely reliable, almost scientific depiction of magic common in much modern fantasy fiction.

Another story starring Xaarxool, “The City the Gods Abandoned” finds the necromancer stranded in the otherworldly city of Vantophai after a magical mishap. A local ruler immediately approaches Xaarxool, attempting to coerce him into assisting his takeover of Vantophai. Sorcerers are even more resistant to compulsion than cats, however, and Xarxool decides to extract himself from the situation in spectacular fashion. “The City the Gods Abandoned” feels a little on the long side, but Xaarxool’s magical MacGuyver-like solution to his plight makes up for the slower scenes.

The longest story in Dark Dreams of Nilztiria at 40 pages, “Inside a Dead God’s Skull” has a suitably epic premise. Maniacal sorcerer Rothalzeng embarks on a mission of conquest, using a religious cult and the giant corpse of a dead god to further his aims. It’s up to Avok Kur Storn, Xaarxool’s ally Lodianux, and others to stand against Rothalzeng. While “Inside a Dead God’s Skull” includes some of the most impressive imagery in the book, it suffers from an overabundance of named characters and some pacing issues. Exciting but overstuffed, “Inside a Dead God’s Skull” might have worked better as a full-length novel.

Where “Crowned in Madness” prominently featured a cult devoted to the goddess of pain, “The Curse of Ambition” focuses on a competing religion dedicated to Veshakul’a, the goddess of death. Dantorol, a young adherent of the cult, finds himself disillusioned with the apparent complacency of his church’s superiors. When an opportunity to seize power presents itself, he takes it. While Dantorol succeeds in growing the cult, he must deal with other, unintended results. While slightly on the cryptic side, this story is another example of the recurring theme of a Ritzlin character getting what they want, “good and hard” (to paraphrase H.L. Mencken).

“The Demon’s Oak” is another story dealing with religion. An oak tree outside of Desazu becomes animated, declaring itself to be Arnvar, the god of earth and nature. A cult soon springs up around the tree, but some suspect the self-declared god has an ulterior motive. Famed mercenary Vran is hired to remove his client’s daughter Ulrika from the influence of the cult, but his task is complicated by the hidden powers of the being inhabiting the tree and the unpredictable effects that result when magic is cast in his presence. “The Demon’s Oak” packs a lot of adventure into 36 pages, without the inconsistent pacing of “The City the Gods Abandoned” and “Inside a Dead God’s Skull.”

The stories collected in Dark Dreams of Nilztiria are grim and gory, but occasionally glimmers of wry humor shine through. Many of the shorts have ironic endings, where the protagonist gets exactly what they sought, but with disastrous results. And while many sword & sorcery authors demonstrate a strong preference for either sorcery or sword (e.g., emphasizing plucky swordsmen while casting wizards as the perennial villains), Ritzlin gives equal “screen time” to both brawny and brainy protagonists. It’s also entertaining how his cast of characters seem to wander through each other’s adventures, either appearing directly through cameos or via off-hand references.

While the sorceress Ytra is a fun character who gets to star in her own story and pain cultist Verohssa makes for an entertaining antagonist, overall women tend to occupy a peripheral role in the stories contained here. Apart from Ytra and Verohssa, women tend to be either in need of assistance (e.g., Ulrika in “The Demon’s Oak”) or absent entirely. Readers hoping to read about, say, a quick-witted rogue who happens to be a woman are destined to be disappointed. Ritzlin has an engaging cast of recurring male heroes, perhaps adding another woman to the mix could address this imbalance.

Delivering swordplay and spellcasting in equal measure, Dark Dreams of Nilztiria has much to offer fans of dark fantasy. While—as presented in this book—Nilztiria seems somewhat amorphous and undefined as a fantasy setting, Ritzlin’s characters are both distinct and appealing.

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This review originally appeared at Grimdark Magazine on May 4, 2024.

