Conan the Barbarian: Marvel Treasury Edition #4 by various artists and authors

 

(oversized pb; 1975: Marvel Comics graphic novel. Based on two of Robert E. Howard’s Conan stories: “Rogues in the House,” originally published in January 1934, and “Red Nails,” originally published in July-October 1933. . . This oversized graphic novel is a collected reprint of several Marvel Comic comic book issues: Conan the Barbarian #11 [1971: “Rogues in the House”] and Savage Tales #2 and 3 [October and December 1973: “Red Nails”].)

 

Review, story by story

“Rogues in the House”: Betrayed by one of his many women (Jenna) after he “revenged” himself on “that priest of Anu,” Conan finds himself chained in a dungeon. An opportunity presents itself in the form of Murilo, a nobleman who offers to free Conan in exchange for the Cimmerian’s services as an assassin. Murilo’s stated target: Nabonidus, “red priest” and “master” of the unspecified city they’re in.

Conan accepts the offer, unaware that his liberator (Murilo) also has snuck into Nabonidus’s castle to make sure the targeted “man of science” meets a violent end—a mission further soured with a just-discovered horrific twist: Nabonidus is also a “wereman,” a giant ape creature calling itself Thak. Conan and Murilo immediately decide it’s best to flee the castle, as dealings with the supernatural rarely result in a survivable, positive outcome, something Conan knows all too well. They quickly find out escape is not an option for them.

Further twists in this illustrated tale make themselves known, making this fun, tightly penned and fast frame-paced comic, based on Robert E. Howard’s tale of the same name, originally published in Weird Tales magazine, January 1934.

Fans of Howard’s oeuvre might especially appreciate “Rogues”’s explicit reference to another Howard-penned Conan story, “The Tower of the Elephant,” originally published in Weird Tales in March 1933.

The artwork, perhaps because it was blown up for the oversized edition, has linework that is hazy, not solidly defined as well as slightly washed-out colors. This is not a complaint; I note this so readers of The Savage Sword of Conan magazine, which sports stellar, highly defined black and white artwork, don’t compare Savage to this more mainstream, less adult Marvel Treasury version.

 

“Red Nails [henceforth referred to as “Red”]”: Conan, trying to get into the loin cloth of a loath “Aquilonian she-pirate” (Valeria) he met in Sukmet, stalks her—he’s beguiled by her sword skills as much as he is by her wild beauty.

Just as she becomes aware of Conan’s creepy attentions, they sight a walled city in a barren plain. About the same time, Conan and Valeria fend off a horse-eating “dragon” (which looks like an uncommonly aggressive stegosaurus), compelling them to enter the mysterious, fortress-like city.

Upon entering the city-fort, Conan and Valeria encounter complicated dangers: they get caught in an intrametropolitan conflict between two feuding factions: the superstitious Xuchotl and the magick-wielding Xotalancs, whose long-term, internecine warfare is rooted in a broken brotherhood (Tecuhltli and Xotalanc’s), further betrayals and a seemingly ageless “witch,” Tascela.

“Red” is one of Howard’s most ambitious and character-complex Conan stories, even with its basic Hatfield/McCoys feud structure. Its original, print 1933 version, while impressive in intention, felt “weak. . . part of the reason for its disappointing delivery is because of its extended length—it’s a novelette, not a short story” (so I thought on 8/23/11, in my review of the print/story collection, Red Nails).

This Marvel Treasury Edition comic book version trims “Red”’s print-only excessive verbiage and length to its core, between its storytelling (if line-hazy and color faded) artwork and concise descriptions and dialogue. This makes the Marvel version of “Red” a better, more fun read, one that makes me appreciate Howard’s expansion of Conan’s world, along with his more fully realized characters, namely Valeria, whom even Conan recognizes as more than a beddable conquest by tale’s upbeat end.

(Valeria appears in director/co-screenwriter John Milius’s 1982 classic, Conan the Barbarian. Sandahl Bergman played the fierce “Aquilonian she-pirate.”)

This is a good, worth-owning read if you’re a Conan and/or early-1970s comic book fan.

“Red Nails” originally appeared in Weird Tales (July – October 1933, published in three serial parts).

The Lost Valley of Iskander by Robert E. Howard

 

(pb; 1934—1936, 1974. Three-novella/prequel fantasy anthology to Son of the White Wolf. “Introduction” by Darrell C. Richardson.)

