Conan - Savage Sword of Conan #01 (Curtis)

At one time, Curtis Magazines was Marvel Comics' distributor and an affiliated company. Under this imprint, Marvel launched a number of magazine formatted titles that weren't regulated by the Comics Code Authority. It was Marvel editor-in-chief Editor Stan Lee's vision to enter the black-and-white magazine market to compete with Warren Publishing, a company that had found success with more taboo themes (bare butts and breasts) in their Eerie, Creepy, and Vampirella titles. 

The first of the Curtis books was Savage Tales, published in May 1971 – complete with a John Buscema cover of Conan holding a severed human head. Publisher Martin Goodman (founder of Timely/Marvel) didn't want to publish these types of books and insisted that Savage Tales cease publication after just one issue. Goodman left Marvel in 1972, setting the stage for Roy Thomas and the company to revamp their magazine line, launching more Savage Tales issues in October 1973 as well as a Marvel Monster Group brand with titles like Tales of the Zombie, Dracula Lives!, and Monsters Unleashed. 

This brings us to the focus of this review, Conan the Cimmerian, which was created by author Robert E. Howard. When Savage Tales began republication in October 1973, the title's second issue through the fifth (1973-1974) all featured Conan stories and the character on the front page. Due to the success of the character in these books, and the Conan the Barbarian color comic that launched in 1970, the company decided that Conan's market worth supported his own magazine. 

The Savage Sword of Conan the Barbarian was launched in August 1974 and ran consistently until July 1995. There were 235 issues and one annual during the book's impressive 21 year run. The series, especially the early issues, have all been collected in massive trade and omnibus editions from Marvel, Dark Horse, and even Titan. While I don't condone scanned copies, you can easily find the entire run scanned for digital devices for a few bucks if you don't want to bend and turn your purchased paper collections. Additionally, I see the used magazines in comic shops and book stores for $5-$20 each. I'm just saying they are around if you want to read them. 

The Savage Sword of Conan #01 has a Boris Vallejo cover and features seven sections:

“Curse of the Undead-Man” - Roy Thomas/John Buscema and Pablo Marcos
“A Hyperborean Oath” - Roy Thomas
“Red Sonja” - Roy Thomas/Esteban Maroto/Neal Adams/Ernie Chua
“Conan's Women Warriors” - Fred Blosser
“The Birth of Blackmark” - Gil Kane
“An Atlantean in Aquilonia” - Glenn Lord
“The Frost Giant's Daughter” - Roy Thomas/Barry Smith

In addition, three pages of artwork - Alfred Alcala/Esteban Maroto/Roy Krenkel.

In "Curse of the Undead-Man", Roy Thomas freely adapts Robert E. Howard's horror story "Mistress of Death" into a Conan offering. The Cimmerian hero is in Zamora waiting to join "some teetotaling general's army" and finds a trio of painted ladies looking to party. He is encouraged to look for gold in the city (read that as stealing) and is ambushed by three mysterious robed figures. A moment later he is attacked again by four ruffians and Red Sonja comes to his aid. 

Sonja explains that earlier that day the King of Zamora ordered a public execution of a sorcerer named Costrano. After the death, Costrano's apprentices schemed a way to resurrect the sorcerer. Conan stumbles on the sorcerer's severed jeweled-finger in the alley and throws it on the ground. The finger makes its way to Costrano's corpse and he is resurrected by the power of the ring. 

Later, Conan and Red Sonja team to fight Costrano and rescue a young woman he is attempting to sacrifice on an altar. The story ends with some playful joking between the two heroes.

This was an average Conan story with the typical ingredients - sorcerers, thieves, and swordplay. I'm not familiar with Howard's story, so I can't compare the two. For these pages, I specifically enjoyed the darker inks on page seven and the facial expressions on page ten. The gatefold pages on 18-19 of Conan leaping at the enraged Costrano is absolutely beautiful and worth the price of admission.

"A Hyperborean Oath" serves as an introduction to the magazine courtesy of Roy Thomas. He explains that the magazine will mostly consist of comic adaptations of REH stories.

"Red Sonja" begins with a recap of the events from Conan the Barbarian #24 (1972). In that story, "The Song of Red Sonja", Sonja tricked "a northern barbarian" named Conan into helping her gain the Serpent-Tiara. However, the jewelry was transformed into a giant dragon-thing that forced the two to team together to defend themselves. 

In this "Red Sonja" story, the narrative continues as the she-devil returns the Serpent-Tiara to the man who hired her to retrieve it, King Ghannif of Pah-Dishah. However, instead of paying Sonja for the job, he imprisons here to be part of his harem. Through the story, Sonja initially tries to fight for her freedom, but eventually conceives a plan to seduce Ghannif. After killing the King, she fights to the death with his loyal follower, a swordsman named Trolus.

This was an entertaining story that featured far better illustrations by Maroto, Adams, and Chua of Red Sonja than Barry Smith's version. She looks much younger here and more athletic. Plus, Smith's weird silver chain mail is replaced with more of a swimsuit attire. This would be the same look that artist Frank Thorne would use in 1978. The fight scene was great and I loved the dialogue between the two warriors. It was an early dive into Red Sonja's character and her efforts to avoid killing Trolus. She attempts to convince him to do the right thing and understand a better future. But, these things always end in death. 

In "Conan's Women Warriors", Conan devotee Fred Blosser provides a written commentary on the various women that have appeared in Conan literature and the Conan the Barbarian comics. The article contains paragraphs on Valeria, Belit, Yasmina, Salome, and of course, Red Sonja. 

Gil Kane's Blackmark was originally published by Bantam in 1971 (S5871) as a 119-page graphic novel paperback. It was scripted by Archie Goodwin and sold for .75 cents at the time. Some consider it to be the first American graphic novel, but I think Fawcett Gold Medal's 1950 paperback Mansion of Evil earns that award. The publisher had a limited number of copies they produced to test the waters for a graphic novel paperback. The book failed to make a splash and was shelved. Its contents was formatted to stretch to magazine-size pages (basically three paperback pages on one magazine page) and made it into the Savage Sword of Conan. The first part appears in this issue.

The author explains that Earth was devastated by nuclear weapons years ago. A new Earth has been formed from the ashes consisting of wastelands sprinkled with nomads, gangs, and small kingdoms housing castles and farms. The wealthy have a power source that allows travel by boat. The poor are left to travel on foot, often contending with harsh elements and even harsher humans. There are also mutants, monsters, and telepathic beings in this new Earth. 

The story begins with a couple, Marnie and Zeph, traveling by horse and wagon across the precarious landscape of Demon Waste. When they stop for the night, Zeph leaves to find supplies and Marnie is left to her thoughts of being infertile and the possibility of motherhood escaping her. 

Out of the darkness two men ride up on horseback, one of which is a wounded leader named King Amarix. They explain to Marnie that Amarix had been cast out by his own people due to believing old science can make Earth live again. As Amarix lay dying by the firelight he psychically uploads all of his knowledge and thoughts into Marnie. He tells her that she can take the knowledge, and his money, and spread into the community in hopes for a better future. He also magically makes Marnie fertile again. 

Later, Zeph and Marnie make it to a farming town and have a child. But, Zeph realizes that Marnie was "cursed" by Amarix, a man he feels is nothing but a demonic witch. Zeph calls the baby Blackmark and this portion of the book ends. Next issue it continues with "Death and Destiny..."