Conan the Barbarian #10

By Jim Zub (Writer) and Roberto De La Torre (Artist) – Titan Comics – April 24, 2024

Review by Robin Marx

After inexplicably and violently turning on his most loyal companion Brule (Conan the Barbarian issue #9), a prophetic dream returns King Kull to his senses. He rescinds the death sentences placed on Brule and Conan, and after apologizing for his episode of “mania” he urges both men to accompany him on an immediate ocean voyage to stamp out the threat posed by the black stone. An experienced pirate, Conan returns to shipboard life with gusto: rowing, drinking, sparring, and even dallying with an alluring archer in Kull’s employ. As Conan’s spirits improve, however, Kull’s mental state darkens. The closer Kull and his band of elite Red Slayers come to their destination the moodier Kull becomes. Brule and Conan worry that Kull may be “courting darkness” and becoming susceptible to the black stone’s corrupting influence.

This issue was a transnational one within the current story arc, mostly dominated by the ocean voyage. The cancellation of Conan and Brule’s executions and the speed with which any hurt feelings on their behalf melted away seemed abrupt. The sudden reversal makes the Conan vs Kull battle at the end of Conan the Barbarian #9 feel forced and artificial in retrospect, as if it were wedged in to give the previous issue a shocking climax rather than as a natural development within the story. It also could have been made more explicit that the seafaring expedition’s ultimate destination was revealed to Kull in his dream. How Kull knows where to head is under-explained, and the other characters seem remarkably pliant, signing on for a vaguely proposed ocean journey under a capricious, mentally unwell king.

On the positive side of things, the contrast between Conan and Kull is handled skillfully. Conan is significantly less morose than he was during the “Thrice Marked for Death!” storyline. While it’s not stated outright, perhaps seeing Bêlit one last time (Conan the Barbarian issue #8) gave the barbarian a sense of closure, helping him move past his grief. King Kull, on the other hand, is depicted as someone constantly feeling the immense weight of his royal position. Amusingly, given Conan’s eventual destiny to become king himself, Conan views Kull’s court as a “gilded cage,” quickly concluding that he would rather live and die a free man rather than accept the demands and responsibilities that come with the royal crown. True to his depiction in the original Robert E. Howard short stories, Kull is a more cerebral individual than Conan. Where Conan’s depression throughout the “Thrice Marked for Death!” arc is unusual for him, readers are given the sense that Kull often tends towards melancholy and self-imposed isolation. It will be interesting to see if Jim Zub manages to communicate that Kull’s dark moods and ambivalence to the throne are inherent to the character and not just due to the warping corruption of the black stone.

This issue’s essay by Robert E. Howard scholar Jeffrey Shanks provides additional background for King Kull and the publication history of stories featuring him. While the Kull stories were never as popular as the ones starring Conan, they have their ardent defenders. Howard’s Weird Tales contemporary H. P. Lovecraft is noted as being particularly fond of Kull among his friend’s creations, preferring him to Conan.

Instead of the usual letters page, the issue concludes with a brief interview with artist Rob De La Torre. None of the questions are particularly deep or penetrating, but as De La Torre’s art has been a highlight of Titan’s Conan the Barbarian comic readers may appreciate the insight into his influences and hopes for the future.

This was a solid issue that effectively contrasts Conan with his literary predecessor Kull. Conan may have been thrown millennia into the past, but as a barbarian-turned-conqueror Kull is also foreshadowing for Conan’s own future as king. Conan the Barbarian issue 10 ends on a strong note and I look forward to the next issue, but I am also growing slightly uneasy at the weight Zub is giving to the ongoing black stone storyline. I wouldn’t mind seeing Conan’s adventures embark on a different direction after the current arc concludes.

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This review originally appeared at Grimdark Magazine on April 13, 2024.