 

From the back cover

“It lay hidden from the world, beyond the far ranges of the Himalayas. Yolgan! Forbidden city of unspeakable vengeance and unimaginable treasure, where the goddess Yasmeena waits for the only force on earth that can free her—the curved and thirsty blade of the blue-eyed desert warrior El Borak!”

 

Overall review

Caveat: Iskander sports an amplified sense of colonialism, racism and sexism that was bold-face inherent in the 1920s and 1930s, but it’s not quite as repellent/intense as one might see in Sax Rohmer’s fourteen-book Dr. Fu-Manchu series and H.P. Lovecraft’s stories. It’s downplayed in these Francis X. Gordon stories but it’s still there. In short: If the concept of appropriate context (judge a work by the standards during which it was created, not by modern standards), you might want to skip Howard’s work as well as those mentioned earlier in this “Caveat.”

Iskander is one of the better Howard collections, more tightly edited than some of his other works (notably certain Conan stories and books), with Howard’s ever-present focus on machismo, bloody and savage action, constant twists, the overall superiority of Caucasian culture, and all-caps PULPY prose. There’s less focus on Howard’s usual display of sensual and/or treacherous women in these Gordon stories than one might see in one of Howard’s Conan works.

Iskander is worth buying if you’re a fan of older pulp, can look past/stomach its biases, and appreciate its hyperbolic, action-packed stories and Howard’s clear love of bordering-on-poetic-prose language.

The remainder of Howard’s Francis X. Gordon stories are collected in Son of the White Wolf.

 

Review, story by story

“The Daughter of Erlik Khan”: Legendary, American adventurer Francis X. Gordon (aka El Borak) and his small army of savage Turkoman face treachery, supernatural elements, physical deprivation and constant violence on the way to (and inside) Mount Erlik Khan after Gordon’s tricked into guiding two Englishman (Ormond and Pembroke) through wild lands to satisfy their secret, murderous greed. Within the walled, gold-rich and mountainous city of Mount Erlik Khan, he must also confront the priests of the god Yolgan, who threaten his former lover (thought by some to be a goddess), Yasmeena!

This twisty, cinematic-rich, action fantasy tale is a constant-endorphin-hit work that succeeds in its epic-tone ambition, a great read if you can get past its inherent, imperialist racism.

 

“The Lost Valley of Iskander”: Gordon, pursued and shot at by Gutsav Hunyadi, the wily and “satanic Hungarian,” and his Central Asian hoards, carries Hunyadi’s proof-of-future-invasion letter to Hunyadi’s Central Asian allies—Gordon means to warn Hunyadi’s initial prey (those commanding Fort Ali Masjid) of the incoming threat. But first Gordon must elude and, if possible, stop his devilish foe and his men!

While fleeing said invaders, Gordon encounters newly met Bardylis, a blue-eyed blond young ally and one of many “Sons of Iskander”—the descendants of Alexander the Great’s Macedonian soldiers who, left in this isolated location thousands of years prior, built the Grecian-influenced, walled town of Attalus. . . which is now Hunyadi’s new target.

As is often the case with Howard’s better-edited works, “Iskander” bristles with vivid images, machismo-fueled intensity and immediate threat/action, woven through with a fantastic sense-melding of real-world and imagined-realm history. Great, short-for-Howard story.

 

“Hawk of the Hills”: The Himalyas. After some of Gordon’s Afridi friends are betrayed and slaughtered by Khorouk Orakzai and his Pathan henchmen in a “holocaust of murder,” Gordon must escape their bloodthirsty numbers and regroup his surprising allies who’ve been scattered. Can he do so in time to defeat the treacherous Orakzai and Afdal Khan, who controls the region?

As in “The Lost Valley of Iskander,” the tale begins in the middle of the action, this time with the legendary “High Scotch and black Irish” adventurer hanging off the side of a cliffside while his enemies stand below him. In the middle of all this crazy scramble plotting and intense fighting is an Englishman, Sir George Willoughby, who’s been sent by his government to quell the expanding dispute between Khan and Gordon’s forces.

“Hawk,” like Iskander’s other stories, is a fun, fast-paced, and plot- and character-twisty read.

