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Post by paulie on Jan 26, 2015 15:11:27 GMT -5
I have a hard time placing Red Nails and Iron Shadows in the Moon. As far as I'm concerned, both were placed appropriately in the original timeline (give or take a few years). Iron shadows is set after Conan has been a mercenary in the west and a Kozak, after his career as a thief and after he's had time to go back to Cimmeria and return to the south (as per Howard's letter). Red nails strikes me as a fairly late adventure, because Conan mentions having plundered enough caravans in the east to recognize jade when he sees it, and he's already had several ships under his command. Considering his first stint as a Barachan corsair or a Zingaran buccaneer is witnessed in Pool of the Black one, this points to a mid-thirties late-thirties period for Red nails. An aspect that isn't considered enough in the proposed rimelines is how long it takes to cross a continent when you travel on horseback or on foot. Marco Polo certainly didn't go from Europe to Cathay and back five times during his life; even a born wanderer like Conan can't be expected to have done it too many times either! Personally, the one story that gives me headaches is Wolves beyond the border. Depending on the version considered, it forces us to place Beyond the Black river no less than eight years before Conan became king. That means The Black Stranger occurs when Conan is about 32. But then, we must accept that Conan was a famous Barachan corsair when he was about 29, and to give him time to actually become famous, it would place the start of his piratical career even earlier... leaving him little time to criss-cross the rest of the world in his mid twenties! Conan's behaviour in Red Nails always threw me off. Chasing Valeria into the wilderness like that? It seems so positively rash, like something you do when you are 21, as opposed to the actions of a 35 year old man and a seasoned leader of men as well. Again, this is why I think Conan is younger than what was originally suggested in the Miller/Clark outline. Oh, if REH wasn't such a momma's boy we might have clarification!
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Post by Roquefort Raider on Jan 26, 2015 15:22:50 GMT -5
The Fleischer plots are perfectly fine. It is his characterization of Conan that is the primary issue. That and his disregard of some obvious facets of Conan's biography that are overlooked willy-nilly. Fleisher would also avoid dealing with continuity by inventing new places with names like J'Zhaen R'rHurq! For people interested in compiling timelines, they can thankfully pretty much be crammed into the "Hyborian mercenary" period.
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Post by paulie on Jan 26, 2015 15:25:12 GMT -5
The Devourer of Souls was a cool villain.
Now does he fit into any sort of continuity...? Hey Roy at least tried to figure it out.
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Post by Roquefort Raider on Jan 26, 2015 16:04:21 GMT -5
The Devourer of Souls was a cool villain. Now does he fit into any sort of continuity...? Hey Roy at least tried to figure it out. He was introduced in a story where Conan is (surprise, surprise) working as a mercenary for some Corinthian city, as I recall, so we have a lot of leeway when it comes to placing it in the saga. Since the devourer was there for CtB #200, his introduction must occur fairly early; I'd suggest it happened shortly after Conan concluded his business in Asgalun (in Hawks over Shem, SSoC #36). There are a few ill-defined months between that story and Conan joining the mercenary army of Malthom/Amalric for Black Colossus (SSoC#2), and that's basically where, when in doubt, I'd put most of the Fleisher stories. Also problematic when trying to put the non-Thomas issues in proper order are that bunch of amateurish ninja clowns, the brotherhood of the falcon. They made a few near-simultaneous appearances in SSoC and CtB in the 80s, but in tales chronologically separated by more than a decade. I guess that as an organization, they were just a long time dying.
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Post by Roquefort Raider on Jan 26, 2015 16:13:25 GMT -5
Savage sword of Conan #54, July 1980Earl Norem is at it again, with a scene from this issue's main story. Table of contents:The stalker amid the sands, a Conan adventure Satan's swordbearers, an article on mercenaries during the Hyborian Age The Chan barbarians, addendum, a two-page pin-up by Ernie Chan Wings in the night, concluding the Solomon Kane story begun last issue The issue has a frontispiece drawn by Carl Potts and Neal Adams, with a demon looking like one of those three demonic brothers over in DC comics (the one with the big ears... Rast, Ghast, Ababenzar or something similiar?) There is also an ad for a John Buscema portfolio featuring Conan. It was only 18 bucks. Granted, back then, it represented two weeks on my newspaper run... but I'm sure I would treasure it today.