Conan the Barbarian #9

By Jim Zub (Writer) and Roberto De La Torre (Artist) – Titan Comics – March 27, 2024

Review by Robin Marx

As the “Thrice Marked for Death!” story came to its sudden conclusion (Conan the Barbarian issue #8), Conan had found himself under the sway of a trio of specters that had invaded his body and mind. Rather than allow himself to be reduced to a mindless puppet for their master Thulsa Doom, Conan marshaled one final burst of strength to turn his ancient Pictish blade on himself. The instant the sword pierced his flesh lightning struck, transporting Conan 80,000 years into the past. As issue #9 begins, a groggy and injured Conan immediately comes face to face with the fierce Pictish warrior Brule. While Conan and Brule once shared a brief otherworldly encounter during a desperate moment (Conan the Barbarian issue #4), neither have any memory of each other beyond a vague sense of familiarity. Unsure of how to handle the dangerous stranger, Brule escorts Conan to see his king in Valusia. While another familiar face awaits in Valusia, City of Wonder, so does a deadly confrontation with an unexpected opponent.

Conan the Barbarian issue #9 launches a new story arc, “The Age Unconquered,” and also marks the return of artist Roberto De La Torre. While Doug Braithwaite’s turned in solid work for the “Thrice Marked for Death!” story arc, I suspect many readers from the Marvel Comics era of Conan the Barbarian will be pleased to see the return of De La Torre’s more classic style. Jim Zub’s narration meets the high standard set in his previous issues, but without drawing too much attention to itself this time around.

Appropriately, this month’s companion essay by Robert E. Howard scholar Jeffrey Shanks details the ancient Thurian Age in which Conan has found himself, epochs before his own native Hyborian Age. Home to Howard’s King Kull and Brule the Spear-Slayer, the Thurian Age is a pre-cataclysmic era dating back to before the fall of Atlantis. Shanks covers both the setting and its inspirations, and also provides a brief introduction to the King Kull cycle of stories. While not as widely known as Conan, King Kull was actually an older character. As Shanks points out, the very first Conan story was actually a re-written version of an unpublished Kull tale.

The abrupt and inconclusive finale to the “Thrice Marked for Death!” story arc left a sour taste in my mouth, but this issue left me feeling more optimistic about the direction of the story. It has been a pleasure to see Zub introducing references to other works by Conan creator Robert E. Howard, with cameos or dialogue relating to non-Hyborian heroes and villains. Readers who enjoy Conan’s adventures are likely to enjoy Howard’s other literary creations as well, perhaps they just need a slight push. In fact, Conan the Barbarian issue #9 feels like a “backdoor pilot” to a stand-alone King Kull comic title. That being said, part of me feels it is still a bit early in the Titan Comics run to dwell so much on other Howard characters and settings when new readers have spent so little time with Conan and his Hyborian Age. Crossovers, throwbacks, and referential Easter Eggs are fun for veteran readers, I just hope new fans aren’t overlooked in the apparent push towards a Robert E. Howard-based Titan/Heroic Signatures comic universe. That concern aside, Conan the Barbarian issue #9 delivers the thrills, plunging Conan into a desperate new situation in a vibrant and exciting setting.

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This review originally appeared at Grimdark Magazine on March 26, 2024.

Neither Beg Nor Yield: Stories with S&S Attitude

Edited by Jason M. Waltz – Rogue Blades Entertainment – January 26, 2024

Review by Robin Marx

The definition of Sword & Sorcery is a perennial topic of discussion in related forums. While the unacquainted often use the term to label any variety of fantasy fiction containing edged weapons and magic, fans usually have a very specific style of story in mind: one that hews closer to the blood and thunder-filled stories by Conan creator Robert E. Howard rather than the more genteel work of J.R.R Tolkien. Despite reasonably widespread agreement among enthusiasts of what stories and characters can be categorized as Sword & Sorcery, it becomes surprisingly tricky to nail down what, precisely, differentiates S&S from other varieties of fantasy. Sword & Sorcery stories tend towards grittiness and the horrific, but so do Dark Fantasy and Grimdark. Is a barbarian or thief hero required? Must magic always be treacherous and evil? Must the stakes be personal and localized, or can an S&S story be epic in scope? In his introduction to Neither Beg Nor Yield: Stories with S&S Attitude, editor and Rogue Blades Entertainment proprietor Jason M Waltz sidesteps the endless hair-splitting. He makes a convincing argument that Sword & Sorcery is all about attitude. S&S heroes stubbornly cling to life, no matter how the odds are stacked against them. According to Waltz, “Sword & Sorcery is a clenched fist thrust into the sky, a raised middle finger in the face of the Unknown, an epithet spat into the dirt through a rictus of bared teeth.” At 446 pages in length, Neither Beg Nor Yield brings together 20 stories showcasing this vigorous and defiant attitude. While story quality is uniformly high, in the interest of brevity this review focuses on a subset of stories either expected to appeal to Grimdark fans or those that demonstrate the breadth of the anthology.