Frank Frazetta’s Death Dealer: Plague of Knives by James Silke

 

(pb; 1990: fourth novel in James Silke’s Frank Frazetta’s Death Dealer quadrilogy)

From the back cover

“Across the vast valley that will, one day in the dim future be the Mediterranean Sea, assassins’ knives seek blood and refugees flee to the castle of Whitetree─where, according to prophecy, the White Veshta, goddess of light, will reveal her rebirth to the world. But Tiyy, sorceress, queen, and bearer of the mantle of the Black Veshta, is moving her armies toward Whitetree, for she means to have the Jewels of Light for her own vile purposes. Meanwhile, her murderers’ blades seek the life of the one man she knows will oppose her, the man she must at all costs stop before he reaches Whitetree. But Gath of Baal is the wearer of the Horned Helmet─is the DEATH DEALER.”

Review

Like its pulpy predecessor books, Plague is a vivid, hypermasculine, gory, action- and character-driven Conan-esque work, with Gath and Robin Lakehair─in a more subtle fashion─stepping up to again battle dark supernatural forces. As always, Tiyy, shadowy enchantress with multiple names, is one of the willing channels of these forces. Plague’s storyline is tight, befitting its series-up wrap-up status, with nuance that is lacking in the first two Death Dealer novels. Not only that, its characters, still adhering to the brutal rules and demands of their world, have matured, making Plague an effective, satisfying finish to the four-book series─even Tiyy, represented as a desperate, lesser threat in Plague, has matured, up to a point. She still uses her sex to beguile (as do most of the women in the Death Dealer quadrilogy), but there’s a certain tiredness in her mindset as she does so.

I especially like how Silke sidesteps the expected climactic demons-and-brawn battle, instead delivering a surprising embodiment of Robin Lakehair’s vaunted power, one that is sequel-friendly and low-key at the same time. This is an excellent “barbaric men’s adventure,” one that fans of Robert E. Howard’s Conan series might enjoy.

Frank Frazetta’s Death Dealer: Tooth and Claw by James Silke

(pb; 1989: third novel in James Silke’s Frank Frazetta’s Death Dealer quadrilogy)

From the back cover

“Across deserts wrested from the savage Kitzaak Empire, into the deadly, steaming jungles of the Daangall, to the mysterious plateau of the Bayaabar, the land beyond dreams, goes Gath of Baal, the Death Dealer, in search of the legendary noon, beautiful Queen of the Cats. Yet among his companions, who serves the dreaded dark lord? Who plans treachery? Gazul, the bounty hunter, strangely linked to Gath’s past? Bilbaar, the young tracker, able to talk with animals? Fleka, the slave girl, sensuously serving whichever man is the strongest? Who will leave the Dangaal alive?

“In the jungles, the only law is the law of tooth and claw.”

Review

Caveat: possible (light) spoilers in this review.

In the three years after the events of Lords of Destruction, Gath─who knows his identity, but little about his past─has wandered the scope of wild lands, engaging in various and briefly mentioned adventures. Now, he is given a chance to discover something about his past when Gazul, a shifty bounty hunter, makes him an appealing offer to not only recover some of his memory, but fight Chyak (feline master of Noon, Queen of the Cats). The cost: Gath must help Gazul capture Noon, an elusive, animalistic being. Along for the ride is Bilbarr, Gazul’s earnest and brutalized servant boy, and Fleka, whose carnal charms are not as random as the back-cover blurb suggests.

While this vividly penned, Conan-esque series continues to be a pre-P.C., nightmare-for-feminists pulpy read, Gath’s character─still a harsh Barbarian─has become more socialized, matured since the events of the first two books. This is especially clear in Gath’s dealing with Bilbaar and Fleka, as well as his immediate post-Chyak-battle feelings about the saber-tiger he has defeated. Not only that, the writing in this third book feels tighter, more character-focused than previous Death Dealer entries.

Consistent with the other books, there is plenty of sensory-rich, icky action, death, betrayal, hypermasculinity and hypersexualized femininity (which is relatively subdued, compared to Prisoner of the Horn and Lords of Destruction). In short: if you don’t mind the above qualities and want a rough-and-tumble slaughterama fantasy adventure, this is a great work, whether you’ve read the first two books or not. Worth owning, this.

Followed by Frank Frazetta’s Death Dealer: Plague of Knives.

Frank Frazetta’s Death Dealer: Lords of Destruction by James Silke

(pb; 1989: second book in James Silke’s Frank Frazetta’s Death Dealer quadrilogy)

From the back cover

“In the mists of time, before Atlantis rose. . .

“Gath of Baal was imprisoned by the Horned Helmet, the Death Dealer. Only the innocent touch of the maiden Robin Lakehair could free him from its murderous power, even for a time.