I really enjoyed this portion of the book and loved the smaller panels of artwork. Gil Kane is a legend in the comic book world and his art never ceases to amaze me. The story is ripe with Christianity tones. Marnie is a Virgin Mary, being blessed by God (Amarix) to birth a Messiah that will save the world. The idea that Amarix was shunned by his own people is reminiscent of Israel's failure to obey God, casting him out in favor of endless idols and pagan worship. I'm anxious to see where the story goes from here.

Glenn Lord's "An Atlantean in Aquilonia" is an essay on Robert E. Howard's Kull. This is a great history on the character with an emphasis on Kull's influence on Conan's conception. I actually used a lot of this article in my review of King Kull and also the podcast episode dedicated to the character. You can listen HERE. 

The final story here is a reprinting of "The Frost Giant's Daughter" from Savage Tales #1. You can read my review of Howard's story HERE. This may be the most popular adaptation of the story in comic format. Barry Smith's pencils are just superb and perfectly illustrate the savageness of the fight on the icy tundra. The fight with Hymdul in the opening pages and the first up-close look at the Frost Giants on page 70 are real highlights of the entire issue. This is an iconic piece of Conan literature and the adaptation is awesome. I do have to say I love Cary Nord's art in the Dark Horse version as well. Both are fantastic.

There you have it. The first issue of The Savage Sword of Conan. The two original stories here were enjoyable, but the reprinting of the Blackmark and "The Frost Giant's Daughter" were real highlights. From a Conan collector's standpoint, additional written commentary from Glenn Lord on Kull and the conception of "The Phoenix on the Sword" was a great addition as well.

Next up is issue two featuring "Black Colossus", a King Kull story, more Blackmark, and a history of sword-and-sorcery by Lin Carter. See you there! 

Get a copy of the giant omnibus collecting these early issues HERE.

Conan - Conan Volume 1: The Frost Giant's Daughter and Other Stories (Dark Horse)

In 2003, Dark Horse Comics launched their first Conan title after acquiring the rights to the character. Prior to the Dark Horse debut, Conan was featured prominently in Conan the Barbarian, Savage Sword of Conan, Conan the King, and Conan the Adventurer published by Marvel and Curtis. Dark Horse would later lose the character's licensing in 2018, returning the Cimmerian hero back to Marvel. As of this writing, Titan now owns the rights.

Like Marvel, Dark Horse launched several Conan titles and gained the rights to reprint the prior Marvel issues as omnibus editions. Under the Dark Horse brand, the titles Conan (2003-2008), Conan the Cimmerian (2008-2010), Conan: Road of Kings (2010-2012), Conan the Barbarian (2012-2014), Conan the Avenger (2014-2016), and Conan the Slayer (2016-2017) were created as brand-new comics created by a variety of writers and artists. Additionally, several mini-series titles were released over the course of the 14-year Dark Horse run.

I read several of these Dark Horse books when they first appeared, but eventually switched my reading to the stuff that normally appears here at Paperback Warrior – crime-fiction, action-adventure, and westerns. 2024 marks 20 years since Dark Horse published Conan #1, so I thought I would rewind, reread, and review these titles in order, beginning with the first series, Conan. Dark Horse has conveniently placed most of their Conan issues into trade paperback and hardcover editions. My first review is Conan Volume 1: The FrostGiant’s Daughter. This book includes Conan #0 through #7 (one-half of issue #7) and it was published in 2005. You can get the book for about $25 retail.

The issues collected in the book were drawn by Canadian artist Cary Nord, who stuck around to sketch most of the title’s first 44 issues. In an interview with the book’s writer, Kurt Busiek, Nord explained that he got into Conan through the Savage Sword of Conan magazine. In describing the Hyborian Age, Nord stated, “The world of Conan is visually stunning. Conan journeys through every environment you can imagine, encounters dozens of new cultures and races of men, sexy women, fantastic villains, apes, dragons, monsters, and he kicks ass through it all!”. His artistic style draws influences from Barry Smith and Frank Frazetta, two iconic artists associated with the Conan franchise.

Boston native Kurt Busiek wrote nearly all the title’s 51 issues, drawing from his 20 years of comic experience at the time. Busiek broke into comics in 1983 by writing a back-up story in Green Lantern. If you can name the title or character, there is a good chance Busiek contributed. He has worked for Dark Horse, DC, Wildstorm, Image, Marvel, Topps, Dynamite, and Eclipse. Prior to Conan, his most praised work was the team-up with Alex Ross to pen the Marvels limited series in 1993.

Another major addition to the book is the inking by Dave Stewart. One can easily see his careful treatment of Nord’s sketches. The inking, also done with computer, doesn’t cover up Nord’s lines and allows some interesting contrasts between the gray and darker tones. Often, Stewart will leave some aspects of Nord’s art faintly inked to suggest different scenes or story tones.

Surprisingly, the book kicks off after Conan’s death. In the first issue, which was #0 "The Legend", a Prince and his servant Wazir find an underground chamber that housed King Conan’s riches, complete with a large statue of the character seated on a throne. Later, Wazir recounts to the Prince that the Nemedians kept meticulous records and displays a scroll. On it is the familiar slogan, “Know, O’Prince, that between the years with the oceans drank Atlantis and the gleaming cities…”. The scroll serves the reader by outlining the various lands and their historic tribes and people including Aquilonia and the coming of Conan the Cimmerian, black-haired, sullen-eyed, sword in hand. This page is a partial splash page with astounding art and inks. This issue ends with Wazir continuing to tell the Conan history to the Prince, which on the last panel begins with Conan at 16 years of age and venturing into the lands of the Aesir.”

The next portion begins with Conan #01 "Out of the Darksome Hills" and sets up how Conan became aligned with the Aesirs at the beginning of Robert E. Howard’s 1934 story, “The Frost-Giant’s Daughter”. Busiek is careful to gently explore the periods of time in between Howard’s stories. The writer makes it very clear in the letters section of these early issues that his focus is on the Howard stories with a complete disregard of Lin Carter and L. Spraguede Camp’s contributions (or anyone else for that matter). In “Out of the Darksome Hills”, the title page is a glorious splash of Conan decapitating a Vanirmen as he attempts to rape a young woman.

The story features the Vanirmen raiding an Aesir village, nearly burning it to the ground and slaying the women and children. The Aesir warriors are gone, so Conan, who just happens to be in the area, comes to the village’s aid in fighting off the Vanirmen. Later, Niord, the tribal leader arrives, and after Conan battles an Aesir, he invites Conan to spend the night in storytelling with booze. When Niord’s daughter Henga goes to Conan at night, Henga’s admirer Sjarl becomes secretly angry and begins to plot with another warrior on a way to betray Conan and either kill him or trade him as a slave. The following morning, a fully armored Conan joins the Aesir as they journey northward to attack the Vanirmen. Conan’s appearance here decked out in armor resembles the Barry Smith and Alfredo Alcala drawing on page 18 of Savage Sword of Conan #2. 

The book’s next section is issue #02 “The Frost Giant’s Daughter”. I won’t go into too much detail of the story, as you can read my review of Howard’s 1934 story HERE. But this comic adaptation stays very true to the original Howard story with beautiful artwork by Nord. He captures the ivory-skinned woman perfectly, with an emphasis on her eyes and the glowing sheen that captivates the weary hero. There is a gigantic splash page that introduces the two frost giants and rivals even the version from Savage Sword of Conan. I prefer the original treatment, but this is really something special between Nord and Busiek.