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Post by Roquefort Raider on Jan 26, 2015 16:50:09 GMT -5
The stalker amid the sandsScript by Roy Thomas Art by John Buscema and Ricardo Villamonte Continuing the adaptation of the pastiche novel Conan and the sorcerer, by Andrew J. Offut. A scheduling conflict preventing Rudy Nebres from finishing inking this adaptation, Ricardo Villamonte came to the rescue at the last minute; however, the conclusion of the story had to be split in two. Conan and the sorcerer would finish in issue 55. I must humbly admit that my memories of Offut's story had probably been colored by a youthful enthusiasm... re-reading this story for the first time since the 80s, I can now see that it has several flaws -the most obvious of which being a lot of impossibly convenient coincidences and a lot of expository speeches. Still, better that than Conan the liberator! As we start, Conan finds himself deprived of his soul, a condition that apparently comes with feeling not quite right but leaves one otherwise unimpaired. Tracking Isparana of Zamboula across the desert south of Zamora, the Cimmerian spends the night in an oasis; across from its small pool of water are two other travellers. During the night one of the two men tries to stab Conan, but not before the shuffling of his feet has woken the Cimmerian. The would-be murderer is slain, and his irate comrade tries to avenge him even if Conan appears ready to let him go if he just gives up. Passing on the offer, the second man forthwith shuffles off our mortal coil. Conan resumes his journey, taking with him the horse and baggage of the two men. He comes across a group of armed Turanians led by a certain captain Arsil. Both men acting a little wary, they exchange stories: Arsil is on the track of two thieves, and Conan states that he probably killed them the night before; the Cimmerian is on the track of a woman he falsely accuses of stealing something from her erstwhile lord, and Arsil did come across her (calling her "unfriendly wench!") Before they part, Arsil insists on having his men search the baggage, where stolen items are found. Conan relinquishes them in good grace, and even adds a gold coin for all the soldiers if they will show him a way to get ahead of the woman he pursues. (This must be something of a first: Conan encounters a band of Turanian soldiers in the desert and the meeting doesn't end in a massacre)! Captain Arsil knows of a road that would gain Conan a lot of time, but he warns against using it as it is said to be haunted; for years, all men save two who used the road have disappeared, and those two were driven insane by what they saw. The Cimmerian still wants to try it. Expectedly, a little later, Conan is indeed attacked on the haunted road. A creature very much like a living sandstorm throws him off his horse and threatens to choke him with sand. Then a cool plot twist occurs: the sand lich is taken aback by the fact his intended victim doesn't have a soul! Puzzled, the creature calms down a little and reveals himself to be the brother of the wizard Hisarr Zul, who murdered him years ago and caused his essence to be trapped in this place, mad and tormented, waiting for a revenge that may never come to pass. He then proceeds to tell his story (PLOT CONVENIENTLY EXPLAINED!): he and his brother were wizards in Zamboula, where their ambition pushed them to plot against the satrap Akter Khan. (Here they are, busily plotting; notice how good Villamonte's ink washes look). It is during their escape through the desert that Hisarr Zull, who had always hated his brother, murdered him by magical means. The monster can only be freed upon his sibling's death, and he explains how that may be accomplished: Hisarr Zul can be killed if his tricks are turned on him, or if he drinks water from the river Zarkheba, or if he is struck by iron forged in Stygia over a fire of bones, or "by strangulation with the hair of a virgin slain with bronze and made woman after the hair is removed", which prompts Conan to remark "Gods, but you wizards are a revolting lot, all in all". Concerning the soul-catching spell, it is possible to give peace to those whose soul-trapping mirror have been smashed (which is the case of Hizarr Zul's guards) by stuffing the wizard's skull with earth, severing it and consuming it by flame. In the case of a still-intact mirror containing a soul, one must either (a) have it smashed by a crowned person, for there is power in all those who rule; (b) convince the wizard to release the soul, or (c) wrap the mirror in the above-mentionned tresses, bury it in the earth and let one's own blood fall upon it. His explanations done with, the sand creature summons a great wind that carries the Cimmerian far away, to a distant oasis where Isparana should show up eventually (Conan cleverly lied about the person he pursues; he let the monster believe it was Hisarr Zul himself instead of Isparana). To be continued! Notes: - I always wondered if Conan might not simply have smashed tie mirror himself, since he was destined to be a king one day. Of course, there was no way for him to know that back then.