“Now Tivvy, Nymph Queen of Pyram, seeks the godlike powers that she can gain only from Robin Lakehair’s death. To save Robin’s life, Gath must don the helmet again and confront the demons Tivvy has summoned from the primordial depths─demons that emerge from mankind’s deepest fears.

“For his own freedom and the life of his beloved, Gath of Baal, the Death Dealer, must face the Lords of Destruction.”

Review

Lords picks up shortly after the events of Prisoner of the Horned Helmet. Like its source novel and the artwork that inspired Prisoner, it is hypermasculine and cinematic-vivid, with genre-puncturing humor baked into the bloody, often-too-sexist storyline and characters (lots of women-wallowing-in-bathetic-naked-distress scenes). Because of these last bits of excess, there are occasional passages that are more filler than thriller, but, because of Silke’s ability to balance engaging characters, effective twists, intriguing action and storylines, clever wordplay and a hurly burly tone, it works for the most part. While not as good as Prisoner, it is a worthwhile continuation and expansion of the characters, themes and storyline from the first book.

Followed by Frank Frazetta’s Death Dealer: Tooth and Claw.

Frank Frazetta’s Death Dealer: Prisoner of the Horned Helmet by James Silke

(pb; 1988: first book in James Silke’s Frank Frazetta’s Death Dealer quadrilogy)

From the back cover

“In an age before Atlantis rose, an age rife with sorcery and violence, the earth trembled beneath the all-conquering hooves of the Kitzaak Horde, and only one man, Gath of Baal, dares to confront the Kitzaak lances, to stand between the never-defeated armies and the lush valley that will, long millennia in the future, be known as the Mediterranean Sea. To save the peace People of the Forest, Gath must dice with the gods, and the price he must pay is to become death made flesh, the Prisoner of the Horned Helmet.”

Review

Fans of Robert E. Howard’s Conan and other hypermasculine “men’s adventures” may find Prisoner to be a worthwhile purchase. Silke’s lusty, sometimes bordering-on-poetic writing highlights this brutal, basic and adjective-rich storyline and its well-written genre trope characters (sly magicians and intellectuals; wan, ripe-for-sex, scantily clad maidens/seductresses; cannon fodder soldiers; and, most important, steel-wielding, burly mega-warriors, who live mostly to tear men limb from limb). 

This is a work that embraces the magic-sex-hack-and-slash pathos of near-primordial humanity, one that predates─and would likely repudiate─our culture’s current P.C.-overdrive awareness, so if you’re looking for gender equality and nuance, do not read this book.

Prisoner is a great B-movie read for those who do not mind fantastic, Conan-raw, dark and violent takes on human nature and everything that stems from it. Followed by Frank Frazetta’s Death Dealer: Lords of Destruction.

Kelley Jones' The Hammer by Kelley Jones

(pb; 1997-1998: four-issue comic book series)


The plot:

1977. When two short-sighted teens in Pawtuxet, Rhode Island resurrect the decades-dead “Witch of Aberdeen,” Isobel Grierson, they set into motion a Lovecraftian battle of cataclysmic wills between Grierson and Alaric Malleus, a warrior who loathes evil – a battle that will take place twenty years later.

1997. Alaric Malleus, “roughly translated, The Hammer,” is a cocoon-like alien creature that attaches itself to the head of a human host (as it does with Professor Wilcox, a willing flesh partner). It imbues its host with preternatural powers, an über-muscular body and other properties, all the while incorporating its flesh partners’ tastes – in Wilcox’s case, a yen for Charlie Parker’s music and greasy fast food.

What has woken Alaric, currently residing in Briggstown, Massachussetts, is the near-fruition threat of Isobel Grierson. In the twenty years since her physical rebirth, the scantily-clad, sexually promiscuous cannibal witch has become a celebrity psychotherapist whose “advice” (embrace, act on one’s anger) is preparing the world for the arrival of the Lovecraftian demons Grierson means to bring into our world.

Now, chauffeured and battle-aided by Carl (an ex-student of Professor Wilcox/The Hammer) and Alex Maybridge (a cranky medical intern), The Hammer is slicing, smashing and spell-casting his way toward Grierson, who’s well aware of her approaching nemeses. . .


Review:

Kelley Jones writes and illustrates this wonderfully dark, meaningful and hilarious comic book mini-series, which mixes satire (e.g., Grierson’s slutty outfits), uncomfortable veracities about humanity, H.P. Lovecraft's atmospheric horror and Robert E. Howard-eseque/pulpish action.