The events of issue two spill over into the opening pages of #03 “At the Back of the North Wind”. Like the early issues of Marvel’s Conan the Barbarian, the young Conan is wearing a horned helmet in these early Dark Horse stories. The opening pages feature a conversation between Conan and Niord that addresses the helmet. After Conan’s protective gear is broken in battle, he borrows some of the Aesir’s tools to fix the helmet. Niord scoffs at the idea and suggests Conan should just get another. The Cimmerian responds that the helmet was created by his father, a blacksmith, and then explains that his father said a man who treated his tools well would get good service from them in return. It is a really touching aspect that proves Conan is somewhat sentimental, exposing his human condition versus savage destroyer.

The next morning, Conan helps the Aesir with tracking a band of Vanirmen who have escaped pursuit eastward. Behind the scenes, Sjarl plans to ambush Conan and sell him to a slaver. The Aesir eventually catch up to the Vanirmen and begin the slaughter. However, the Vanir leader Tir offers himself up as a surrender, volunteering to be executed so his men can be enslaved instead of killed. Once the execution is complete and the prisoners are chained, all Hell breaks loose as the group of tired warriors are attacked by armored warriors wielding giant hammers (they resemble the crazed post-apocalyptic warriors of Mad Max: Fury Road). They soon overpower the group, Conan is betrayed by Sjarl, and the issue ends with the unconscious hero being drug on a sledge through the wind and snow. It’s a powerful finale that resonates with so much turmoil and iron-fisted fortitude. Yet, Conan’s downfall ultimately was a woman.

The next section is issue #04 “Gates of Paradise”, featuring a drugged Conan imprisoned in a monolithic castle. The series thus far featured a through story of Conan aspiring to reach the land of Hyperborea, a place that the hero envisions as a utopian paradise where people can live eternally in a state of bliss and pleasure. However, Hyperborea’s creature comforts are only enjoyed by the sorcerers that rule the castle, a group of ancient beings that live eternally by capturing people, drugging them, and forcefully taking their souls. Due to the centuries of living this harmonious lifestyle, the sorcerers jump from the castle’s walls to their death in a ritual called the Day of Farewell.  

Conan is rescued from his drugged stupor by a Turanian woman named Iasmini. She provides a yellow lotus plant for the hero to grind up and drink. Soon, Conan schemes a way to free himself and the prisoners by giving the plant discreetly to the prisoners. This was such a colorful part of the storyline with the inking containing brilliant shades of green, yellow, and purple to match the tone. It is a graphic narrative that just transforms the pages into something truly special. While the storylines are different, the concept of Conan co-existing in a prison of slaves reminds me of  Roy Thomas’ “Lair of the Beast-Men”, a story featured in Conan the Barbarian #2. The Thomas story has more of an Edgar RiceBurroughs feel than Robert Howard, and oddly enough Nord harnesses that ERB vibe at the end of this issue and the beginning of the next.

In the title’s fifth issue, "Ashes and Dust”, Conan looks like Tarzan with his near-nakedness and muscular physique. The start of the story even features Conan fighting four hungry lions. When the hero makes his escape from that side of the castle, Busiak takes a moment to fill the reader in with the history of Hyperborea from the viewpoint of the supreme sorcerer. Other than the history of the land, there isn’t a lot that happens in this issue. The pages end with Conan and the prisoners rebelling and taking the attack to the sorcerers and their army.

The aptly titled “Day of Farewell” closes out this trade with the title’s sixth issue. The first page is an incredible splash of Conan’s face and right shoulder as he screams, “At them, men of Asgard! At them, free warriors!”. The eyes and blood-spattered hair convey so much brutality and savageness. This is Conan! The issue is action-packed as the Cimmerian fights the Hyperborean hordes to free himself and his fellow prisoners. There is a bit of sadness when Conan discovers that Iasmini sacrificed herself to free him. Page 13 is visually incredible as Conan’s back is against the edge of the castle’s walls, suspended hundreds of feet in the air. Page 19 is equally stunning with the hero surrounded by darkness and gloom while staring at the bones and corpses of the many who have jumped from the castle. Oh, and there are giant ants that Conan begins fighting. Page 22 emphasizes a part of the story where the Northmen believe that their burned bodies rise in the air on smoke, as if climbing a stairway to the realm of the gods. This is a splash page as Conan is burning the corpses and staring upwards out of the gruesome chasm. The book ends on a bit of a cliffhanger (or cliffclimber?) as Conan begins scaling the walls to go and kill the sorcerers. This trade does go into the first 14 pages of issue #7, but I stopped here because I want to read issue 7 in its entirety. I'm OCD like that. 

Unlike Marvel’s Conan the Barbarian, which I love, I felt that Busiak sticks more to the gritty Robert E. Howard storytelling. Conan isn’t cartoonish, nor is he the Hollywood “Ah-nold”. He is a grim-faced serious character that uses a combination of sharp cunning and backbreaking strength to overcome the most challenging obstacles. If I haven’t already overstated it, Nord’s artwork is marvelous and captures the Barry Smith look and feel of Conan – the Barry Smith that had reached his own identity after being heavily influenced by Jack Kirby in the early Conan the Barbarian issues. Both Smith and Frazetta had a unique wildness that Nord captures perfectly while also doing something wholly different when combining Dave Stewart’s phenomenal inks.

I forgot how good these issues were and I’m looking forward to reading more of them. Hopefully, you are on board for the journey through the Conan comics, including Marvel and Titan. 

Buy a copy of this volume HERE.

Conan - The Devil in Iron

Robert E. Howard's Conan short “The Devil in Iron” first appeared in the August 1934 issue of Weird Tales. It was later reprinted in paperback by Lancer in 1968 as a part of the Conan the Wanderer collection, later reprinted by Ace with a cover painted by Boris Vallejo. The story was adapted into comic form in the October 1976 issue of The Savage Sword of Conan the Barbarian with a cover also painted by Vallejo. 

The story begins with a Yuetshi man deposited on the coast of Xapur, an abandoned island, after a storm disrupts his fishing. When exploring the island, a thunderous boom echoes causing the man to go investigate the source of the sound. He stumbles on a large domed structure that has been broken open. Inside, the man tries to take a shiny dagger from a giant corpse (mummified?). The corpse awakens and kills the man. 

Like a lot of Conan stories, there's a political war waging. A lord by the name of Agha is ordered by Turan's king to quell a recent uprising near the border. A team of guerrilla fighters, made up of kozaki bandits, is pillaging Turan's interior. Their leader is Conan. An elaborate trap is formed that places a young maiden named Octavia on the abandoned island of Xapur (the one now housing a giant!). Here, they will lead Conan to Octavia in a snare that will allow Agha and his soldiers to hunt and kill the barbarian. It sounds way more complicated than it really is, but there are numerous plot holes here that Howard doesn't shore up. 

Off-page events transpire and the trap is in motion. Octavia is on the island. Conan sails to the island. The two run into the giant. Fairly simple. Conan quickly learns that the giant is made of iron (thus the story title) and that he will need something other than brute strength to outwit the behemoth. By the story's end, Conan has “taken” the girl's kisses and makes a path to lead her to his tent. Maybe they will make marshmallows?