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Post by Roquefort Raider on Jan 26, 2015 17:20:22 GMT -5
Satan's swordbearersAn article by Fred Blosser Mercenary forces were a big part of warfare in the Hyborian Age; here, Fred Blosser combs through the Conan stories to draw an exhaustive picture of how these forces were organized and how they were used on battlefields. Shemites were notably an important part of all mercenary troops encountered in the Hyborian lands; their archery could only be matched by that of the Bossonians. The Chan barbariansAn extra pin-up by Ernie Chan, with Conan and a grimacing Thoth-Amon in an allegorical scene. Wings in the night, part IIScript by Don Glut Art by David Wenzel Concluding the adaptation of the Solomon Kane story by Robert E. Howard. I first read that story in prose in this book I had found at a local newsstand: It was the first time I could read a text in English without having to consciously translate it. (I had bought the book because it was nearly impossible to find a Robert E. Howard book in my hometown in those days, no matter what language it was written in). Naturally I had found it amazing, and even today after all these years I am struck by how powerfully horrific it is. Last issue we had seen how Solomon Kane, fleeing cannibals, had come upon a plateau where flying creatures prey on humans. He had slain two but been hurt enough to lose consciousness, and here he wakes up in the care of a kindly witchman and his people. Kane is told of this tribe's cruel history. Escaping from a war in the south, 150 years ago, they had entered a country inhabited by cannibals; fleeing these dangerous foes, they had found refuge on a certain plateau (much to the amusement of their pursuers). The place had at first looked hospitable enough, with game aplenty; but eventually, the newcomers had learned that this country was also home to winged man-like monsters who relished in cruelly mangling and eating human beings. After an initial attempt at resisting the inhuman foe, the tribe had been dealt a severe defeat, with half their numbers being slain. The creatures then freely came upon them to abduct more people for consumption, and it is only by a monthly human sacrifice (the victim of which was chosen by lot) that the body count could be managed. The arrival of Kane and his slaying of two of the monsters seemed to have impressed the creatures; they now stayed away from the village where the Englishman had been nursed back to health. The witch man asks Kane to remain and act as their protector, to which he reluctantly agrees. The very same night the creatures attack en masse. As his friendly allies die all around him, Kane fights like a berserker; his horror is total when he is left alone on the ground with a rain of blood falling on him from the benighted skies. When the sun comes up, a gruesome sight awaits him: the head of his friend the witch man, left on the wall of his hut. Kane screams his anger to all the gods who make sport of mankind. This scene is remarkably powerful, and not only because of its extreme physical violence (the villagers are torn limb from limb by he flying creatures). Solomon Kane has just been charged with the safety of an entire people, and not only does he immediately fail in his mission, but it is also obvious that he is responsible for the sudden attack by the harpies. The creatures aren't simply dangerous animals; they are downright cruel, even evil. They even seem to leave Kane alive on purpose, after having massacred everyone else, to torture him. And seeing the head of his friend like that, almost accusing him, must have made Kane feel very, very guilty indeed; a self-destroying feeling if there ever was one. That is horror in its quintessential form. But Solomon is not one to brood for long and he then prepares his revenge, one that deals in genocide. He builds a vast and strong house, and then proceeds to kill every wild pig he can find to deprive the flying monster from any prey. Over the weeks he notices how the ones he can spy on are getting thinner and hungry-looking. Hunger even brings the monsters to try and steal their prey from the lions also living on the plateau, leading to the great cats killing a large number of them. Finally, Kane butchers a buffalo, making sure that he has been seen, and carries its bloody bits in the house he built. The harpies fly down as soon as he seems to withdraw, piling into the building, and throw themselves on the food. Kane then closes the door behind them and sets the house on fire. This is a very grim, relentless and hopeless tale; really Howard at his most fatalistic. A splendid Solomon Kane story, done justice by this adaptation.