Take into account Jones’s effective, character-centric plot twists and his penchant for having The Hammer utter straight-faced one-liners (e.g., “Thankfully, I can count on your human capacity to commit genocide when the time comes.”), and readers like myself get a character and a comic book that delivers landmark thrills, laughter and chills.

Worth owning, this.

The Hammer made his next appearance in a comic book short, “The World in Which We Live”. This story was published in Dark Horse Presents, issue 129 [February 1998]. Regrettably, I don’t own this, though I do own The Hammer: Uncle Alex [1998, a single-issue comic book], the third comic book appearance of Malleus/The Hammer.

Jones's four-issue/original miniseries, as well as the story "The World in Which We Live," was later brought together in graphic novel form: this graphic novel is called Kelley Jones' The Hammer: One Big Lie.

Red Nails by Robert E. Howard

(hb; 1977: third book in a four-book fantasy/horror anthology series, edited by Karl Edward Wagner & supervised by Glenn Lord)


From the inside flap:

"Red Nails, the third volume in the authorized edition of Conan edited by Karl Edward Wagner and supervised by Glenn Lord, trustee of Robert E. Howard's estate, assembles the authentic versions of three of Howard's greatest Conan stories: 'Shadows in Zamboula,' 'Beyond the Black River,' and the long novelette 'Red Nails.' These first appeared in Weird Tales during the flowering of the pulps in the 1930s. Since Howard's tragic suicide in 1936, no one has written tales of such magnitude. Also in this volume is Howard's own masterful essay on the world of Conan, 'The Hyborian Age.'

In 'Beyond the Black River,' we find Conan in the employ of the governor of Conajohara, defending the settlement on the westernmost frontier of civilization. The town Velitrium and the protecting Fort Tuscelan are under attack by the Picts, a barbarian tribe whose land the settlers have taken. But it becomes apparent that their real enemy is the wizard Zogar Sag and his demon spirits. In a struggle to the death, Conan prevails over Zogar's hideous manifestations.

"In 'Shadows in Zamboula,' Conan falls into the hands of a mercenary inn-keeper who drugs and sells innocent guests to a nearby tribe of cannibals. But ever-alert Conan outwits everyone, rescues a beautiful damsel from the tribe's hungry clutches. . . For her favors, Conan fights a deadly duel with the evil lord Totrasmek and his grotesque minions.

" 'Red Nails' chronicles Conan's adventures in the demon-haunted city of Xuchotl and his encounter with Valeria, the fiery adventuress."

Review:

Howard's vivid, brutal, overheated and sexist/xenophobic sword & sorcery fare is, once again, on full display here, within the intense and fantastical scope of these Conan tales.

1.) "Beyond the Black River," with its atypical-Conan tale structuring, is an homage to the American Western, with a sword & sorcery overlay. This is one of my all-time favorite Conan stories.



2 - 3.) "Shadows in Zamboula" sports an Asian fairy/horror tale feel, with its treacherous inn-keeper set-up, twists (some of them predictable, some of them not) and less focus on Conan's rude version of chivalry and romance - an element that's also, refreshingly, downplayed in "Beyond the Black River." Again, excellent, clever work.


"Shadows in Zamboula" was "freely adapted" into comic book form in issue #14 of The Savage Sword of Conan, by Roy Thomas (writer), Neal Adams and "The Tribe". This magazine was published by Marvel Comics in September 1976; it was republished in expanded, graphic novel form (The Savage Sword of Conan Volume Two) by Dark Horse Books in March 2008. (The cover for that graphic novel, illustrated by Boris Vallejo, follows this review.)



4.) "Red Nails" is the weakest of the stories in this collection. Part of the reason for its disappointing delivery is because of its extended length - it's a novelette, not a short story.

The tale's familiar set-up is stock and generic. "Red Nails," more ambitious in its piled-upon elements, sports less twists, and Conan - as pointed out by Karl Edward Wagner in his dead-on "Afterword" - is less a down and dirty adventurer this time out, due to the presence of Valeria, a woman who (for the most part) dishes back what he throws at her.

Valeria is interesting, because while she's more of a fully realized character than most of Conan's women, she occasionally she lapses into Howard-familiar, spiteful hussy fits. At the same time, the tale is more generic in its delivery because she casts Conan in a more heroic light.

