Thor and More!

Karen: For this Saturday, just a collection of odds and ends:

My husband stumbled across a collection of videos on YouTube from a group called Bat in the Sun titled Super-Power Beat Down. I think there are eight cross-company match-ups so far, but the most spectacular was this one featuring Superman vs. Thor:

Karen: We could debate the result all day (and I thought Thor was out of character) but it's amazingly well done for a non-professional effort.

Karen: How about the latest trailer for the real Thor film, Thor: The Dark World? What do you think?

Doug:  And just yesterday, I saw a series of stills from the new Thor film.  You can check them out over at MarvelousNews.com.

Karen: Speaking of Marvel movies, here's a new picture from X-Men: Days of Future Past, with some very 70s versions of Wolverine, Prof. X, and Hank McCoy. Love those lapels!

Karen: Tom Scioli at Comics Alliance recently posted an interesting article about Barry Smith and his influence on comics artists. Particularly fascinating to me was the section comparing coloring in the original Conan comics to the Dark Horse reprints. You can find the article at:   http://comicsalliance.com/whatever-happened-to-barry-windsor-smith-in-the-comics-conversation/

Karen: Late-breaking news; Not a hoax! Not an imaginary story! Ben Affleck to play Batman in the Batman-Superman movie! http://variety.com/2013/film/news/ben-affleck-is-the-new-batman-1200586881/ Holy lame casting!

The Song of Red Sonja: Conan the Barbarian 24

As a public service, today's post might be considered as falling somewhere around (if not just past) a rating of PG-13.  -- The Management

Conan the Barbarian #24 (March 1973)
"The Song of Red Sonja"
Roy Thomas-Barry Smith

Doug:  Hot pants and chain mail is what all the Hyborean babes are wearing this time of year, isn't it?  Well, at least between these covers it is.  And speaking of the front cover...  Wow.  That's not bad, huh?  I really like the sepia tone of the mob as it offsets the protagonists.  Genius.  And hey, filed under "great minds think alike", our colleague Andrew Wahl had lusty rogues on the brain just like I did, apparently.  Please jump to his site to not only catch his thoughts on Conan the Barbarian #'s 23 and this one, but also on the lead story of Marvel Feature #1 (you'll recall that I reviewed the other tale last month). But enough hyperlinking -- let's get to some sword-slinging!

Doug:  We open in Makkalet in a tavern, where Conan and the other denizens cheer on the beautiful yet deadly Red Sonja as she dances atop a table.  As the tempest rises among the drinkers, a hulking figure makes his way toward Sonja.  Called "Big Jax" and sporting a nasty wound on the side of his skull, he takes Sonja by the arm.  Defensive at first, she relaxes when she sees it is him.  But Conan of Cimmeria is not so understanding.  On a sidenote, it's been awhile since we looked in on Barry Smith's version of the barbarian.  You know, fans have frequently commented that Smith's Conan was leaner, even lithe, compared to the depiction of the warrior by John Buscema.  I'd argue that in the previous issue and this one, that Conan is perfectly suited to segue into Buscema's epic run -- which commenced in the very next issue.  It's unclear whether Conan protests to Big Jax out of chivalry or his own sexual desires (unclear -- yeah, right) for the warrior-maiden; but regardless, it's soon three pages of "game on!"  Best line in the scene, from our hero = "You!  Bald-pate!  Let the wench finish her dance!"

 

Doug:  Conan and Sonja steal away from the brawl, and make their way to a pond to cool off.  Sonja tells that chain mail is not the best thing for bathing, and emerges from the depths sans her top.  It's been well-documented that Barry Smith originally drew Sonja topless; >

From the Comic Book Database:  Notes: Artwork here was censored by unknown Marvel artists, uncensored Windsor-Smith original version was subsequently printed in Marvel Treasury Edition #15 and Savage Sword of Conan #82, but recent Dark Horse TPBs used the censored version. Cover here is also colored by Windsor-Smith. Some sources credit John Buscema with the censoring work.

< the Comics Code Authority would have none of it, however, and several panels had to be redrawn showing a) Sonja's breasts covered and b) Conan's hands above the water, rather than cupping her bottom. In addition to the doctored up sex scene, some commentators say that there are apparently hints of masturbation abounding in this tale (see the last art sample for one instance I've seen referenced).  As I was finalizing this post to run yesterday, I received my digital copy of Back Issue! #61, which celebrates the treasury-sized books of the Bronze Age (and is, incidentally, published in tabloid form!).  Perusing it quickly, what to my wondering eyes should appear but the very panels I've referenced above, and including the uncensored version that ran in MTE #15.  I've included it, below the version that was on the newsstands.  The author of the BI! article containing these panels is comics scholar John Wells, and in the text he reports that the artist who did the re-do was none other than art director John Romita.  Look closely -- you decide:  Romita or Buscema?  In the same paragraph, Roy Thomas is quoted in regard to the uncensored version running in the Treasury (treasury-sized books were considered magazines, and were not subject to the Comics Code Authority), saying "I'm pretty sure that running the uncensored version was an accident." 