If you can sense my tone, this wasn't one of my favorites Conan stories authored by Howard. The abandoned island producing a city was really bizarre and felt rushed. I'm not sure if the “Dagon” featured here has any connection with H.P. Lovecraft lore, but this Dagon is the name of a city, not a deity. The giant's colossal nature, or threat, didn't seem to affect me much after reading Conan's battles with far more menacing beasts. This was a boss-fight that didn't quite pan out. I recommend a pass on "The Devil in Iron".

Buy a copy of this book HERE.

The Adventures of Red Sonja - Volume 01

In the pulp magazine pages of Magic Carpet’s January 1934 issue readers will discover Robert E. Howard’s sword-mistress Red Sonya of Rogatine. She is the star of Howard’s short story “The Shadow of the Vulture”, described as a tall Russian warrior woman who fights with a dagger, two pistols, and a sabre. While writing for Marvel, Roy Thomas obtained a copy of the story from Glenn Lord, the literary agent for Robert E. Howard’s estate. Thomas, collaborating with artist Barry Smith, modified the story to introduce a new red-haired swordswoman, Red Sonja, in the pages of Marvel’s Conan the Barbarian #23 and #24 (1970). The rest is history.

To celebrate the early era of Red Sonja, Dynamite Entertainment acquired the rights to some of the character’s appearances in Marvel. These appearances are collected in a three-volume set titled The Adventures of Red Sonja. I borrowed a digital copy of Vol. 1, which collects the character’s appearances in Marvel Feature #1-#7, all published in 1975, plus the “Red Sonja” story from Savage Sword of Conan the Barbarian #1 (1974). Up until the Marvel Feature issues, the character had only appeared nine total times – five in Conan the Barbarian (1970), twice in The Savage Sword of Conan the Barbarian (1974), and twice in Kull and the Barbarians (1975). So, in essence, this collection feels like a terrific landing spot for new Red Sonja readers.

The collection begins with a three-page introduction written by Roy Thomas explaining how he created the character from Howard’s original “The Shadow of the Vulture” story. This intro is a great timeline of the early appearances of Red Sonja and Roy’s collaborations with artists like Neal Adams, Barry Smith, Ernie Chan (Ernue Chua), Dick Giordano, and of course, Frank Thorne. 

Roy’s commentary is followed by the eight-page story “Red Sonja”, which was originally published in Savage Sword of Conan the Barbarian #1 (1974). The original story was black and white (reprinted in color in Marvel Feature #1), and this new version is colorized by Glass House Color Design. I like all three presentations, but I find myself enjoying this new colorized version (why do I feel guilty though?). The artwork by Esteban Maroto, Neal Adams, and Ernie Chan is really something special. The story has Red Sonja on a mission to earn money working for King Ghannif in a teeming city state in Hyrkania. But the King wants to add the fiery-haired She-Devil into his harem, which backfires in a big way. Sonja is also forced into a fight with the King’s albino musclebound bodyguard. 

Marvel Feature #1 follows with Thomas using an unfinished Robert E. Howard manuscript called “The Temple of Abomination” to frame his eponymous Red Sonja story. That story, originally published in the 1974 Donald M. Grant hardcover Tigers of the Sea, featured Howard’s Conan-like hero Cormac Mac Art. But, Thomas’s version has Red Sonja in a rural stretch of Nemedia forest when she stumbles upon an abandoned temple. Inside, she frees an old man chained to the wall and battles a small army of man-goats (yes man-goats!) that are sacrificing people to a slithering monstrosity in a pit. The art was created by Dick Giordano, which according to Thomas, was a guy who loved drawing women.

Some of Red Sonja’s best presentations are through the creative hands of artist Frank Thorne. He collaborated with Bruce Jones on Marvel Feature #2 “Blood of the Hunter”, #3 “Balek Lives”, #4 "Eyes of the Gorgon”, and #5 “The Bear God Walks!”. Of these stories, I found “Eyes of the Gorgon” to be the best of the bunch. Thomas returned for #6 “Beware the Sacred Sons of Set” and that story's continuation in #7 “The Battle of the Barbarians”. This last story features Red Sonja competing with Conan and Belit on a quest to recover a page from the coveted Book of Skelos.

The major complaint this volume receives is that the last story, “The Battle of the Barbarians”, ends with a cliffhanger. The story isn’t continued in this volume because Dynamite didn’t have printing rights to Conan the Barbarian. The story was continued in Conan the Barbarian #68, published by Marvel in 1970. That story, which also featured Howard’s hero King Kull (and Brule), wrapped up the arc introduced by Thomas in Marvel Feature #6. So, it’s quite a letdown to get this far into the volume and discover it unfinished. But the second volume of The Adventures of Red Sonja features a written recap of those events.  

Overall, I’m delighted with his volume and found it a nostalgic and enjoyable romp through the ages with Red Sonja. If you are interested in more, The Adventures of Red Sonja Volume 2 features Red Sonja #1-#7 (1977) and Volume 3 features issues #8-#14. Dynamite also released a volume titled The Further Adventures of Red Sonja which features more appearances of her in later issues of The Savage Sword of Conan the Barbarian.

Buy a copy of this book HERE.

Kane - Darkness Weaves

In 1970, Knoxville, TN native Karl Edward Wagner authored a short novel titled Darkness Weaves with Many Shades. It was published by Powell as a “gothic fantasy” with cover art by Bill Hughes. By 1978, Wagner had revised the book as Darkness Weaves. It was published by Coronet in Europe with a cover by Chris Achilleos. It was also published in a more popular edition the same year by Warner Books with an equally great cover by Frank Frazetta. That version was reprinted again in 1983. The ebook version was published by Gateway in 2014. The novel is also included in a large omnibus titled Gods in Darkness, which was published in 2002 by Night Shade Books with a cover by Ken Kelly.

Darkness Weaves introduces a character named Kane, who is best described by some fans as the very best elements of Robert E. Howard’s Conan and Michael Moorcock’s Elric of Melnibone. On page 163 of this 292-page paperback, Kane’s murky origin tale is told.

“Kane was one of the first true men - born into a hostile world of strange ancient beings. In this dawn world of humanity, Kane defied the insane god who had created his race – an experiment that had turned out far from the creator’s expectations. This demented elder god dabbled at creating a race of mindless creatures whose only existence would be to amuse and delight him. He almost succeeded, until Kane rebelled against this stifling paradise and spurred the young race to independent will. He killed his own brother, who sought to oppose his heresy, thus bringing violent death as well as rebellion to the infant mankind. Disgusted at the failure of his depraved design, the god abandoned his creation. And for his act of defiance, Kane was cursed with immortality – doomed to roam this world under the shadow of violence and death.”

Wagner’s villain protagonist (yes Kane is an evil guy) is born out of the combination of Biblical prophecy found in the book of Genesis – that of Satan rebelling against God and falling from grace to a cursed oblivion and that of Cain, who committed the first sin in the Bible by murdering his brother Abel. Readers learn that Kane never ages and has a fast-healing factor that is like Marvel’s Wolverine. His wounds heal at a remarkably fast pace. While Kane can surely die (we think), his skill in combat is unprecedented. No one can best him in battle, so the fatal blow to head or heart never seems to occur. In one vivid series of images presented to an evil priestess (more on her later), readers see Kane battling through toppled towers, fire-scarred cities and engaged in combat with giant demons or running up castle stairways fleeing from werewolves. It is easy to gain this feeling of epic greatness associated with the character. There is a lot to unpack here, but the author brilliantly shields the reader from Kane’s detailed past. Instead, only one tale is to be told, and Darkness Weaves presents that story – two empires colliding as Kane wrestle’s control of a navy fleet.