This last tale is still an okay read.



5.) "The Hyborian Age," a Howard-penned overview of Conan's world, is interesting in that it not only shows what came before Conan, but also shows Howard's fictional-bible/history that the author adhered to when writing his Conan stories.

Worth owning, this, if you enjoy pulp-y fiction.

Followed by the series-novel The Hour of the Dragon.

The People of the Black Circle by Robert E. Howard

(hb; 1977: second book in a four-book fantasy/horror anthology series, edited by Karl Edward Wagner & supervised by Glenn Lord)

From the inside flap:

"The People of the Black Circle is the second volume in the authorized edition of [the] Conan [the Barbarian quadrilogy] edited by Karl Edward Wagner and supervised by Glenn Lord, trustee of Robert E. Howard's estate. The People of the Black Circle assembles. . . Howard's novellas 'The Devil in Iron,' 'The People of the Black Circle,' 'A Witch Shall Be Born,' and 'Jewels of Gwahlur,' which first appeared in Weird Tales [magazine] during the flowering of the pulps in the 1930s.

"In 'The Devil in Iron,' the first novella in The People of the Black Circle, Conan journeys to the kingdom of Turan, where he is betrayed by the king, lured by Octavia, the beautiful slave girl, and forced to flee into an eerie subterranean realm. there he wages deadly battle with Khel, the monster whose human body is made of iron.

"In 'The People of the Black Circle,' Conan battles the mountain-dwelling Seers of the Black Circle, powerful sorcerers who threaten the kingdom of Vendhya. their leader and master, the magician of Yimsha, uses black magic to enslave Conan. In a thrilling climax, Conan's strength and the magician's power are pitted in winged combat.

" 'A Witch Shall Be Born' follows Conan's adventures against the forces of Salome, the witch-queen of Khauran, and the reptilian monster she commands. In 'Jewels of Gwahlur,' Conan's goal is the legendary Teeth of Gwahlur, a cache of gems in the ghost city of Alkmeenon. Man-apes, priests and the forces of evil clash in an epic battle in which Conan must choose between the jewels and a beautiful slave girl."

Review:

This four-book series republished the Conan stories, in the order in which they were originally published in Weird Tales magazine. The four novellas in this second volume were published between 1934 and 1935.

Howard's vivid, brutal, overheated and sexist/xenophobic sword & sorcery fare is on full display here, within the intense and fantastical scope of these Conan tales.

"The Devil in Iron" is a good, engrossing read; the two middle tales, "The People of the Black Circle" and "A Witch Shall Be Born," are the best of these stories, plot-twisty, character- and action-intense and incredibly inspired; the last tale, "Jewels of Gwahlur," is the least-inspired work of the bunch - it reads like a tired retread of Howard's more spirited and freshly imaginative pieces.

Excellent collection of tales, overall.

Followed by Red Nails.

#

"The Devil in Iron" was "freely adapted" into comic book form in issue #15 of The Savage Sword of Conan, by Roy Thomas (writer), John Buscema and Alfredo Alcala. This magazine was published by Marvel Comics in October 1976; it was republished in expanded, graphic novel form (The Savage Sword of Conan Volume Two) by Dark Horse Books in March 2008.

That same graphic novel also featured an adaptation of "The People of the Black Circle". The comic book version of this story originally appeared in issue #16 of The Savage Sword of Conan in December 1976. It was illustrated by Roy Thomas (writer), John Buscema and Alfredo Alcala. (The cover for the 2008 graphic novel, illustrated by Boris Vallejo, follows this review.)

#

Conan, the character, inspired the film Conan the Barbarian, which was released stateside on May 14, 1982.

Arnold Schwarzenegger played Conan. James Earl Jones played Thulsa Doom (a character who's scheduled to be the titular character of a 2012-release film). Sandahl Bergman played Valeria. Max von Sydow played King Osiric.

Ben Davidson played Rexor. Mako played Akiro/"The Wizard/Narrator". Valérie Quennessen played "The Princess". William Smith played "Conan's Father". Jack Taylor played "Priest". Cassandra Gava, billed as Cassandra Gaviola, played "The Witch". Gerry Lopez played Subotai.

An uncredited John Milius, who directed the film, played "Foodseller in the Old City". Milius co-scripted the film with Oliver Stone, from a story by an uncredited Edward Summer.

#

A lackluster, kid-friendly, comedic sequel, Conan the Destroyer, was released stateside on June 29, 1984.

