Conan The Barbarian #31 - Titan Comics

CONAN THE BARBARIAN No. 31, June 2026

Essentially comprising of a tussle between this ongoing series’ titular character and his latest adversary, there is unquestionably a lot for its readers to enjoy inside Issue Thirty One of "Conan The Barbarian". Indeed, for much of this comic Jim Zub actually appears to pen the mighty Cimmerian as nothing more than an experienced, and impressively strong warrior who appears to be facing a paranormal foe whose power clearly exceeds his own; “Which means the only advantage Conan has is his battle instincts.”

This reluctance to imbue Robert E. Howard’s creation with some implausible superhuman attribute not arguably ever seen in the character's prose stories genuinely provides the contest with a palpable sense of intriguing danger, and adds an alarming air of deadliness to The Son of the Tooth which would certainly have been missing had the Canadian writer simply made the sword and sorcery hero just as extraordinarily strong as his otherworldly opponent. In addition, it soon becomes clear just how badly the Cimmerian is being outmatched, and these extra deaths of innocent bystanders raises the stakes even more so as Conan understandably tries to save as many of their lives as he can.

Unfortunately, the resultant blood bath whilst entertaining, does though also raise the issue as to just why a trained assassin would suddenly risk so many people knowing of both his memorable looks and presence in Khoraja. True, it appears clear that the cut-throat soon realises he might be outfought by his prey if he doesn’t quickly ‘juice himself up’ with some additional souls. But the sheer pandemonium the mass-murderer causes in the frontier trade city will apparently be spoken of for years to come – something some within this publication’s audience might feel is a little odd for a cold-blooded slayer who ordinarily sticks to the shadows before dispatching his target.

Lastly, having refrained from falling into the common trap of making the titular barbarian unconvincingly ‘shrug off’ a plethora of deadly knife cuts and physical injuries for so much of this twenty-two page periodical, the Animex Honorary Award-winner debatably does just that at its very end by having artist Doug Braithwaite pencil the Cimmerian inexplicably recover from a good half-dozen wounds so he can stab his would-be-killer straight in the throat with one swift movement. This opportune reversal just doesn’t sit right after such a beating, especially when its apparently caused by The Son of the Tooth bizarrely refraining from delivering his final blow so he can look up at an alignment of the Moon within the clouds.

The regular cover art of "CONAN THE BARBARIAN" #31 by Mahmud Asrar

Conan The Barbarian: Scourge Of The Serpent #4 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.4, February 2026

It probably didn’t come as much of a surprise to anyone purchasing this twenty-two-page periodical that contributor Jeffrey Shanks saw the need to actually explain this mini-series’ climax as part of his final back-page article “In The Coils Of Set – The Origin And Legacy Of The Great Serpent”. For whilst Jim Zub’s narrative certainly depicts the Hyborian Age deity telling the likes of Conan, King Kull and John Kirowan what it wants from them, it’s rather trivial needs could easily get lost amongst all the inter-dimensional, planetwide fighting which revolves around it.

Indeed, Set’s apparent desire to mate with this title’s three leading antagonists so as to create “a perfect hybrid race” is debatably far from convincingly delivered, especially when “the arch-enemy of the gods of light” appears before the trio as multiple snake-headed assassins, a huge gorgon and the murderous wife of the Professor’s latest client. These forms, and resultant attempts upon the heroes’ lives don’t seem to be the best way of wooing a lover into the Great Serpent’s arms – no matter how alluring its final, semi-naked astral form may appear.

Furthermore, “Titan Comics” attempt to try to hoodwink this comic’s audience into accepting that such an overriding purpose is “very much drawn from themes in Robert E. Howard’s original tales” will surely put the backs up of any of the 1930’s pulp writer’s purists - no matter how hard Shanks’ aforementioned lengthy essay tries to convince them otherwise. Perhaps therefore this book’s most intriguing element only comes at its very end when it becomes clear that, in the Canadian author’s canon at least, Set sees itself as the planet’s saviour from various “terrors undreamed of”, and apparently wants to rescue Mankind, rather than simply dominant it like so many other one-dimensional, evil tyrants.