Without giving too much of the story away, the general premise is that two men track down Kane in a coffin-filled, rain-drenched cave to make a proposal. An island federation known as the Thovnosian Empire is ruled by a monarch named Maril. There’s a backstory of family relations and betrayal that led to Maril torturing and supposedly killing his wife Effrel after she had an affair with his nephew. But the horribly mutilated wife secretly survived and is now preparing an awesome military campaign to crush Maril and take over the empire.

Kane has a connection to this empire because they formed the federation to defeat him. In his early buccaneering days, Kane ravished these island coasts with his army of cutthroat pirates. So, who better to lead Effrel’s navy fleet than Kane? If Kane accepts the job, his reward will be a hand in the spoils of war – his own island kingdom. But, Kane secretly is planning on helping Effrel win the war so he can eventually overthrow her.

This is an epic book despite its rather short length of less than 400-pages. Wagner sets the table with some world building while also presenting histories for the major characters that make up the two warring factions. While there is plenty of action, readers do need to exercise patience while the author builds to the grand finale. There are numerous side-plots featuring characters involved with each other, fighting with one another, spying on the campaigns, and ultimately betraying family and friends in a quest for greed. The violence is gore-soaked and barbaric, but nothing extremely graphic or disturbing.

Additionally, Wagner’s writing is a mix of fantasy and sword-and-sorcery. There’s a Lovecraft-like dark fiction etched into the finer details of the plot, mainly how Effrel has a secret alliance with an other-worldly cosmic horror. This part of the story involves sacrifices, pentagrams, body-swapping, and tentacles – lots of tentacles.

Darkness Weaves is one of the very best sword-and-sorcery novels I’ve read. While soaked in all of the 1970s weirdness, it still has a unique literary escapism that reaches Shakespeare-styled revenge-drama. Wagner is an incredible writer that doesn’t give too much away with his style and presentation. I can’t wait to read even more of these Kane novels and short stories.

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Conan - The Thing in the Cave

We've proven time and again that nothing is really off the coffee table here at Paperback Warrior in terms of books. We've covered graphic novels, magazines, paperbacks, hardcovers, and even audiobooks. So, why not a Little Golden Book review?

Chances are you've probably held a Little Golden Book at some point in your life. There are thousands of them. The first one was published in 1942 as a project of Georges Duplaix, then head of Artists and Writers Guild Inc. as a follow-up to the publishing concept of A Children's History. At the end of the first year, Simon & Schuster had a runaway hit with 1.5 million books sold. In 1958, Simon & Schuster sold Little Golden Books to Western Publishing, which then later sold it to Random House. 

I remember owning a lot of second-hand Little Golden Books, including some that were Golden Melody Books that played songs. But, my fascination was on the Golden Books special line of male-oriented titles published as A Golden Super Adventure. These special books, published in the 1980s, focused on toy-line franchises that often shared an animated children's television show. Brands like Masters of the Universe, Princess of Power, Centurions, Mask, Defenders of the Earth, and Adventures of the Galaxy Rangers. 

As a fan of Conan, I stumbled upon the lone Golden Book dedicated to the barbarian hero, The Thing in the Cave. It was originally published in 1986 as part of the Golden Super Adventure line. The book's cover was painted by the great Gino D'Achille (Fu Manchu, Barsoom, Flashman) while the interior pages were illustrated by the equally great Dan Adkins (Doctor Strange, Eerie, Creepy). 

Conan fans may remember a short story titled “The Thing in the Crypt”, which was authored by Lin Carter and L. Sprague de Camp and first published in the 1967 Lancer paperback Conan. This Little Golden Book publication, The Thing in the Cave, is a reworking of that story. It was authored by Jack C. Harris, a prolific comic book author and editor that worked for DC Comics penning titles like Wonder Woman, Supergirl, Batgirl, Robin, and the graphic novel Batman: Castle of the Bat. After leaving DC, Harris freelanced for DC, Marvel, and Darkhorse while also working for a trade magazine for the licensing industry. It was here that Harris received a press release from Golden Books about a series of Masters of the Universe publications being created for the Golden Super Adventure line. Harris connected with a colleague that led him to penning a number of Golden Books including Masters of the Universe, Batman, Dino-Riders, Super Mario Bros., Garfield, and this Conan book.

I would encourage you to read my review for the original “The Thing in the Crypt” (or just read that story). This Golden Book variation stays mostly true to form, but retains some safety measures for the sake of the young reader. In this version, Conan uses the chains to crack the hardened ice, thus allowing the snarling wolves to simply fall away into oblivion. In the original story, these snarling wolves chase Conan to the cave. The cave itself is substituted for the more sinister-sounding “crypt”. Also, the giant sword-wielding monster isn't so much a mummy, but instead is simply an animated statue made from rock. 

At 25-colorful pages, this was a fun little visual jaunt into “The Thing in the Crypt”, a fun, yet criticized story inspired by Robert E. Howard's literary work (mostly because it is the first story in the Conan paperback and is missing REH). My guess is this Conan title was inspired by the many Golden Book publications featuring He-Man and the Masters of the Universe. Nonetheless, this is a great collector's item and worth a couple of twenty-dollar bills for the pure nostalgia.

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Raven #01 - Swordmistress of Chaos

As I cited in prior genre reviews here at Paperback Warrior, the 1970s was a fertile time for sword-and-sorcery to dominate pop-culture. The British publisher Corgi took advantage of the marketing explosion to offer a five-book series of genre titles called Raven. These aren't to be confused with the men's action-adventure series of espionage titles also called Raven, authored by Donald MacKenzie. Instead, these were bonafide sword-and-sorcery novels authored by Piccadilly Cowboy writer Angus Wells (Breed, Hawk) and horror and fantasy writer Robert Holdstock (Berserker, Night Hunter) using the pseudonym Richard Kirk. The first novel, Swordmistress of Chaos, was published by Corgi in 1978 with a cover by Chris Achilleos (Conan, Heavy Metal). Beginning in 1987, the series was published in the US by Ace using new covers by Luis Royo (Conan). 

Like the 1960s Conan paperbacks published by Lancer and edited by Lin Carter, the Raven books have a handy map at the front indicating a large body of water with two islands in the center, surrounded by places called The Frozen Peaks, The Lost Mountains, The Ice Wastes, The Lost Lands, etc. This sprawling kingdom is where the Raven novel takes place. In the far south is a tiny shoreline village called Lyland, lying in the Southern Kingdoms. It is here where the Raven origin story begins.

Su'an was a young girl when a large gang of Karhsaam slave-raiders invade her village. Her father is brutally tortured and killed and her mother is raped and murdered. Su'an is hauled off to a slave-pen that will be used for prostitutes in Karhsaam. These slave-raiders are led by a cruel warrior named Karl ir Donwayne. Thankfully, Su'an escapes her bonds one night and escapes the pen. As she's running across the tundra to flee her captors, she runs into a trap led by vicious snarling hounds. Just before she's re-captured, a band of outlaws led by a man called Spellbinder sweeps in to save her with the help of a large raven. Soon, Su'an is renamed Raven and told by the outlaw gang that she has a great destiny awaiting her. 