“Prince of Dragons” by William King is one of the outstanding entries of the early portion of the book. King is a prolific contributor to Games Workshop’s Black Library fiction line, and is particularly celebrated for his Gotrek & Felix novels. Here he provides an origin story for his own original hero, Kormak. After massacring his entire village, the infernal Prince of Dragons leaves young Kormak with a promise that some distant day, at a time of the demon’s choosing, the Prince would return to claim Kormak’s life. While Kormak is taken in by the Order of the Dawn and trained in the art of monster-slaying, the Prince of Dragon’s threat is never far from his mind. The story traces several formative episodes in Kormak’s life leading up to his lethal reunion with the demon. “Prince of Dragons” has a compelling sense of grim inevitability throughout, and while I’ve read other Kormak stories by King in the past, this particular story has convinced me that I must investigate further.

While many of the stories in Neither Beg Nor Yield stick to familiar Northern or Western European-inspired settings, feudal Japan is used as the backdrop for two contributions. “Hunters and Prey” by C.L. Werner, another popular Black Library writer, is a new tale featuring wandering ronin warrior Shintaro Oba. While Oba frequently appears in issues of Tales from the Magician’s Skull, Waltz notes that the character’s initial introduction was in Rogue Blades’ Rage of the Behemoth anthology. “Hunters and Prey” has Oba on the trail of a diabolical spider demon while Oba is, himself, in turn being stalked by a relentless bounty hunter. Glen Cook (The Black Company, etc.) provides the other samurai-themed entry with “Isekai Sengokumonogatari.” War veteran Shinzutoro finds himself tasked with escorting three orphaned noble children and their guardian through bandit- and monster-infested wilderness. Nearly everyone Shinzutoro encounters on the trail proves threatening, and he senses fairly early on that his travel companions are likewise not what they seem. The Japanese trappings of both stories offer a refreshing change of scenery while still delivering the horror-tinged action expected by Sword & Sorcery fans.

Waltz’s introduction-cum-manifesto argues that attitude is everything when it comes to Sword & Sorcery, so it’s perhaps no surprise that some of the entries in this book reject the conventional tropes of the sub-genre. Set in our era, “Suspension in Silver” by Eric Turowski features a massive biker (a modern-day barbarian?) desperately fighting against a pack of werewolves driven to recruit him. Joe R. Lansdale’s “The Organ Grinder’s Monkey” ranges even further afield, with two mechanics embarking on an inter-dimensional journey (via Chevy) to stop a giant trike-riding monkey’s misguided revenge against the men who killed the monkey’s sloth lover. Neither story is what most readers would typically expect to find in an anthology of this type, but the sort of fierce determination in the face of overwhelming odds lauded in Waltz’s introduction is undeniably present.

“The Last Vandals on Earth” is a gritty historical fantasy by Steven Erikson, of Malazan Book of the Fallen fame. Narrated in the first person by their cook Ulfilas, this story chronicles a small band of misfit Vandals living recklessly for loot and excitement with seemingly the entire world against them. “The Last Vandals on Earth” pairs wry humor with graphic combat as the last Vandals prepare to sell their lives dearly.