#

A reboot/remake of Conan the Barbarian is scheduled for stateside release on August 19, 2011.

Jason Momoa played Conan. Rachel Nichols played Tamara. Stephen Lang played Khalar Zym. Rose McGowan played Marique. Saïd Taghmaoui played Ela-Shan. Ron Perlman played Corin.

Leo Howard played "Young Conan". Katarzyna Wolejnio played Valeria. An uncredited Shelly Varod played "Student Nun".

Marcus Nispel directed the film, from a screenplay by Thomas Dean Donnelly, Joshua Oppenheimer and Sean Hood.

Skull-Face by Robert E. Howard

(pb; 1978: fantasy/horror novella-story anthology. Introduction by Richard A. Lupoff.)


From the back cover

"A strange coffin is found floating in the mid-Atlantic - and in it, a withered reptilian creature judged to have been dead not thousands but millions of years! Thus begins the chilling story of Kathulos of the yellow eyes the Ages could not close. . .

"HE STIRS!

"THE LONG SLEEP OF THE DEAD HAS ENDED!"


OVERALL REVIEW

Okay, over-the-top, xenophobic action tales from Howard, who specialized in this kind of overwrought, mood-effective and adrenalin-rush work that featured hot-tempered, punching and slashing heroes, hideous exotic (read: foreign) villains, and emotional, sexy (and sometimes treacherous) women.

It's not Howard's best writing, but it's enjoyable, if you're a Howard fan. The structures and plots of the stories are pretty much the same, and there are times where Howard throws too much action into the tales, drawing them beyond what would be their natural lengths -- this is particularly true in "Lord of the Dead" and "Taverel Manor" (though anthology editor Lupoff may share blame for this last extended story).

Richard A. Lupoff's introduction is engaging, analytical and fact-filled, an exemplary filter through which to view these occasionally flawed but otherwise good hero tales.


REVIEW, PIECE BY PIECE:

1.) "Skull-Face" (novella): A junkie (Stephen Costigan) in London falls under the power of an ancient sorcerer (Kathulos), and tries to break free of both Kathulous, while stopping the sorcerer from taking over the world with his dark-ish hoards.

Despite its obvious lifting from H.P. Lovecraft's "Cthulhu Mythos" and its inherent - occasionally stated - racism, this is a fun, solid work. (While reading this, one should remember that Howard's stories were written and published in the 1920s and 1930s, when American/blue collar racism was deemed socially acceptable; one should also remember that Lovecraft and Howard were fervid pen pals, who shared writing genres and similar ideas.)

Fast-paced and exciting, like a serial tale.



2.) "Lord of the Dead": Steve Harrison, a cop, is attacked by a strange, superhuman foe (Ali ibn Suleyman, the Druse), leading Harrison into further violence with Suleyman's Mongolian -- and even more powerful -- boss (Erlik Kahn, aka the "Lord of the Dead").



3.) "Names in the Black Book": Erlik Kahn, thought dead at the end of "Lord of the Dead", heals and begins killing those who betrayed and thrwarted him in that earlier tale -- a list that includes Steve Harrison and his girlfriend, Joan La Tour (also from "Lord of the Dead").



4.) "Taverel Manor": British Secret Service agents Steve Costigan and John Gordon, previously read about in "Skull-Face", battle their returned arch-foe (Kathulos, the titular character in "Skull-Face").

Joan La Tour, also seen in "Lord of the Dead" and "Names in the Black Book", is a minor character in this story, sans Steve Harrison (she's engaged to someone else - Harrison is never mentioned).

This last tale is co-authored by anthology editor Richard A. Lupoff, who finished this incomplete story left behind by Howard. (Howard committed suicide in 1936.)

Wolfshead by Robert E. Howard

(pb; 1968: fantasy/horror anthology. Edited by Glenn Lord. Introduction by Robert E. Howard.)

From the back cover:

"From Hell itself. . . from the Satanic depths where imprisoned lost souls wail forever, from the outer reaches of space where warped laws rule the lives of hideously alien beings, from beyond the elusive veil separating 'reality' from sorcery and the supernatural. . . come these. . . stories by a master of fantasy. . ."


OVERALL REVIEW:

Solid anthology of Howard's writing, whose publishing dates span from 1926 to 1951. (Howard, a successful pulp writer, blew his brains out on June 11, 1936, after his mother died.)