By page 40, Raven has spent over a year with Spellbinder and the outlaws perfecting her fighting skills. Her weapons of choice are sword, shield, and throwing stars that she keeps hooked to her belt. While she makes love to Spellbinder, readers quickly learn that Raven belongs to no man or woman. She is fiercely independent, making her character similar to that of Red Sonja. 

Over the course of this 170 page paperback, Raven's goal is to hunt down and kill Karl ir Donwayne. She discovers that he has joined forces with the Kraggs, the larger of the two islands sitting in the large body of water shown on the map. To get to him, the narrative takes Raven and Spellbinder on a ship to join a gang of Viking-esque raiders called Sea-Wolves. Raven has a sexual relationship with the Sea-Wolves leader, a cunning warrior named Gondar. Teaming with the Sea-Wolves, Raven must locate a sacred skull to gain access to Donwayne's location. The search for this skull makes up a large portion of the book's narrative, with the ragtag group journeying through a desert, navigating a harsh mountain pass, and ultimately fighting hideous Beastmen in a sweltering jungle. When the skull is found, the narrative switches to Raven and the group fighting the Kraggs. There is a side-story of a rival magician wanting revenge against Spellbinder as well as a number of one-on-one battles between Raven and various other combatants. 

Swordmistress of Chaos is an adult-oriented sword-and-sorcery novel that does feature some R-rated sex scenes. These are never as graphic as an adult-western like The Trailsman or Longarm, but still possesses some mature content. Raven not only has romantic encounters with Spellbinder and Gondar, but also two sessions with another female. While I've read that these Raven books are pure porn, nothing could be further from the truth. None of this is what I would consider particularly provocative. 

As a sword-and-sorcery novel, this Raven debut is chock-full of action and adventure complete with nautical exploration, sea battles, sword-fighting, magic wielding, political strife, and the obligatory revenge-plotting. While I think the last 20 pages were disappointing, the “big baddie boss-fight” was extremely rewarding and vividly violent. While the main story is wrapped up in this book, I'm anxious to discover what adventure is awaiting Raven and Spellbinder next. I'm all in on this series and you should be too. Recommended!

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Red Sonja #04 - Endithor's Daughter

This fourth installment in Ace's Red Sonja paperback series places the fiery-haired swordswoman in the city of Shadizar, the sister city to Zamora. She's in town searching for work, but struggling for fair payment. Mostly, the jobs consist of guard duty for the various merchants and shippers traveling from Shadizar to neighboring cities. As proficient as Sonja is with a sword, she faces discrimination for being female. The lack of securing a job keeps her planted in this urban city for the entirety of David C. Smith and Richard L. Tierney's novel.

In the book's beginning, a man named Endithor is attempting to sacrifice a virgin by stabbing her with a knife. Guards, and a city leader named Nalor, break into the room and arrest Endithor before the girl is stabbed. Endithor declares that Nalor betrayed him, and that the whole ritual was planned by Nalor in an effort to supernaturally dispose of a political rival named Kus. Endithor is placed on trial the same day, found guilty, and then is tortured to death in the city square as an entertaining public spectacle. Endithor's daughter Areel watched the execution while also planning her revenge on Nalor, thus she gains the book's title.

That's a lot to unpack, but ultimately Nalor felt that Endithor was becoming a fearsome political rival and just set him up to die. So who is this Kus fellow? That's the really cool part of the book. In flashback scenes, readers discover that Kus was an ancient warrior who fell to his knees on a corpse-strewn battlefield. Approaching death, Kus is “kissed” by a beautiful woman. Kus discovers that the woman was a vampire and that she cursed him with the eternal gift of draining victims of their blood to remain alive and ageless. With the gifts of immortality, Kus also has the ability to shape-shift, control minds, and fly around. Kus sleeps in a coffin in a cold basement because he can't be subjected to sunlight. Both Kus and Nalor form a partnership to protect each other's interests – Kus staying alive and preying on the city while also killing off any of Nalor's political rivals and foes. 

Where does Red Sonja fit into all of this? Since she is living in Shadizar at the time of Endithor's execution, she begins to find herself embroiled in the political rivalry. She crosses paths with Areel, learns of Nalor's nefarious ways, and discovers Kus's sorcery and vampiric nature. By teaming up with a local bartender, and a group of mischievous kids, Sonja discovers where Kus is sleeping during the day and then, well, I won't ruin this “fright night” for you. 

Needless to say, Endithor's Daughter is an entertaining combination of sword-and-sorcery and Hammer Horror in a not-so-traditional horror presentation. The book's first-half sets up the characters and political strife occurring in the city. The second-half is the quest to find Kus and dispose of Nalor, which takes some time. The book's last 50 pages were exceptional as the story hit its stride and the inevitable “the blade versus the fangs” finally rose to fruition. But, I stress that the reader needs some patience because the novel is heavy on dialogue, less on action. Prepare accordingly, and then enjoy the Hell out of it. 

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Conan - Conan

Many of Robert E. Howard's Conan the Cimmerian short-stories were out of print for decades, or had steep auction house pricing that prevented casual fans from reading them. Aside from one Ace paperback, and a series of Gnome Press hardcovers, these previously published stories existed in back-issues of Weird Tales. 

Beginning in the late 1960s, Lancer began publishing affordable paperbacks collecting these original Robert E. Howard published Conan stories. In addition, these collections also included unpublished Conan manuscripts and new material edited or authored by Lin Carter and L. Sprague de Camp. You can journey down any pulp sword-and-sorcery rabbit-hole and read more about the development of these Lancer paperbacks, the discovery of manuscripts by Howard heirs' literary agent Glenn Lord, and both the praise and criticism of Conan pastiche writing, which is included in these Lancer editions. 

I want to simply highlight the stories including in each paperback, beginning with the very first Lancer edition aptly titled Conan. The collection was first published in 1967 and features a Frank Frazetta cover. The paperback, weighing in at just 221 pages, includes two of Howard's most respected and well-known Conan stories, “The Tower of the Elephant” and “Rogues in the House”, with the latter selection influencing the book's cover art. 

“Introduction” - As I alluded to earlier, the development of the Lancer paperbacks is a much talked about event that populates the sword-and-sorcery community. In this five page introduction, author L. Sprague de Camp introduces readers to Robert E. Howard with a brief biography. He also cites a specific letter that Howard wrote to fellow author Clark Ashton Smith explaining how the Conan character was created. In addition, de Camp analyzes the term “heroic fantasy” and how it came to fruition. 

“Letter from Robert E. Howard to P. Schuyler Miller” - This is four and a half pages showcasing a letter that Howard wrote to the science-fiction writer and educator Miller. In the letter, Howard explains the Hyborian nations and comparisons to medieval Europe, Asia, and Africa. The letter also displays Howard's explanation of Conan as the king of Aquilonia for many years. This letter was originally published in the The Coming of Conan hardcover by Gnome Press in 1953.

“The Hyborian Age, Part 1” - Howard's 14-page essay outlining the entire Hyborian kingdom and the rise and fall of the various cultures that make up the sprawling landscape. This was originally contained in the The Phantagraph in 1936, and subsequently in the volumes The Coming of Conan, King Kull, and Skull-Face and Others.