Doug:  At any rate, the romance-that-doesn't-happen is interrupted by the sound of horses.  It's the night watchmen come to find out what all the ruckus is about.  While interviewing the innkeeper, Conan and Sonja steal one of their horses.  And Sonja now tells Conan what she'll have him do this evening (which is not at all what Conan wants to do) -- ride to the royal palace, on business.

 

Doug:  On the grounds of the palace, Conan and Sonja stop at a phallic-like obelisk (I guess since Barry Smith had decided he was done on the book, he was going to go out all guns a'blazing).  Sonja tells that inside are enough riches to allow these two to retire from their mercenary ways.  Conan, eyeing the sleek black finish of the tower, figures that Sonja needs him to scale it.  He kids here, though, in asking what he should need her for.  Putting another ill-fated move on her, Conan is told at first that it's business now and play for later; then he's pummeled!  "By Crom, girl -- I've killed men for less than that!"  "For what?  For not letting you kiss them?"  Priceless.

Doug:  Conan scales the tower without incident, and soon drops a rope to Red Sonja; she in turn scampers up to the top.  As they enter the treasure chamber, Conan is astounded at the sheer wealth at his feet.  But something seems amiss, as Sonja asks him to leave the room -- to inspect the corridors for guards.  Conan buys it, and vanishes.  With corruption in her eyes, Sonja recalls the commission she had received from the king of Pah-Dishah -- to go to Makkalet, pretend to be their allies, and then steal back the serpent tiara that had been given previously as a dowry.  She finds the object of her quest -- and is transfixed by it's lifelike appearance.  And suddenly, it explodes into a living, breathing, writhing, thing of mystical terror!

Doug:  Barry Smith finishes this story, and his tenure on the regular title, in a flourish of awesomeness.  Conan fans would be treated to the Thomas/Smith team only one more time, in the magnum opus "Red Nails" (printed in color in the Chronicles of Conan, volume 4, which I am using for this review).  Conan re-enters the treasure chamber to find Sonja backed against the wall by the menace of the serpent.  Apparently the thing is real enough, as it bleeds at Conan's blade.  Our heroes soon find that along with its dagger-like fangs it is also a constrictor.  As Smith shines here, so does Roy Thomas -- Sonja: "No!  I'll help you-- whether you want my help or not!"  Conan: "Then bat your sea-green eyes at that thing -- or maybe wiggle your hips!  That worked with me, at any rate!"  As the barbarians battle, Conan is finally able to deliver a death blow, which breaks the spell and returns the beast to a tiara.

Doug:  Sonja explains that the wizard of Pah-Dishah had given her an incantation to keep the serpent tiara an actual crown.  However, she forgot what to say as she first held the precious bauble.  Sonja offers Conan to take as many jewels as he can carry -- he declines, saying he has to live yet in the city.  Then he tells her that he fought tonight, after all, for other rewards.  Leaving the tower, Sonja rappels quickly downward, far faster than the Cimmerian.  He calls to her to slow down, but as she hits the ground she quickly lights the rope afire.  It literally burns through Conan's hands, and he falls hard to the ground.  Stunned, with legs that won't work quite right, Conan nonetheless reaches Sonja -- who is not atop her mount.  He tells her that she'll pay him now with kisses aplenty.  She explains that no man shall have her, lest he first best her in battle.  And that is something (as she rides away, knocking Conan down yet again) he shall not do this night.  Beyond angry, Conan smoulders as he limps back into town -- vowing to have that woman, even if she least expects it.

Doug:  This story has been lauded by many critics and commentators, and I'll happily stand in that line.  This is full of action, it's sexy, it has brawling and sorcery aplenty, and as said above it's a tour de force sort of send-off for the team that had evolved this strip over the previous two years.  When you think back to the style Smith was using on the earliest issues, and look again to the top of this post at the cover to this issue...  Again, we know that Roy Thomas and Barry Smith collaborated on Conan the Barbarian one more time; but if they'd not, then I think we'd all feel OK that this story was their legacy.

The Tower of the Elephant -- Dueling Pencils

Doug:  How many stories can you name that were written by one author, but illustrated by two masters, six years apart?  Today we're going to look at such a tale, "The Tower of the Elephant" featuring Conan the Barbarian.  Karen and I ran a review of the comic on the left, above, back in December 2011.  I have the reprints of The Savage Sword of Conan that Dark Horse has been publishing, and the last story in volume 2 reprints "Tower" from Savage Sword #24 (November 1977).  The latter version has very pretty pictures from John Buscema and Alfredo Alcala.  Given that the original version was put together by Barry Smith and John's little brother Sal, it's going to be difficult to go wrong here.

