In January, 1973, the cover of Conan the Barbarian #25 — a collaboration between Gil Kane and Ralph Reese — hardly gave any hint of the enormous artistic shift this issue represented for Marvel Comics’ award-winning series. After all, Kane had pencilled four Conan covers prior to this one, and while two of those had graced issues that also featured Kane art on the inside (the first of those, #17, also happened to have been inked by Reese), the other two — including the most recent one, for issue #23 — had fronted stories drawn by the title’s original and primary regular artist, Barry Windsor-Smith.
So, if you were a regular Conan reader who’d somehow managed to miss issue #24 (and if you were, you have my sympathies), you may well have been startled to open #25 to its first page to see that the story had been drawn by a penciller previously unseen in these pages (though his name and work were hardly unfamiliar to Marvel fans)… namely, John Buscema: Read More
In December, 1972, Marvel Comics published the final issue of Conan the Barbarian drawn by Barry Windsor-Smith. Again.
The young British artist’s first departure from the book had come just ten months earlier, with Conan #15. But after a mere three issues away (the first of which in fact reprinted earlier work by Windsor-Smith), he was back on the book. reuniting with writer Roy Thomas on Conan #19 to launch an ambitious new multi-issue storyline, the “Hyrkanian War” epic. Read More
As we discussed on the blog last month, the 19th issue of Conan the Barbariansaw not only the beginning of the title’s most ambitious multi-issue storyline to date, but also the return of artist Barry Windsor-Smith after a hiatus of several months. That return was marked by a noticeable improvement in the artist’s already impressive skills in the time he’d been away; but it was also marred somewhat by deadline problems that resulted in only the first nine pages of the story being fully inked (by Dan Adkins), the remaining eleven having to be reproduced from Windsor-Smith’s pencils; an intriguing, but not altogether successful experiment, given the limits of comic-book printing technology of the time. Read More
With this issue of Marvel Comics’ Conan the Barbarian, writer-editor Roy Thomas and artist Barry Windsor-Smith inaugurated the first proper extended storyline to appear in the title since its inception. A note on the letters page cited the single Conan novel written by the hero’s creator Robert E. Howard, “The Hour of the Dragon” (published in book form as Conan the Conqueror), as a model for the two storytellers; nearly half a century later, in his 2018 bookBarbarian Life: A Literary Biography of Conan the Barbarian, Volume 1, Thomas would also invoke Homer’s epic poem, the Iliad, as an inspiration. Both works scan as legitimate antecedents for the multi-issue chronicle of what would soon come to be referred to as the Hyrkanian War, or the War of the Tarim; still, I think its fair to say that of the two, the Iliad bears closer resemblance to the story that Thomas and his collaborators would unfold to Conan‘s readership over the next seven months, at least in its setting and overarching premise. Both epics tell of the siege of a great city by an equally great army; of a bloody war in which neither side may be said to be entirely in the right. Read More
In our February blog post about Marvel Comics’ Conan the Barbarian #15, we covered how that issue’s final story page — a full-page splash panel of Conan bidding the wizard Zukala farewell, signed by its artist, Barry Windsor-Smith — also served as the artist’s farewell to the series’ readers, as #15 was the last issue he would draw of the title.
In April, 1972, the third issue of Marvel Comics’ Kull the Conqueror arrived on stands — a full eleven months after the release of issue #2.
Of course, as folks who’ve been regular readers of this blog for a while already know, while Kull, the comic book, had been absent for almost a year, the same could not be said of Kull, the character. Marvel’s associate editor Roy Thomas, who in 1971 had launched this second series based on a Robert E. Howard fantasy hero in the wake of Conan the Barbarian‘s success (as relatively modest as that was, so far) was evidently determined to keep Conan’s literary forbear in the public eye — perhaps in hopes of eventually resuscitating the cancelled Kull title, or maybe just because he liked the hero and his milieu and/or was enjoying his collaboration (as the series’ writer) with sister-and-brother art team Marie and John Severin, who’d both come aboard Kull with issue #2. Read More
When we last left Conan back in December, he and his two companions — Zephra (daughter of Conan’s old foe, the wizard Zukala), and Elric (ruler of an otherworldly realm called Melniboné) had just fended off an attack by Prince Gaynor the Damned and his Chaos Pack of beast-men. We now pick up the tale where Conan the Barbarian #14 left off, as presented by the same storytellers — plotters Michael Moorcock (creator of Elric) and James Cawthorn, scripter Roy Thomas, artist Barry Windsor-Smith, and co-inker (with Windsor-Smith) Sal Buscema: Read More
In October, 1971, the letters column in the back of Conan the Barbarian #13 alerted readers to the fact that the Marvel Comics series — which had been coming out monthly ever since issue #4 back in January — was going to a bi-monthly schedule;