“The Thing in the Crypt” - Some find fault that this book, which is a celebration of Robert E. Howard's Conan creation, offers a non-Howard work as the first fictional story in the collection. “The Thing in the Crypt” was authored by L. Sprague de Camp and Lin Carter, but the reason it is the first actual story in the collection is because the books, edited by Carter and de Camp, are a road map of Conan's chronological life. This story features Conan as a teenager who just escaped a slave pen after being captured after a raid in Asgard. Later, there is a story that Bjorn Nayberg authored (with assists from Carter and de Camp), “Legions of the Dead”, that predates the events in this story. It is found in Conan the Swordsman. In “The Thing in the Crypt”, Conan finds a cave containing a mummified corpse holding a sword. When he takes the sword, the mummy comes to life and the two battle. This story also influenced a similar scene in the Conan the Barbarian film. “The Thing in the Crypt” first appears in this story collection. 

“The Tower of the Elephant” - This first appeared in the March, 1933 issue of Weird Tales. A young Conan arrives in Arenjun and overhears a conversation about the wealth and riches contained in a tall structure deemed The Tower of the Elephant. Always looking for thieving opportunities, Conan climbs the tower with the help of another thief, Taurus. Conan discovers cosmic horror inside the tower and fights to escape. Howard’s endless imagination just flows onto the page with this wild, action-packed adventure. It quickly pulls you into the story with just a few opening paragraphs. The author's prose is just so smooth and stimulating, providing excellent plot development and pacing.

“The Hall of the Dead” - This was a fragmented Conan the Cimmerian document created by Howard and then re-worked by L. Sprague de Camp. This version was first published in The Magazine of Fantasy and Science-Fiction's February 1967 issue. Like many other stories, the era of “The Hall of the Dead” is set during Conan's thieving years, around 18-20ish. It picks up when Conan enters an abandoned, ancient city called Larsha. In a hot-pursuit is a group of Zamorian soldiers who have been assigned to arrest Conan for theft. As Conan explores this abandoned city, he teams up with another thief as the two fight giant slugs and other baddies that are protecting gold within this abandoned city. There's nothing to really dislike about “The Hall of the Dead”, but loyalist complaints favor Howard's original version, which is shorter and features some differences in Nestor's actions in the story and the disappearance of the giant slug. In essence, I felt the story as a whole, regardless of writer, effectively placed Conan in a gloomy post-apocalyptic setting of an abandoned city, albeit a very short visit, and that was very rewarding. 

“The God in the Bowl” - This Robert E. Howard story wasn't published in the author's lifetime. It was rejected by pulp magazine Weird Tales, and after Howard's death, went undiscovered until 1951. It was then edited by L. Sprague de Camp and first published in Space Science-Fiction's September, 1952 issue. The premise reveals that “thief” Conan accepts a job from Nemedia's Governor's son to break into an antique house to steal a precious diadem. This diadem is being kept in a sarcophagus that was apparently discovered in the dark realm of Stygia. However, there is a monster lurking in the house and and the overnight clerk is found dead. The story has a really unique flavor for a Conan story and nearly borders on detective-fiction. Overall, I can recommend “The God in the Bowl”, but there are plenty of other Conan stories you should be reading before this one.

“Rogues in the House” - This story first appeared in the pulp magazine Weird Tales in January, 1934. That same year, it was also featured in a short story collection, Terror by Night, published by Selwyn and Blount. The premise has Conan being assisted by an aristocrat to escape prison. In a series of wild events, Conan, the aristocrat, and a priest are trapped inside of a large house. The house contains a number of deadly traps used to enslave and kill the priest's political rivals. But, this story also influenced the Conan paperback's front cover with Conan battling Thak, an ape-like creature that prowls the house. This story is one of my all-time favorites by Howard and is filled with political intrigue, action, and savage violence. A must read.

“The Hand of Nergal” - Originally a fragmented story authored by Howard  in the 1930s, Lin Carter completed the manuscript and titled it. Along with appearances in Conan, “The Hand of Nergal” was also featured in The Conan Chronicles and Beyond the Gates of Dream. In the story, Conan is a mercenary serving Turan. In the heat of battle, Conan is battling these crazy giant bats when he nearly falls unconscious. Thankfully, Conan had discovered a strange amulet days before, which helps to repel the bats. Conan meets a female warrior and the two of them journey to the city of Yaralet to battle the sorcerer responsible for conjuring up these crazy bats. I really enjoyed this story and found Carter's stroke of science-fiction and fantasy a great blend with the more “on the nose” carnage that Howard's Conan typically creates. The Carter and Howard blend worked well, in my opinion, on the Kull stories, and you get that same sense of adventure, dark sorcery, and utter doom in this story.

“The City of Skulls” - This paperback collection is the first appearance of this story, which was originally titled “Chains of Shamballah” in the first printing's table of contents. This is one of only two stories in the collection that is authored by both Lin Carter and L. Sprague de Camp, void of any Robert E. Howard writing. In this story, Conan's military unit is massacred, leaving only himself, his friend Juma, and a princess alive. The three are taken captive and forced across mountains, through bitter cold winds, and into a warm jungle called Shamballah, the City of Skulls. It's an epic story with Conan and Juma eventually sold into slavery aboard a ship and the princess being promised to a Toad-God-Thing. The story locations are described so well and thrust these characters – unwillingly – into the heart of madness with high altitudes and low temperatures. Mix in the ruthless rowing expedition as testaments to Conan's internal fortitude to soldier on. That's why we read these harrowing adventure tales. Carter and de Camp can tell a great story and I feel like “The City of Skulls” is a worthy addition to this stellar Conan collection. 

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Quest of the Dark Lady

Ben Haas (1926-1977) sold his first story to the pulps when he was 18 years of age. After serving as a Sergeant in the U.S. Army, and working in the steel industry, Haas became a full-time writer in 1961. He used pseudonyms like Thorne Douglas, Richard Meade, John Benteen, and William Kane. I'm familiar with the author's western writing, but wanted to try something a little different from the author. 

I decided to read another vintage sword-and-sorcery novel, a Haas-penned paperback called Quest of the Dark Lady. It was written under the pseudonym Quinn Reade. The book was first published by Belmont in 1969 using artwork by Jeff Jones. It was printed again by Belmont using a different cover by Jeff Jones. The publisher re-cycled artwork that was first used on the Belmont paperback The Quest of Kadji by Lin Carter. The book was also published in the U.K. by Paramount using that same artwork. 

In the book, readers discover that the Earth was devastated by a nuclear war hundreds (if not thousands) of years ago. What remains is a scarred civilization that resembles the Middle-Ages – men on horseback fight for King and Crown using swords, shields, and magic. The only known human population dwells in a placed called The Iron Lands. It is here that King (sometimes referred to as Emperor) Langax protects the people with a vast military force. Beyond the safety of The Iron Lands lies the Terrible East, a desolate landscape plagued by hideous monsters.

Years ago, Langax made the unfortunate mistake of ousting all of the sorcerers and magicians from The Iron Lands. In doing so, he then became vulnerable to some sort of spell originating in the Terrible East. This spell places Langax in a deep coma. He awakens briefly to advise his staff that the only savior now is an entity (or human) known as the Dark Lady. But, she lies somewhere in the Terrible East. The only person who can find her lies in Langax's dungeon awaiting execution for sabotage. That man is a former high-ranking soldier named Wulf.