Doug:  We're going to reprint our review, but relocate the Smith pictures and set them side-by-side with the Buscema versions -- as close as we can get it to the same scene that we used the first time around.  Oft-commenter Cerebus660 said, back in December (with some minor editing by me):   

Roy Thomas was a master at adapting REH's work and getting the tone just right (within the boundaries of the Comics Code, of course).  Barry Smith's artwork was rapidly maturing issue by issue, and this story's final image of the tower collapsing is just beautiful.  Thomas had another go at this story when he wrote an extended version for Savage Sword Of Conan no. 24, with artwork by that team supreme, John Buscema and Alfredo Alcala. It's very interesting to contrast the two different approaches... 

Doug:  Before we send you off to your analysis, some apologies from my end on the inconsistent layout of the art.  I've had a devil of a time with the updated Blogger interface in regard to the addition of images to posts.  Personally, I thought the old version was more user-friendly.  If you're new around here, feel free to comment on the story itself or on our review; if you recall us doing this last year, then critiques of the different artistic interpretations are your mission.  So, away we go --

......................................................................................................................................................................

Conan the Barbarian #4 (April 1971) -- originally reviewed on December 26 2011

"The Tower of the Elephant!"
Roy Thomas-Barry Smith/Sal Buscema

The Savage Sword of Conan #24 (November 1977)

"The Tower of the Elephant"

Roy Thomas-John Buscema/Alfredo Alcala

Doug: Happy Holidays, everyone! And what cries out "Good will toward men" like a barbarian slugfest?

Doug: I can't hardly contain my excitement over the art in this issue. Last Wednesday Karen and I (and a few of our faithful commenters) remarked that through the first several issues of Conan one could watch the maturation of Barry Smith's art. This being only Smith's fourth outing, it's nonetheless a tour de force. From the first page, his backgrounds are busy, the facial- and figure work are dynamic, and almost all hint of the Kirby-cloning is gone. We also touched on the computerized recoloring last Wednesday... it's my opinion that it really adds to this moody tale.

Karen: Although Sal Buscema is credited as the inker on this issue I thought it really looked quite different from issue 3, which he also inked. I don't know if he was experimenting with brush work or what, but the lines here seem heavier and thicker, particularly in the first few pages. Whatever the case, the art was very strong in this issue. I agree about the coloring -I think they've done a very good job here, one that doesn't distract the reader.


Doug: We begin in the filthy thief-city of Arenjun in Zamora; think of the cantina in Star Wars and you'll get the idea. A fat rogue of a thief-kingpin speaks loudly about his prowess as a slave-trader and stealer of women; in the course of the conversation he mentions the Elephant Tower of Yara and the jewels hidden within. A strong hand lights on his bulbous shoulder -- it belongs to the young Cimmerian Conan. He notes that he has had his eye on the tower since coming to Arenjun, and that it seems unguarded. The rogue laughs at the youngster's ignorance, and it's obvious that others in the tavern know of the Tower -- splinter conversations abound. Conan wonders if someone could bypass the ground guards, if he had the courage. That does it -- the probing questions aside, this final insult sets the Kothian rogue to near-frothing at the mouth. The rogue strikes Conan across the chest, which draws the ire of the Cimmerian, as well as of his broadsword. A brawl ensues, as the candles lighting the den of thieves are knocked over. When they are again lighted, the thief lies dead on the floor and Conan has left the premises.

Karen: This is a great sequence, one that really pulls you in to Conan's world. You can practically smell the perfume, smoke, and sweat in this thieves' den. Smith's art is also becoming much more detailed -note the pattern on Conan's sword.

Doug: Conan has approached the silver tower, which rises from a large high-walled garden. As Conan stealthily approaches the perimeter, he sees a purple-robed figure approach the guarded gate. Initially denied entrance, the robed figure rebukes the guard and is granted entrance. Conan notes that as the figure moves, his feet hover slightly above the earth! Racing around the wall, Conan scales it and drops to the other side. Getting his bearings, he begins to move when he suddenly trips over the body of a guard. Had the robed figure strangled the man to death? Conan looks around, and feels another presence moving slowly through the garden. Spying his company, and after sizing each other up for a moment, these two trespassers introduce themselves. The newcomer tells Conan that he is Taurus of Nemedia, known as the King of Thieves, and also the true killer of the guard. Coincidentally, Conan and Taurus have arrived in the same space and time with the same goal. I thought it was interesting here that neither Conan nor Taurus seemed suspicious of the other, and they quickly formed an alliance to steal the fabled Heart of the Elephant.

Karen: Thomas does a good job getting across Conan's youth and inexperience. He is both awed and frightened by the priest Yara. I can't imagine the Conan of later years reacting that way. The alliance with Taurus does seem a bit convenient though.