Unfortunately, Ivan Gil’s layouts don’t seem to help show what is truly happening throughout this publication either. It doesn’t matter how proficient a penciller the illustrator is at depicting Conan, Kull and Kirowan as somewhat decrepit, older versions of themselves, nor how much ghostly green ink colour artist Jao Canola throws at the multiple supernatural sequences. It is never made clear whether the leading characters can ever actually see (and therefore work) together, nor why they become so drastically aged in the first place..?

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #4 by Roberto De La Torre

Conan The Barbarian: Scourge Of The Serpent #3 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.3, December 2025

Having debatably done little more than adapt a trio of Robert E. Howard’s previously published prose adventures in this mini-series’ first two instalments, it can be argued that Jim Zub finally starts to take the steering wheel with his narrative for Issue Three of “Conan: Scourge Of The Serpent”. In fact, the Canadian author appears to go to quite considerable lengths to drag out the Cimmerian’s encounter with the serpentine deity from “The God In The Bowl”, inflating a single line of words which tells of the hero instantly decapitating the gorgon into a lengthy, action sequence filled full of desperate lunges and slithering feints - And all so that the barbarian’s fight for life can simultaneously reach its zenith alongside that of King Kull and John Kirowan.

Surprisingly however, the same cannot be said of the Animex Honorary Award-winner’s handling of “The Haunter Of The Ring”, in which the exploits of John Conrad’s partner are arguably quite severely truncated from those deeds found in the novella’s original text. Admittedly, this abbreviation still follows the general flow of the tome by having the Professor face his greatest antagonist Yosef Vrolok. But rather then drive to the villain’s home, the writer snatches at the chance to add his own spectral spin to the confrontation by having Kirowan instead simply trade blows with a murderous manifestation of his rival at Jim Gordon's house.

Such a blatant divergence from Howard’s work might be a bit too much for those purists reading this comic. However, the move actually imbues the narrative with some much-needed pace and ghostly ambiance. Indeed, it allows the significantly more modern tale to tie-in quite nicely with both Conan and Kull’s own battles against green-hued serpent-like foes; especially when it becomes clear that the snake-eyed medusa haunting poor Evelyn’s every thought is associated with the Cimmerian’s most notorious nemesis Thoth-Amon.

Undoubtedly helping mesh all these different threads and time-streams together are “Ironclad Ivan Gil” and colour artist “Jumping Jao Canola”. Together the creative pair appear particularly inventive when it comes to extending the barbarian’s aforementioned tussle with a fair-faced serpent in the Nemedian municipality of Numalia. Yet the duo’s work is also first-rate when it comes to convincingly telling of Vrolok’s mystical materialisation from beyond the grave in Boston 1934.

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #3 by Gerardo Zaffino

Conan The Barbarian: Scourge Of The Serpent #2 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.2, November 2025

It’s probably a fairly safe bet that many a buyer of this comic book will wholeheartedly agree with its London-based publisher that the publication itself contains “three stunning supernatural stories”. But that’s because the majority of their narratives were actually written by Robert E. Howard way back in the early third of last century rather than today's “Grim Jim Zub”, and – at least as far as both the Conan and King Kull fables are concerned – been adapted for this medium on several previous occasions before.

Indeed, the only thing debatably differentiating these incarnations of “The God In The Bowl” and “The Shadow Kingdom”, is that the Canadian author rather frustratingly insists on repeatedly swapping between the yarns, rather than simply allowing the audience to fully immerse themselves in the well-written worlds of “the father of the sword and sorcery subgenre.” This inter-weaving of the distinct plot-threads might seem a novel way of retelling the already popular (and arguably well known) tales. However, for some bibliophiles it will surely just diminish their fast-paced flow and ultimately greatly ruin their enjoyment of this twenty-two-page periodical.