There's so much to love about this simple 140-page adventure novel. The mystery surrounding why Wulf lies in a dungeon is slowly fed to the reader in the early pages. Eventually, this backstory is spelled out for the reader, but part of the book's reading pleasure is this core mystery. Surprisingly, Haas also includes a partner for Wulf, a fiery swordswoman who also plays a romantic role. When these two team up with a sorcerer, the three embark on a Hero's Quest to find the Dark Lady and save the kingdom.

This is a wildly entertaining, simple sword-and-sorcery novel that has plenty of action-oriented adventure. The monsters rear their ugly heads, the secret of the Dark Lady is revealed, and Wulf's exposure as an admirable hero are chief components making this an easy recommendation. But, get the second printing if you can locate it. It has interior artwork panels to enhance the great story.

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Paperback Warrior Primer - Claw the Unconquered

In the late 1960s, the publishing industry was abuzz with the reprinting of Robert E. Howard's Conan stories. Most of these had been missing from the commercial markets for decades, others had been collected in expensive hardback collections that fetched nearly auction-house prices. For the first time, the casual consumer could read these stories, including some that were previously unpublished, in affordable paperback editions courtesy of Lancer. With these new editions, authors like Lin Carter and L. Sprague de Camp were able to also contribute their own Conan stories as pastiches of Robert E. Howard's own storytelling style. 

Lancer, and later Ace, contributed to an influx of sword-and-sorcery pop-culture due to their paperback releases of Conan and other Robert E. Howard stories. The genre exploded with television, movies, and countless paperback novels featuring shirtless barbarians imitating Conan. By the 1970s, sword-and-sorcery was everywhere, so it was just a matter of time before the comic book industry seized their share of the market. 

With the success of Conan on the pages of Marvel, DC Comics became busy creating sword-and-sorcery titles that would compete in the hectic heroic-fantasy realm. In 1975, the company launched their creations, eight new titles that featured scantily-clad heroes holding sharp, gleaming swords. These books were Warlord, Beowulf, Dragon Slayer, Tor, Nightmaster, Starfire, Stalker, and today's topic, Claw the Unconquered. 

With Claw the Unconquered, the creative team made the decision to hone in on John Buscema’s Conan artwork. Who would be the best fit for Claw's artistic design and presentation? None other than Ernie Chan, an artist that spent the prior two years inking John Buscema’s art on Conan the Barbarian. Chan created the covers for the first nine issues, and penciled the interior pages on the first seven before giving the reigns to other artists like Joe Kubert and Keith Giffen.

Gracing the cover of Claw the Unconquered's first issue, titled “The Sword and the Silent Scream”, is a black-haired muscular barbarian carefully straddling a vulnerable young woman. Without the robust Claw logo, one glance would surely register that the book is another Conan issue. But, that was the point – to capture the dedicated readers of Conan the Barbarian and Savage Sword of Conan the Barbarian. Chan perfected this. 

Chan's co-creator of Claw was David Michelinie, who contributed to the creation of some of comics greatest characters in Venom, Carnage, War Machine, and Ant-Man. Michelinie and Chan had worked collectively on other DC books like House of Mystery and House of Secrets. Michelinie's concept was that Claw existed in a place called Pytharia, a land that resembles ancient Earth. Fans of Conan may see some similarities with Pytharia and Robert E. Howard's own landscape found in the Hyborian Age. In essence, it is a sprawling world filled with heroes and villains – noblemen, savages, evil sorcerers, terrifying creatures, and the obligatory beautiful women that need saving. 

At the forefront, like Howard's own stories, is the endless musical chairs played by politicians and their rivals. Conan, against his better judgment, seemingly always found himself embroiled in a political rivalry turned violent. Claw mirrors that same participation, which ultimately sets the table for the character's origin tale in the debut issue.

In the first three pages, readers learn that Claw's real name is Valcan and that he literally wears a red glove over his right fist, indicating early on that something is different about his hand. Claw is strolling through Ichar, the throne city of Pytharia when a thief attempts to rob him. Claw throws the poor soul through a window, then orders meat and wine. His muscles, good looks, and temperament gains an invitation from the attractive waitress to join her upstairs. But, she accidentally dislodges his glove and discovers he has a hairy hand with...claws! Later, it is revealed that the waitress was purposefully trying to verify Claw's identity in an effort to satisfy her master, an innkeeper named Tarmag.

In the streets, Tarmag has his henchmen attack Claw. Fortunately, Claw disposes of them all, but he mistakenly lets Tarmag live (a non-Conan move). The man journeys to Castle Darkmorn (what a name!) and tells (King) Occulas of the Yellow Eye the whereabouts of Claw. His reward? An instant fatal backstabbing by Occulas' guards. But why does Occulas want Claw? 

In a flashback from years ago, Prince Occulas is plotting to take the King's throne and learns from an oracle (named in the third issue as Miftung) that the only thing standing in his way is a man with a bizarre hand. Occulas has a peasant man tortured to learn that someone named Kregar of Kanon Wood has a funny hand. He bribes the King's men to go out and kill Kregar and his family. On page 13, where these events unfold, readers see that Kregar does have a hand that resembles Claw's. While Kregar and his family are all murdered, the men left behind a small infant that had a clawed right hand. Off the page, an angelic hand reaches for the baby and says that “your time is not yet come, for there are tasks awaiting that only you may perform.”

Occulas fatally poisons the King, snatches the crown, and for years thrusts Pytharia into desolate servitude. An older, crueler Occulas is then shown speaking to the oracle about a new threat that arises, a man named Valcan that has a deformity that has earned him the name Claw. Sensing this new threat, the story then circles back to the beginning (present day) as Occulas sends another of his henchmen to kill Claw. With the aid of the beautiful waitress, Claw is deceptively led to the Temple of Kann where a giant beast is awakened with a magical gem. Claw fights the monster, and then leaves the temple as the waitress is left to die. 

What readers gather from the first issue is that the through-story will be Occulas attempting to seek and destroy Claw as the hero journeys from place to place fighting the good fight for the people. The book takes on some other genres, like the traditional western monomyth, science-fiction, and fantasy. Additionally, Claw can't remember his past, so readers will be mysteified as to who the angel was that saved Claw from death as an infant. Through his journeys, he is searching to learn more about his origin and why he is destined to do great things. Magical elements regarding the claw and its purpose begin to shed some light on Claw's destiny. 

Like most of the other sword-and-sorcery books that DC launched, Claw the Unconquered was short-lived. The original run lasted just a total of 12 issues, ending in September 1978. The character made another appearance in 1981 in Warlord issues #48-49. 

Claw continues to exist in comic book continuity. He has randomly appeared in the modern pages of Wonder Woman, Justice League, and Swamp Thing. In a completely different character, there were elements of Claw used for the Primal Force comic also published by DC. The character was re-introduced to Conan fans through a rebirth by Dynamite Entertainment. Claw teamed with Red Sonja in the four-book miniseries Devil's Hands. Additionally, there was a spin-off of that series simply called Claw the Unconquered, which ran a total of six issues and was written by Chuck Dixon. 

While I can't speak on the title after 1978, I highly encourage you to read the full 12-issue run of the original DC comic. If you enjoy 1970s sword-and-sorcery literature, then this is well worth the nostalgic trip through time.

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