Doug: The now-allies move toward and onto the inner wall. Bent on their common goal, Conan continues his inquiries into the history of their prize. Asking Taurus just why this location is called the Tower of the Elephant, Taurus asks Conan if he knows what an elephant is. Conan tells that while he's not seen one, he does know that they are "monstrous beasts, with a tail at both ends." It's here that we see how Robert E. Howard often plugged in existing world history and mythology and the terminology of both. Conan mentions that a wandering Shemite had told him this. The term of course references one of the sons of Noah, Shem, who (if we are to believe classical anthropology) served to repopulate the earth in the area we'd call the Middle East. Anyway... As our protagonists land on the other side of the wall, they immediately see that this new area is guarded by a group of three silent lions, who rush towards the two thieves. Taurus takes out a blowpipe and pushes a green dust into the air around the beasts. Conan is incredulous as the animals breathe their last, and asks what manner of substance they were felled with. Taurus answers that it is the powder of the mysterious black lotus.

Karen: I enjoyed Conan's remark about his god, Crom: "Great Crom lives on a mountain...and little he cares for what men do with their tiny lives." We'd hear a version of this years later coming from the mouth of Arnold Schwarzenegger! That powder Taurus had was pretty amazing stuff -lucky he didn't inhale any!

Doug: Reaching the wall of the tower, Taurus pulls out a grappling hook and rope and gets it to hold fast on his first toss. Conan suddenly whirls to see a fourth lion pouncing. Conan lashes out with his sword, killing the beast. The two men begin to scale the tower. They marvel at the surface, encrusted with uncountable jewels and gemstones. Reaching the top, Taurus tells Conan to walk the perimeter of the tower's landing to look for guards below. With Conan distracted, Taurus sneaks inside the door and shuts it behind him. Conan senses this potential treachery and returns to the door. Conan hears a sound from within like a man being strangled, and Taurus' limp body falls back through the door into the barbarian's arms. Bearing only small needle-like marks on his neck, Taurus is cast aside as Conan cautiously enters the room. Amid caskets of jewels, Conan moves forward until he is smitten on the shoulder by an acidic liquid. Suddenly a giant black spider swings down and attacks. Conan evades the spider's first attack, but before he can reach the door the creature encompasses the barbarian in a sticky, constricting web. Conan is able to grab one of the heavy jewel boxes and hurls it at the giant arachnid, crushing its head.

Karen: I was very taken with the way Smith drew the tower -glimmering, almost in motion it seemed. The coloring no doubt enhances this; I'd like to see the original comic book coloring for a comparison. The fight with the spider was brief but exciting. Earlier Conan had remembered a story he heard, that Yara, the priest of the tower, had once turned a prince into a tiny spider. Perhaps this was another victim of the sorcerer, although much larger?

Doug: Conan enters a door he'd not seen previously during his conflict with the spider. Entering and descending some steps, he sees a large green elephantine idol seated on a throne. As the Cimmerian approaches, he is stopped in his tracks by fear when the creature begins to move. It looks around sightlessly, assuming that Yara has come to torture it -- from his words, this has apparently been a regular occurrence by both fire and the racks. Conan hesitantly speaks to it, and the creature names himself as Yag-Kosha. Conan tells the green elephant that he will not harm him; in turn, Yag-Kosha asks Conan to come closer so that he may touch the barbarian. Conan does so a bit too willingly for my tastes (no way... I'm thinking no way -- it's gotta be a trick!), and Yag-Kosha begins to speak of the origins of his people and how he came to be in this place. He reveals that he is an ancient space traveler who came to Earth long enough ago that he witnessed apes become men. Eventually his people died out, and Yag-Kosha was the last of his kind. He later taught a pupil named Yara, a sorcerer already gifted in the black arts. Once Yag-Kosha had given of enough knowledge to make Yara truly his master, the elephantine man was imprisoned by the scheming Yara. The very tower which he had built for Yara in but a day now served as his confines.

Karen: The elephant man's tale is a bitterly sad one. Even the barbarian is moved by it. Smith does a fabulous job here. Yag-Kosha is brilliantly drawn, not ridiculous but imbued with a tragic nobility. Again, the level of detail is stunning. Look at the pattern on the drapes, on the small amulets Yag-Kosha wears on his tusks, vines growing up sides of buildings - Smith was really thinking and putting it all into this art.

Doug: Yag-Kosha asks Conan to kill him. Yag-Kosha tells the barbarian to plunge his sword into the alien's heart and then take the Heart of the Elephant jewel and set it before Yara. He must then recite an incantation which will finally do in the corrupt sorcerer. Conan does all this. Yara is sleeping in a nearby chamber. Conan enters the room and shouts Yara's name, causing the sorcerer to awaken and curse Conan. Conan places the gem, now blood-red, on a table and Yara is magically drawn into the gem. Yara begins to shrink, stepping out of his clothes and eventually becoming the size of a mouse. Yara somehow scales the smooth surface of the gem and disappears into it. Conan's eyes widen when he sees an image of a majestic Yag-Kosha awaiting. Conan, having been warned by Yag-Kosha to flee, leaves the tower, getting far enough away to see The Tower of the Elephant collapse. The Heart of the Elephant was not to be his -- but what an adventure!