Furthermore, the inclusion of the then modern-day tale involving Professor John Kirowan may well completely discombobulate anyone not well-versed in one of Howard’s arguably lesser known creations, due to “The Haunter Of The Ring” being neither set in the Hyborian Age or being heavily reliant upon scintillating swordplay. In fact, every time Zub brings his audience forward to 1934 it is like a jolt to the system, and will most likely snap anyone out of the sinister, spine-tingling terrors confronting both the Cimmerian and Atlantean; “Those… words! Ancient, primordial… A tongue beyond time!”

Delightfully though, what does capture the imagination are Ivan Gil’s layouts, which do a very good job of making some of the storyline’s sudden ‘switches’ a bit more palatable – especially towards the comic’s end when the words “Ka Nama Kaa Lajerama” ripple throughout the three adventures almost simultaneously. In addition, the illustrator’s double-splash of “when ancient men fought grisly beings of the Elder Universe” is easily worth this comic’s cover price alone, and should take anyone who enjoys good artwork a long time to properly absorb the breath-taking menagerie of different mythical beasts he has somehow crowbarred in the drawing.

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #2 by E.M.Gist

Conan: The Barbarian Free Comic Book Day May 2026 - Titan Comics

CONAN: THE BARBARIAN FREE COMIC BOOK DAY MAY 2026

Considering that this twelve-page-periodical is supposed to foreshadow the return of Thulsa Doom, it’s probably a safe bet that many of its readers actually came away from the Free Comic Book Day edition of “Conan: Tides Of The Tyrant King” wondering what Jim Zub’s latest mini-series featuring Robert E. Howard’s Sword and Sorcery hero was all about. Indeed, seeing as a good portion of the publication actually follows the exploits of Stephen Costigan during the Texan’s dark days fighting in World War One, it’s much more likely the Canadian’s audience were anticipating some sort of time-travelling team-up between the two characters on the blood-soaked fields of Cambrai, Aisne or the Second Battle of the Somme, rather than the Cimmerian once again encountering the Necromancer of Ancient Atlantis in the Hyborian Age.

To make matters even more confusing though, it is arguably the exploits of the shell-shocked soldier which grabs the most attention, as the understandably horrified Doughboy desperately attempts to make his way through numerous Germans whilst penetrating “a murderous maze he will never forget.” This ‘kill or be killed’ environment appears to be as brutal during the fighting as it is once its survivors are recuperating in a field hospital afterwards, and genuinely helps sell the motivation behind just why the man would become a slave to hashish in the near future; “Costigan’s temper simmers. But he doesn’t feel steady enough to make the bully eat his words.”

Unfortunately the same can’t debatably be said for the short-lived yarn concerning Conan, who is once again shown fighting in some nameless skirmish along the Borderlands between Zingara and Argos, where his superhuman strength allows him to ‘shrug off’ a spear to his left shoulder and keep swinging his sword. Furthermore, despite this significant injury the Barbarian is then depicted unconvincingly beating up a much larger mercenary who had planned on bedding a local’s unwilling daughter. Such a sketch really does add nothing to the Cimmerian’s story, and certainly doesn’t act as the aforementioned “Prelude” to him once again facing Thulsa Doom.

What does catch the eye with this comic though is the artwork of “Howling Jesus Merino”. The Spanish illustrator does a fine job depicting the Cimmerian’s exploits against “the gutter-cur raiders we put in the ground this day.” But it’s his awesome pencilling of Costigan’s time in the mud and the blood which really should capture any bibliophiles imagination, and definitely cause them to desire a standalone series of comics depicting Stephen’s time during the Great War.