Most of these lurid, intense, thematically-overlapping stories are good (except for "The Valley of the Worm", "The Fire of Asshurbanipal" and "The Horror From the Mound", which are either too long, or too generic). That said, this should be read as a fictional leftovers anthology, not a main course read.

Worth checking out, this. Worth owning, if bought for a couple of bucks.



REVIEW, STORY BY STORY:

1.) "The Black Stone": An unnamed twentieth-century scholar, compelled by a rare nineteenth century tome (Nameless Cults, by the gone-bonkers scholar Von Junzt), travels to a distant European village (Stregiocavar, whose name "means something like Witch-Town"). The unnamed scholar's intent: to investigate, translate the strangely-lettered ancient Black Stone, where, if a man spends a Midsummer's Night near it, he will either go mad, or be haunted by wild nightmares for the rest of his life.

Solid, doom-suffused work that ought to be familiar to fans of H.P. Lovecraft.


2.) "The Valley of the Worm": An Æsir (Aryan warrior), Niord, hunts a man-slaughtering serpent (Satha) in the Valley of the Broken Stones, a vale so frightful, even the Picts, known for their fearlessness, shun it.

This is an okay tale that, with a few quick edits, could have been excellent. What mars it is the lengthy introductory prose, in which the oft-reincarnated awareness that gives breath to Niord brags about its multiple, previous embodiments.

Once Howard actually starts the story (almost halfway through it), "The Valley of the Worm" becomes enthralling, action-packed, with an atypical-for-Howard finish.


3.) "Wolfshead": The reveling guests in Dom Vincente de Lusto's castle are stalked by a flesh-rending beast. Fun, character-rich tale of lycanthropy, lust, treachery and strange redemption.


4.) "The Fire of Asshurbanipal": Two adventurers -- Yar Ali (an Afghan) and his friend, Steve Clarney -- seek an "ancient, ancient City of Evil" and its legendary foul treasure, in the wastelands of Persia.

As in "The Black Stone", there is a black monolithic structure and mention of "Xuthltan" (though in "Asshurbanipal" Xuthltan is a magician not a place, as he/it is in "The Black Stone").

This is an okay tale. It runs a few pages longer than it should, largely because Yar Ali and Clarney talk too much.


5.) "The House of Arabu": Pyrrhas the Argive, an accursed barbarian, visiting the treacherous city of Nippur, uses his wits and brawn to buck the curse of "Lilitu. . . the night spirit" and her equally transformative supernatural mate, Ardat Lili.

Intriguing, fun tale that (by Howard's standards) cuts to the black heart of the action-punctuated plot.

(This story, first published in 1951, was originally titled "The Witch From Hell's Kitchen".)


6.) "The Horror From the Mound": Solid, if uninspired, tale about an idiot cowboy (Steve Brill) whose curiosity awakens a bloodsucking monster.


7.) "The Cairn on the Headland": In Dublin, Ireland, an American (James O'Brien) and his shady companion (Ortali) view Grimmin's Cairn, a mysterious centuries-old mound. Shortly thereafter, O'Brien is sought out by a woman (Meve MacDonnal), who warns O'Brien about future horrors, should the cairn be dismantled.

Good, character-interesting horror/fantasy work.

Blood & Thunder: The Life & Art of Robert E. Howard by Mark Finn

(pb; 2006: biography. Introduction by Joe R. Lansdale)

From the back cover:

"Robert E. Howard, the creator of Conan the Cimmerian, Solomon Kane, King Kull, and many other characters helped define the genre of heroic fantasy, lived all of his thirty years in the small town of Cross Plains, Texas. While his books remain continually in print, Howard himself has fallen into obscurity. The details of his personal life have become mired in speculation, half-truth, and lies. This engaging biography traces the roots of his writing, correcting many long-standing misconceptions, and takes on a tour of Howard's world as he saw it best: through his own incomparable imagination."

Review:

This is a solid biography that keeps true to its themes (Howard was considered a social misfit within his longtime Texas town; Howard's larger-than-life characters were exaggerated imaginings of rugged Texas men that Howard grew up around; and Howard was a multi-genre writer - humor, fantasy, Westerns - whose non-fantasy works overshadows his other well-written works).

Finn's writing doesn't gets bogged down in superfluous dissections of Howard's work, nor does Finn wallow in unnecessary details regarding Howard's tragedy-truncated life: this makes for a fast-flowing, intriguing book.

Good read, worth owning if you're a fan of Howard's writing.