Karen: The coloring of the sphere is wonderful and once again, I have to agree that this modern coloring technique can bring a lot of life to the art. I think this is one of the more fantastical Conan comics I've ever read. It just has more fantasy elements than a lot of the stories. There's very little swordplay but it still manages to be an exciting tale.

Spotlight On: Barry Windsor-Smith

Doug:  It's been a very long time since we took a day to converse on a given creator -- no story, no collaborators, no other nothings -- just one guy.  Today the spotlight falls on Barry Smith, subsequently Barry Windsor-Smith. I'm hoping some of our British friends will offer their perspectives on the artist as well.

Doug:  Smith began in our public eye as a Kirby-clone at Marvel Comics in the pages of the Uncanny X-Men.  He later earned the pencilling chores alongside Roy Thomas's scripts in Marvel's licensing of the Conan the Barbarian franchise.  Later yet, he had a short stint on Earth's Mightiest Heroes, the Avengers.  Was Weapon X his best work for the House of Ideas?

Doug:  More recently, Smith's work was seen in the 1990's at Malibu and Valiant, as well as at Image Comics.  What's your opinion on this somewhat chameleonic (I made that word up) artist?  When have you loved his work, and along the way what has he done that wasn't your cup of tea?

 

 

A Very Conan Christmas: Conan the Barbarian #5

Conan The Barbarian #5 (May 1971)
"Zukala's Daughter"
Writer: Roy Thomas
Artist: Barry Smith
Inker: Frank Giacoia

Karen: Right off the bat here, I have to say that the art in this issue is a letdown from the previous issue, and I believe it is entirely due to Frank Giacoia's inking. The man was a veteran and certainly turned in many a solid job at Marvel, but he and Barry Smith simply do not mesh. The art here has a very crude look to it and honestly I found it made for a difficult read.
Doug: I can't really put my finger on what's wrong here, but something is certainly amiss. I tried to do some comparisons of facial angles, poses, action sequences, etc. between the previous issue and the following issue -- both of which were inked by Sal Buscema. Giacoia's line seems to be very heavy at times (particularly on faces), and I feel that to some degree he stiffens the art. Buscema's inks had really given the previous book a dynamic, fluid look. I'm feeling that this issue is almost a return to the Kirby-like density of the first two issues in the series. But hey -- it is Barry Smith and while I don't think he necessarily makes any leaps forward as we've previously commented, you could certainly do worse.
Karen: This story was inspired by a Robert E. Howard poem, "Zukala's Hour." Having never read the poem, I can't say how it compares to the story, which I think was fairly standard sword and sorcery fare. Conan is on his way to the city of Shadizar when he comes upon a small village at sunset. He briefly talks with a merchant, but suddenly the sky grows unnaturally dark, and the townspeople begin to panic and hide. Conan grabs a man by the collar and demands to know what's going on. It seems that the people owe a tax of 40 gold pieces, but they haven't paid. "The Master" is now coming to collect. The barbarian sees a strange cat's head forming out of the mist. The merchant cries that it is "she" and bolts. With a flash a huge tiger appears and begins demolishing the town. When it threatens a woman, Conan jumps in, and grabs the beast, but the tigress quickly overpowers the overconfident youth. However, even as she glowers over him, she appears to have a change of heart and lets him go.

Doug: You gotta love ol' Conan -- half the reason he engaged the tigress was because she was about to pounce on a "pretty one". Generally speaking, the crowd scenes in the previous issue were more inspired. I think I'll add -- and maybe this is what's giving us that "off" feeling about the art -- that the coloring in this particular issue is really heavy and dark. In looking through it again, I believe this is where I'm getting the slow, plodding feeling about the art. I wonder what it looked like in the standard four-color of the day?

Karen: We follow the mysterious tigress up a hill and she transforms into a raven-haired beauty. In the village below, the townspeople tell Conan that she is Zephra, daughter of Zukala - "the master". The villagers contend that both father and daughter are ageless and immortal. But they seem to think a strong sword could change that. They make Conan an offer - the 40 pieces of gold they owe Zukala will go to him, along with a fine sword, if he kills the man. It suits the barbarian and off he goes. However, the villagers figure they will never have to pay that price -once Conan has taken care of Zukala, they plan to arrange "an accident" to befall him.