A Hanuvar adventure not included in last year’s Lord of a Shattered Land or The City of Marble and Blood, Howard Andrew Jones’ “Reflection From a Tarnished Mirror” was an especially welcome entry. While working to free his Volani countrymen from enslavement at the hands of the oppressive Dervan Empire, fugitive general Hanuvar encounters an impostor masquerading as himself. Further investigation reveals that the man is a soldier with a brain injury that has had Hanuvar’s personality sorcerously overlaid upon his own: an experimental Dervan plot to track the real Hanuvar by creating a mental duplicate that acts and thinks like the original. Deep behind enemy lines, Hanuvar has the delicate task of working with the tragically addled impostor to free the Volani slaves while simultaneously avoiding the scrutiny of the Dervans hunting them both. While nobler in intentions and character than many of the frequently mercenary-minded protagonists in this book, Hanuvar shares their grit and indomitable spirit.

Adrian Cole’s “Maiden Flight” is a truly fitting finale for Neither Beg Nor Yield. Grievously wounded on the battlefield, viking warrior Ulric Wulfsen finds himself chosen for Valhalla by a newly-minted Valkyrie. Ulric and the Valkyrie find themselves at an impasse; Ulric still clings to life and refuses to accept death, while the Valkyrie has no choice but to forcibly escort her unwilling charge to the afterlife or risk being stripped of her divine status and exiled. The struggle between the pair escalates until Ulric finds himself in defiance of Odin himself. While a dogged refusal to capitulate to death is a common hallmark in all of the stories included in this anthology, “Maiden Flight” in particular effectively embodies the “S&S attitude” described by Waltz in his introduction.

Publisher of 15 books over the span of nearly two decades, Rogue Blades Entertainment has been a steadfast supporter of 21st century Sword & Sorcery fiction. Neither Beg Nor Yield is intended to be the final Rogue Blades anthology and the capstone of Jason Waltz’s editing career. Packed with thundering adventure from a wide variety of authors, Neither Beg Nor Yield sends Rogue Blades off on a triumphant note.

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This review originally appeared at Grimdark Magazine on March 20, 2024.

Conan the Barbarian #8

By Jim Zub (Writer) and Doug Braithwaite (Artist) – Titan Comics – February 28, 2024

Review by Robin Marx

At the conclusion of Conan the Barbarian issue #7, our hero finds himself alone. Not only was Conan forced to kill comrade Chaundra the Chat by his own hand, the other thieves of the Gloryhounds are also dead, supernaturally compelled to murder each other by the three specters inadvertently freed from the stolen Black Stone. With all other involved parties eliminated, the specters force themselves into Conan, psychically battering him into submission. The undead trio agree that Conan will make an ideal tool for their dormant master Thulsa Doom, but to fulfill their dark goals they require blood sacrifices made using the ancient Pictish blade Conan acquired during his adventures with Brissa (during the “Bound in Black Stone” story arc, Conan the Barbarian issues 1-4). Unfortunately for Conan’s ghostly tormentors, distraught after the death of his pirate queen Bêlit, the barbarian pawned the weapon for drinking money immediately after his arrival in Shadizar ten months ago. With Conan as their unwilling puppet, the specters use him to carve a bloody swath through the city in search of the Pictish sword.

This issue marks the end of the Conan the Barbarian “Thrice Marked for Death!” storyline. While it was exciting to see the usually indomitable Conan’s metamorphosis into a Terminator-like possessed killing machine, this story arc’s conclusion felt unfulfilling. The last two issues kept raising the stakes, making me wonder how everything would be resolved, but—unsatisfyingly—the answer is that readers aren’t given much of a resolution. Conan’s plight is significantly worse than his situation at the beginning of the story, and apart from combat victories he doesn’t emerge particularly triumphant.

After four issues of flashbacks, the Bêlit plot thread does receive some payoff as a vision of his departed soulmate provides some spiritual assistance at a critical moment. However, the inclusion of two other familiar faces from past issues muddies the moment, making Bêlit’s aid seem less crucial and special than it would have had she alone appeared in Conan’s time of need.

As always, the Jeffrey Shanks essay includes with issue #8 provides some welcome added context to the events of the Conan the Barbarian comics. The mysterious Black Stone has occupied a place of central importance in both Titan Comics’ story arcs to date, and Shanks points out that corrupting ebon stone is a recurring motif in Robert E. Howard’s (non-Conan) stories. Shanks also traces the influence back to earlier writer Arthur Machen and his 1885 work The Novel of the Black Seal, which Howard is known to have read and enjoyed.