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Post by Roquefort Raider on Jan 27, 2015 10:04:14 GMT -5
The savage sword of Conan #55, August 1980The Earl Norem cover takes some liberties with the story (where do these dead blokes come from?) but Isparana (the lady) and Hisarr Zul (the old guy) can be found inside the magazine. The cover blurb "when dead men walk" does not particularly reflect what the main story is about, but it is a catchy title. Table of contents:Black lotus and yellow death, a Conan adventure Havoc in Hyboria, an article on warfare in Conan's times The new kids in town, a portfolio by several young artists Wizard and warrior, a story featuring Brule the spear-slayer.
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Post by Roquefort Raider on Jan 27, 2015 10:25:45 GMT -5
Black lotus and yellow deathScript by Roy Thomas Art by John Buscema and Ricardo Villamonte Concluding the adaptation of the novella Conan and the sorcerer, by Andrew J. Offutt Conan has magically been transported to an oasis lying on the path of Isparana, who is on her way from Arenjun (Zamora's city of thieves) to Zamboula, a Turanian-controlled desert city. As the Cimmerian waits, he is joined by a family of desert travellers whose patriarch's kind behaviour has Conan reflecting about why so few people decide to be good in this world. This is not the only time that Offutt has Conan interact in a peaceful way with others, perhaps to tone down the recurrent violence associated with the character. The travellers warn Conan that they have seen the tracks of a caravan from Khawarizm heading toward this very oasis; they are probably slavers, and he should be wary of them. Isparana arrives later, unaware that Conan is watching her. In fact, since she believes herself quite alone, she decides to indulge in a bath, leaving very little of her curvaceous attributes to the imagination of the reader. (I can't present the most explicit images, as they'd require entirely too much editing!) It is slightly embarrassing to see Conan playing the peeping Tom, swallowing again and again as he rages against his teenage hormones (he's still 17 at this time), but it makes for a funny enough scene. The young man clearly sees that she wears the eye of Erlik around her neck. Isparana then falls alseep, and the Cimmerian proceeds to switch the real amulet with the fake one Hisarr Zul gave him two issues ago. Next he tries to depart the scene with Isparana's camels, but the beasts start making enough noise for the woman to wake up and attack Conan. Being stranded in an oasis with no means of escape until someone arrives makes the fight a little silly, so a truce is called for -a logical decision, since the next people to show up at the oasis might just be the slavers Conan was warned against. He and Isparana are however off on the wrong foot, especially when she realizes angrily that he has seen her bathe. On the next day, a caravan does arrive... and it does consist of slavers and their captives... and Conan and Isparana are indeed captured and chained, after killing a few of their opponents. Luckily, a few days later, the slave column crosses the path of captain Arsil and his soldiers, whom Conan calls for help. Good thing for the Cimmerian that he left these Turanians on friendly terms last issue! He and his lady friend are freed. Isparana does try to have Conan arrested, but settles for being accompanied back top Zamboula by the soldiers (believing herself to still be in possession of the Eye of Erlik).