Doug: I didn't feel that this story (I, too, have not previously read the poem on which Roy Thomas based his script -- but I did think that the few panels in which he inserted direct lines from said poem was a nice touch) held much suspense. It was really quite easy to see what would occur in advance of the actual events playing out. So, coupled with the art/coloring issues I'm left a little cold. Given our excitement over the first two issues we've reviewed in this series, I'm afraid we're ending on a bit of a dud.

Karen: At Zukala's castle, Zephra returns, telling her father the villagers did not pay, and then the girl passes out. Conan sneaks into the castle and finds the masked wizard crouched before a huge blazing brazier, summoning a demon. Zukala orders the creature to either bring him the tribute from the villagers, or kill them all. The demon goes flying out the window (in a very super-hero like pose).
Doug: That mask made me think of him as "The Man in the Iron Mask"... or Ferro Lad. In regard to a "super-hero like pose", I felt the same way when Conan leapt from a tree to the castle wall. Barry Smith's Conan is much more athletic than would be John Buscema's Conan -- wouldn't you say that Buscema's Conan was about 40 pounds of muscle heavier than Smith's depiction?
Karen: Oh definitely! I'm glad we're talking about these two versions, because they are so different. I can rationalize and say that Buscema's Conan is older and more filled out. But I do have a hard time imagining the hulking Conan of the later years performing some of the acrobatic stunts of Smith's lithe barbarian.

Karen: Zephra discovers Conan hiding but he quickly overpowers her and asks her if what the villagers told him was true-can she see the future, and turn herself into a wild beast? She surprises him by planting a passionate kiss on him and telling him that when she fought him in her tigress form, she knew he was the man she would love. Wow! This is one strange chick. She also tells him she has foreseen him standing over her body, an axe in his hands. Conan is completely flummoxed but is never one to turn away an attractive woman.
Doug: When Zephra planted that big smooch on our Cimmerian, I couldn't help but think of the scene in the first Schwarzenegger film when Conan is getting it on with the maiden in her Hansel & Gretel hut and she turns into some demon/sorceress. Arnold chucks her into the fireplace and it's over. But he doesn't do that here with Zephra. I love this Conan character -- whereas Tarzan is fully noble and driven, Conan is driven... but his path can certainly veer off in any direction: wine, women, song, chance to make a buck or two, a good scrap -- you name it!

Karen: While Conan and Zephra are locked in an (PG-rated) embrace, the wizard Zukala suddenly appears -I love Conan's line here: "Crom's Devils! Do doors mean nothing in this place?" - and cuts loose with a powerful energy blast. But the agile Cimmerian evades it and hacks at the wizard's head. Shockingly, this does not kill him, but his metal mask has been damaged. He runs off, head in hands. Conan pursues him ,with Zephra in tow, while the girl explains that the mask is the source of her father's power. She tells Conan he has no chance against him and should flee. But the barbarian is not convinced and is determined to end Zukala's life.

Doug: Conan makes Superman look like a real pansy. Powers don't work against magic? Pfah.
Karen: Even with half of his magical mask, Zukala is still a threat. He turns Conan's sword into a snake, and then fires more energy blasts at him. The young warrior grabs a battle axe and attacks. But when he has the wizard at his mercy, he tells him that for the sake of the girl, if Zukala matches the offer the villagers made him, he'll let him live.

Doug: This is the second perfectly good broadsword that has been ruined in this story, and all by magic. The first one was shattered against Zephra in her tigress form; here Conan just chucks the serpent-that-was-a-sword into a fire and that's that.

Karen: Zephra pleads with her father to accept. But the sorcerer is too proud. He commands his daughter to take on her beast form once more and kill Conan. She transforms reluctantly, before Conan's astonished eyes. But she finds she cannot obey her father. However, at this point the demon returns with the gold, and Zukala orders him to kill the barbarian. But the tigress Zephra leaps at the creature's throat. Zukala commands the demon to slay her. Conan confronts the wizard, telling him to call off the demon but he refuses, so jumps into the fray himself. But it is too late -the demon tosses Zephra aside like a rag doll, smashing her against a wall where she transforms back to her human form, and lies still.
Doug: I suppose Roy crafted the demon to be in line with Conan's powers, but in the whole hellspawn category ol' Jaggta-noga wasn't much. Thor would have bloodied and bested him easily, and sent him scurrying back to the netherworlds.
Karen: Seeing his daughter lying so still, Zukala dismisses the demon and rushes to her side. Zephra is still alive, awake but weakened. She cries out to Conan and it angers her father. He threatens the barbarian and then casts a spell that transports he and his daughter away. Ever the practical man, Conan wastes no time thinking about the two of them. He scoops up the gold and gets back on the trail for Shadizar.

Doug: Sometimes you get the impression that Conan is a "bear of very little brain", but that's really not the case. As stated above, he's pretty driven; easily distracted, yes, but pretty goal-oriented. In this case, that goal was to apparently get over to Shadizar and rob some of the wealthy nobles. So why tarry? Although Roy did tell us that Conan counted the 50 pieces of gold.