Cliffhanger endings intended to spur readers to buy the next issue are ubiquitous in both comics and the serialized pulp magazines before them. However, whereas the “Bound in Black Stone” story had a distinct beginning, middle, and end, “Thrice Marked for Death” is much less self-contained, to the story’s detriment. While I’m excited to find out what happens next, I suspect the incompleteness of this story will be frustrating to those who read Conan the Barbarian in graphic novel format rather than the monthly issues.

There’s much to be commended about Jim Zub’s handling of the Conan the Barbarian series, but simultaneously it feels like he’s already struggling with the four-issue story arc format. Issue 9 brings with it a new story arc and the return of “Bound in Black Stone” artist Roberto De la Torre, but perhaps it would have been better to give “Thrice Marked for Death” some additional issues and tell a more complete story rather than adhere to the (self-imposed?) four-issue arc structure. “Thrice Marked for Death” is an exciting ride that ends with a bang. But while the impulse to leave readers wanting more is understandable, some more resolution would have been appreciated in the story arc’s concluding issue.

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This review originally appeared at Grimdark Magazine on February 13, 2024.

Conan the Barbarian #7

By Jim Zub (Writer) and Doug Braithwaite (Artist) – Titan Comics – February 7, 2024

Review by Robin Marx

When we last left Conan, he and his surviving comrades from the Gloryhounds were celebrating their narrow escape from the temple of Bel, God of Thieves. After a night of carousing, Conan and lissome rogue Chaundra the Chat tumbled into bed. As Conan the Barbarian issue 7 begins, however, Chaundra has undergone a startling transformation. The loquacious young woman has become a mute killer, with demonic aggression and strength that belies her slender frame. His life on the line, Conan has no choice but to dispatch his supernatural assailant. Battered and rattled, he stumbles out of the inn and into the streets, heading for the Gloryhounds’ secret hideout. As it has so often, his mind drifts back to reminiscences of his romance with slain pirate queen Bêlit, but he now finds his memories inexorably dragged into darker territory, warped recollections of events that never happened. It begins to dawn upon him that he and his fellows may have escaped the three spectres in Bel’s temple with their lives intact, but they emerged far from unscathed.

With this issue, the Conan the Barbarian “Thrice Marked for Death!” storyline begins sprinting towards its conclusion. This issue is full of both action and supernatural menace, giving both artist Doug Braithwaite and colorist Diego Rodriguez quite a workout. This is perhaps the goriest installment of Titan Comics’ Conan the Barbarian yet, with numerous limbs lopped and even a severed tongue. While dialogue is infrequent in this issue, Jim Zub’s breathless narration keeps pace with the artwork, highlighting Conan’s desperation as he struggles against formidable odds. Like all Cimmerian warriors, Conan’s is a life “measured in sword strokes,” writes Zub. It shines “bright and bloody.”

Appropriately enough, the accompanying Jeffrey Shanks essay explores Robert E. Howard’s use of horror in the original Conan stories. In Tolkien-style fantasy, magic and the supernatural tend to be inherent to the world. In Howard’s variety of sword & sorcery, however, he starts with a gritty, history-inspired setting where magic and monsters are “intrusive” elements. When the supernatural appears, something has gone deeply wrong and the protagonist is in mortal danger. This use of the otherworldly, of course, shares much with the horror genre. Howard’s blend of grounded settings with infrequent supernatural incursions made his stories a popular fixture of Weird Tales magazine and launched the sword & sorcery subgenre of fantasy, so it’s safe to say that this fantasy-horror mixture resonates with many readers. Zub’s work on the current Conan the Barbarian comic continues to carry the torch.

Conan the Barbarian issue 7 ends with quite a bombshell. While there’s only one issue left in the “Thrice Marked for Death!” storyline, it’s becoming clear that the effects of the cursed monolith introduced in the first “Bound in Black Stone” arc will continue to be felt in future issues as well. Issue 8 can’t come soon enough for this reader.

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