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Post by Roquefort Raider on Jan 27, 2015 10:36:42 GMT -5
And now... the denouement. Conan makes his way back to Arenjun, and lo and behold he has his yak horn helmet back. (Perhaps it was in storage somewhere)? The brash Cimmerian imprudently reveals that he has talked to Hisarr Zul's brother and knows how to kill the sorcerer; naturally, in these conditions, there's not a chance the man would let him walk away. Hisarr Zul takes the Eye of Erlik and tests whether it is the genuine article or the copy; he then produces a rolled parchment that he claims contains "the solution to all your problems, Conan of Cimmeria". But the parchment is to be used as a blow gun, meant to send a cloud of lotus powder in Conan's face! The Cimmerian is however quick to turn the table on the wizard, thus fulfilling the sand lich's condition for killing Hisarr Zul: that his own tricks be used against him. The wizard dead, Conan proceeds to perform the ritual that will free the souls of his guardsmen; he then gallops off into the night, carrying the Eye of Erlik and his own precious soul, still caught in a mirror carefully swaddled in fine velvet. Notes: - Isparana is said to be eight or ten years older than Conan; this means that in CtB# 264, when she returns to the Marvel continuity, she must be around 38. She sure doesn't look it!!! - The next novella written by Offut, "the sword of Skelos", is a sequel of sorts to this story... but in it, Conan has already recovered his soul. The way he managed that particular feat was covered in Offut's third Conan novel, Conan the mercenary, which would eventually be adapted in SSoC #217-218.
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Post by Roquefort Raider on Jan 27, 2015 10:44:43 GMT -5
Havoc in HyboriaA study of warfare in Conan's world, by Jim Neal. This erudite article is illustrated by Rick Hoberg and Gene Day, and includes a presentation of Jim Neal by Roy Thomas. Good material, as always, and in my opinion must-read material for any Conan writer. The new kids in towna portfolio It's hard to belive that seasoned pro Joe Jusko was once a "new kid on the block". But even back then he pushed a mean brush! These five plates feature the art of five up-and-coming artists from the late 70s and early 80s, not all of which became famous. But it's still good stuff! I especially like this Will Meugniot piece; although Conan looks a bit dopey, I think it's the first time I've seen Red Sonja having to handle a wardrobe malfunction. (That should happen more often in comics. Apart from Nomad tripping on his own cape in one of his first appearances or Spider-man having to wear a rented Spidey costume (with " Die Spinne" written on its back, as it was a German costume), I can'y think of too many costume-related problems in comics. This page by Rich Larson is also intriguing in its non-conventional approach.
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Post by Roquefort Raider on Jan 27, 2015 10:47:38 GMT -5
Wizard and warriorScript by Roy Thomas Art by Alfredo Alcala Adapting a Kull story begun by Robert E. Howard and comleted by Lin Carter Certainly the least of the actual Kull stories, this one has Alfredo Alcala use both a zip-tone and fine brushwork approach and a "shading with charcoal" one. The plot is as follows: Brule sees wizard, Brule kills wizard. The end.
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Post by Roquefort Raider on Jan 28, 2015 10:49:49 GMT -5
Savage sword of Conan #56, September 1980Cover by Nestor Redondo. Table of contentsThe sword of Skelos, featuring Conan To Kush and beyond, an article on the African continent in the Hyborian Age The DeZuniga Conan, a portfolio
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Post by Roquefort Raider on Jan 28, 2015 11:30:26 GMT -5
The sword of SkelosScript by Roy Thomas Art by John bUscema and Tony DeZuniga The first of a three-part adaptation of the Conan novel The sword of Skelos, by Andrew J. Offut. The sword of Skelos was published by Bantam books in 1979. It was the second Conan pastiche written by Offut, but actually the third in a sequence of novels featuring the Cimmerian; the middle novel, Conan the mercenary, would see print in 1981. In this issue we continue the storyline started in SSoC #53, although several months have elapsed since the conclusion of the previous issue. In between issue #55 and this one, Conan has managed to recover his soul by means as yet undisclosed (we would find out how he did it in SSoC #217-218). The Cimmerian is still in the country of Zamora, but he has moved from the City of thieves (Arenjun) to the capital, Shadizar... not necessarily a more recommendable place. Still the owner of the amulet known as the eye of Erlik, which is sought by the king of Iranistan in the southeast and by the satrap of Zamboula in the south, Conan will be brought into the byzantine politics of