Karen: This isn't a bad story; after all it has a demon and a wizard! But again, the art really took me out of it. It's almost as if you can see Smith's art struggling to burst free of the inks put upon it. But not only is the inking poor, the panel layouts in this issue are also much more conventional than before, with Smith primarily sticking to 6 or 4 panel pages. Looking at the next issue though, I see Sal Buscema is back and the art looks fabulous. I have to wonder if this issue was a rush job.

A Very Conan Christmas: Conan the Barbarian #4

Conan the Barbarian #4 (April 1971)
"The Tower of the Elephant!"
Roy Thomas-Barry Smith/Sal Buscema

Doug: Happy Holidays, everyone! And what cries out "Good will toward men" like a barbarian slugfest?

Doug: I can't hardly contain my excitement over the art in this issue. Last Wednesday Karen and I (and a few of our faithful commenters) remarked that through the first several issues of Conan one could watch the maturation of Barry Smith's art. This being only Smith's fourth outing, it's nonetheless a tour de force. From the first page, his backgrounds are busy, the facial- and figure work are dynamic, and almost all hint of the Kirby-cloning is gone. We also touched on the computerized recoloring last Wednesday... it's my opinion that it really adds to this moody tale.

Karen: Although Sal Buscema is credited as the inker on this issue I thought it really looked quite different from issue 3, which he also inked. I don't know if he was experimenting with brush work or what, but the lines here seem heavier and thicker, particularly in the first few pages. Whatever the case, the art was very strong in this issue. I agree about the coloring -I think they've done a very good job here, one that doesn't distract the reader.

Doug: We begin in the filthy thief-city of Arenjun in Zamora; think of the cantina in Star Wars and you'll get the idea. A fat rogue of a thief-kingpin speaks loudly about his prowess as a slave-trader and stealer of women; in the course of the conversation he mentions the Elephant Tower of Yara and the jewels hidden within. A strong hand lights on his bulbous shoulder -- it belongs to the young Cimmerian Conan. He notes that he has had his eye on the tower since coming to Arenjun, and that it seems unguarded. The rogue laughs at the youngster's ignorance, and it's obvious that others in the tavern know of the Tower -- splinter conversations abound. Conan wonders if someone could bypass the ground guards, if he had the courage. That does it -- the probing questions aside, this final insult sets the Kothian rogue to near-frothing at the mouth. The rogue strikes Conan across the chest, which draws the ire of the Cimmerian, as well as of his broadsword. A brawl ensues, as the candles lighting the den of thieves are knocked over. When they are again lighted, the thief lies dead on the floor and Conan has left the premises.

Karen: This is a great sequence, one that really pulls you in to Conan's world. You can practically smell the perfume, smoke, and sweat in this thieves' den. Smith's art is also becoming much more detailed -note the pattern on Conan's sword.

Doug: Conan has approached the silver tower, which rises from a large high-walled garden. As Conan stealthily approaches the perimeter, he sees a purple-robed figure approach the guarded gate. Initially denied entrance, the robed figure rebukes the guard and is granted entrance. Conan notes that as the figure moves, his feet hover slightly above the earth! Racing around the wall, Conan scales it and drops to the other side. Getting his bearings, he begins to move when he suddenly trips over the body of a guard. Had the robed figure strangled the man to death? Conan looks around, and feels another presence moving slowly through the garden. Spying his company, and after sizing each other up for a moment, these two trespassers introduce themselves. The newcomer tells Conan that he is Taurus of Nemedia, known as the King of Thieves, and also the true killer of the guard. Coincidentally, Conan and Taurus have arrived in the same space and time with the same goal. I thought it was interesting here that neither Conan nor Taurus seemed suspicious of the other, and they quickly formed an alliance to steal the fabled Heart of the Elephant.

Karen: Thomas does a good job getting across Conan's youth and inexperience. He is both awed and frightened by the priest Yara. I can't imagine the Conan of later years reacting that way. The alliance with Taurus does seem a bit convenient though.

Doug: The now-allies move toward and onto the inner wall. Bent on their common goal, Conan continues his inquiries into the history of their prize. Asking Taurus just why this location is called the Tower of the Elephant, Taurus asks Conan if he knows what an elephant is. Conan tells that while he's not seen one, he does know that they are "monstrous beasts, with a tail at both ends." It's here that we see how Robert E. Howard often plugged in existing world history and mythology and the terminology of both. Conan mentions that a wandering Shemite had told him this. The term of course references one of the sons of Noah, Shem, who (if we are to believe classical anthropology) served to repopulate the earth in the area we'd call the Middle East. Anyway... As our protagonists land on the other side of the wall, they immediately see that this new area is guarded by a group of three silent lions, who rush towards the two thieves. Taurus takes out a blowpipe and pushes a green dust into the air around the beasts. Conan is incredulous as the animals breathe their last, and asks what manner of substance they were felled with. Taurus answers that it is the powder of the mysterious black lotus.