Zamboula. Our tale begins with some setting-up: we are introduced to the satrap of Zamboula, Akter Khan, a capricious and suspiscious ruler. We also meet his wizard, Zafra, who has apparently just conjured up a magical sword, the sword of Skelos, which can fly in the air and kill the first person it can, provided its owner gives it the instruction "kill him" (no matter what the gender of the victim). Zafra is an interesting variation on the theme of the wizard: no bearded old mumbler, Zafra is acting like a young rock star; he revels in the attention, money and influence that his talents warrant him; he sleeps with the satrap's own mistress (Chia, nicknamed "the tigress"), and he plots to eventually become strap himself. In Shadizar, Conan is contacted by an agent from the king of Iranistan, a bloke named Khassek; the king still wants the eye of Erlik. They share some unpleasantness with the local police force before agreeing to travel together to Iranistan, where the Cimmerian could exchange the amulet for a hefty sum. Meanwhile, in Zamboula, the satrap Akter Khan is about to take the first step in his eventual downfall. One of his many wives is a very young girl who was sent him by a fierce desert tribe, the Shanki; but the girl was scared by her much older and not all that handsome new husband, and could not go through with consuming the union. The satrap could have sent her back to her people, but his vanity demands that the girl die instead; he tricks her into approaching the magical sword of Skelos, and the ensorcelled weapon stabs her. The body is to be disposed of discretely, and a rumour must be spread that the girl died of illness while bearing the satrap's child. North from Zamboula, we learn that Isparana, who had been taken by Turanian soldiers last issue, has escaped them with the help of one of them, named Sarid. Either because the desert is really smaller than it looks or because another plot-mandated unlikely coincidence is upon us, Isparana and Sarid encounter Conan and Khassek, whom they attack. (A little plot point I forgot to mention when covering last issue: when the wizard Hisarr Zul used magic to make sure Conan had brought him the genuine eye of Erlik and not the copy he had given the Cimmerian, the copy is supposed to have vanished in a puff of flames. Isparana, who at the time believed she had been carrying the real amulet, must have realized she had been tricked). Khassek is killed by Sarid, Sarid is killed by Conan, and the Cimmerian brings down Isparana's horse. The two rival thieves fight, and a lucky knife slash causes Isparana's clothes to fall apart, once again exposing her charms. That's how Conan can see the burn mark showing where she must have worn the fake eye of Erlik when it was destroyed. Sexual tension oblige, the struggle between the two eventually turns into something more intimate and we turn our eyes away for the time being. Notes: - In the novel, Conan basically rapes Isparana at the end of this chapter. I'm sorry, but that's what it is. Here, Roy adds some dialogue that makes Isparana far more willing; we still don't get the impression that having sex with Conan was her idea intitially, but that she sees it as an opportunity for later gain. Isparana will later be shown to be quite practical about sexuality and its many uses. - There is a big plot hole regarding how time elapses here. In issue #55, Conan and Isparana separate in the desert between Zamora and Zamboula: the Cimmerian goes back to the Zamora, and Isparana is accompanied by Turanian soldiers toward Zamboula. During the time they were apart, Conan (a) returned to the city of Arenjun and Killed Hisarr Zul; (b) lived through the adventure that allowed him to regain his soul, which as we'll know later involves a journey that will take him all the way to Khauran and back; (c) resettled in Shadizar. Meanwhile, Isparana has barely travelled a few short miles toward Zamboula, never even reaching the city!
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Post by Roquefort Raider on Jan 28, 2015 11:39:40 GMT -5
To Kush and beyondThe Black Kingdoms of the Hyborian Age A scholarly ethno-geographical article by Charles R. Saunders, with nice (very nice!) artwork by John Buscema and Gene Day. The DeZuniga ConanA portfolio by the Filipino artist. While the inking for this issue is rather uninspired, this portfolio includes some nice pieces by Tony. The Swords and scrolls letters page in this issue has a rather important contributor: none other than L. Sprague de Camp. The writer tells of how he became involved with Conan, and although his testimony is naturally rather self-serving, it is an interesting historical piece. To no one's surprise, de Camp was very happy with the adaptation of Conan the liberator; I think that he and most other Conan fans simply didn't have the same opinion on what made Howard's Conan special.
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