Karen: I enjoyed Conan's remark about his god, Crom: "Great Crom lives on a mountain...and little he cares for what men do with their tiny lives." We'd hear a version of this years later coming from the mouth of Arnold Schwarzenegger! That powder Taurus had was pretty amazing stuff -lucky he didn't inhale any!

Doug: Reaching the wall of the tower, Taurus pulls out a grappling hook and rope and gets it to hold fast on his first toss. Conan suddenly whirls to see a fourth lion pouncing. Conan lashes out with his sword, killing the beast. The two men begin to scale the tower. They marvel at the surface, encrusted with uncountable jewels and gemstones. Reaching the top, Taurus tells Conan to walk the perimeter of the tower's landing to look for guards below. With Conan distracted, Taurus sneaks inside the door and shuts it behind him. Conan senses this potential treachery and returns to the door. Conan hears a sound from within like a man being strangled, and Taurus' limp body falls back through the door into the barbarian's arms. Bearing only small needle-like marks on his neck, Taurus is cast aside as Conan cautiously enters the room. Amid caskets of jewels, Conan moves forward until he is smitten on the shoulder by an acidic liquid. Suddenly a giant black spider swings down and attacks. Conan evades the spider's first attack, but before he can reach the door the creature encompasses the barbarian in a sticky, constricting web. Conan is able to grab one of the heavy jewel boxes and hurls it at the giant arachnid, crushing its head.

Karen: I was very taken with the way Smith drew the tower -glimmering, almost in motion it seemed. The coloring no doubt enhances this; I'd like to see the original comic book coloring for a comparison. The fight with the spider was brief but exciting. Earlier Conan had remembered a story he heard, that Yara, the priest of the tower, had once turned a prince into a tiny spider. Perhaps this was another victim of the sorcerer, although much larger?

Doug: Conan enters a door he'd not seen previously during his conflict with the spider. Entering and descending some steps, he sees a large green elephantine idol seated on a throne. As the Cimmerian approaches, he is stopped in his tracks by fear when the creature begins to move. It looks around sightlessly, assuming that Yara has come to torture it -- from his words, this has apparently been a regular occurrence by both fire and the racks. Conan hesitantly speaks to it, and the creature names himself as Yag-Kosha. Conan tells the green elephant that he will not harm him; in turn, Yag-Kosha asks Conan to come closer so that he may touch the barbarian. Conan does so a bit too willingly for my tastes (no way... I'm thinking no way -- it's gotta be a trick!), and Yag-Kosha begins to speak of the origins of his people and how he came to be in this place. He reveals that he is an ancient space traveler who came to Earth long enough ago that he witnessed apes become men. Eventually his people died out, and Yag-Kosha was the last of his kind. He later taught a pupil named Yara, a sorcerer already gifted in the black arts. Once Yag-Kosha had given of enough knowledge to make Yara truly his master, the elephantine man was imprisoned by the scheming Yara. The very tower which he had built for Yara in but a day now served as his confines.

Karen: The elephant man's tale is a bitterly sad one. Even the barbarian is moved by it. Smith does a fabulous job here. Yag-Kosha is brilliantly drawn, not ridiculous but imbued with a tragic nobility. Again, the level of detail is stunning. Look at the pattern on the drapes, on the small amulets Yag-Kosha wears on his tusks, vines growing up sides of buildings - Smith was really thinking and putting it all into this art.

Doug: Yag-Kosha asks Conan to kill him. Yag-Kosha tells the barbarian to plunge his sword into the alien's heart and then take the Heart of the Elephant jewel and set it before Yara. He must then recite an incantation which will finally do in the corrupt sorcerer. Conan does all this. Yara is sleeping in a nearby chamber. Conan enters the room and shouts Yara's name, causing the sorcerer to awaken and curse Conan. Conan places the gem, now blood-red, on a table and Yara is magically drawn into the gem. Yara begins to shrink, stepping out of his clothes and eventually becoming the size of a mouse. Yara somehow scales the smooth surface of the gem and disappears into it. Conan's eyes widen when he sees an image of a majestic Yag-Kosha awaiting. Conan, having been warned by Yag-Kosha to flee, leaves the tower, getting far enough away to see The Tower of the Elephant collapse. The Heart of the Elephant was not to be his -- but what an adventure!

Karen: The coloring of the sphere is wonderful and once again, I have to agree that this modern coloring technique can bring a lot of life to the art. I think this is one of the more fantastical Conan comics I've ever read. It just has more fantasy elements than a lot of the stories. There's very little swordplay but it still manages to be an exciting tale.