Writer: Jim Zub, Artist: Jesus Merino, and Color Artist: Jao Canola

Conan The Barbarian #30 - Titan Comics

CONAN THE BARBARIAN No. 30, April 2026

Arguably dripping in plenty of exasperating plot armour, Jim Zub’s narrative for Issue Thirty of “Conan The Barbarian” will probably quickly frustrate many of its readers by having its central antagonist repeatedly put off his assassination attempt of the titular character because the cold-blooded killer has surprisingly taken an interest in the Cimmerian’s view of life.?! Sure, the Canadian writer attempts to assure his audience at this comic’s end, that the black-maned adventurer supposedly knew all about his would-be murderer’s presence since the oily cloaked outsider first ‘stuck to the shadows’ inside the trade city of Khoraja. But such omnipotence on behalf of Robert E. Howard’s character isn’t particularly convincing – especially when he’s busy either repeatedly fighting for his life on the streets, or making love to a woman throughout the night.

Indeed, this book seems to be rather irritatingly happy just depicting The Son of the Tooth repeatedly passing up a series of ideal opportunities to slay his target and rid the Hyborian Age of “the man who slew Thulsa Doom” just because this “deadly new foe” can’t believe the drunken oaf before him so badly vexes the Cult of the Black Stone. As the author points out himself such behaviour is entirely unprofessional on the part of one who has successfully slaughtered so many in the past. Yet this amateurish conduct is precisely what all bibliophiles are supposed to believe in order for an otherwise rather mundane tale about a local petty thief’s bruised ego populating a twenty-two-page periodical; “So he will take what he has learned and wait a spell longer.”

Far more believable is this publication’s conclusion as it shows Conan confronting his hunter down a dark alleyway sword in hand. This face-to-face conflict is far more plausible than anything else in the comic, even if Zub does fruitlessly attempt to fool any onlookers that the Cimmerian waited so long to tackle his adversary because he was curious if the man meant to “simply walk away.”

What does work well for “Trail Warrior” though are the layouts of Doug Braithwaite. The British artist somehow manages to make even his well-pencilled panels showing the Son of the Tooth’s scratchy searches amongst his prey’s deserted campfires rather intriguing, as well as clearly depicting just how busy the market area in Khoraja is. Furthermore, when the future king of Aquilonia does finally make his stand, his defiance is entirely palpable, and surely caused many a fan to quickly ensure that they had this ongoing title’s next instalment pre-ordered at their neighbourhood bookstore.

The regular cover art of "CONAN THE BARBARIAN" #30 by Ivan Gil

Conan The Barbarian #29 - Titan Comics

CONAN THE BARBARIAN No. 29, March 2026

Peddled by its London-based publisher as a title containing “new pulp-tastic tales in the tradition of Robert E. Howard”, Issue Twenty-Nine of “Conan The Barbarian” probably didn’t win over many readers on account of the comic not actually featuring the Cimmerian until its very last panel. Indeed, the complete lack of the heavily-muscled, fantasy hero inside this twenty-two page periodical is rather disappointing, especially as this book’s solicitation synopsis promises that he’s supposed to be being hunted in it by “a deadly new foe” disconcertingly known as the Son of the Tooth.

Of course some of the more widely-read fans of “the father of the sword and sorcery subgenre” may well point to Amalric’s predominantly solo adventure during the prose tale “Drums of Tombalku” – in which, believing his black-maned companion to be dead, the Aquilonian soldier essentially ‘goes it alone’ against a party of demonic black riders terrorising the oasis town of Gazal. However, this novelette was actually penned by L. Sprague de Camp rather than Conan's creator. and is merely based upon an “untitled fragment and synopsis” by Howard, rather than being an officially penned entry in the adventurer's literary canon.

Furthermore, the notion of an enfeebled Hyrkanian chieftain’s son successfully murdering his ten other older siblings without being discovered by so paranoid a people is debatably a bit far-fetched, even for a yarn establishing the background to a proficient “killer with [a] keen blade in hand and [the] teeth from old prey strung ‘round his neck.” True, the boy’s quite elderly father does eventually receive a confession whilst the two are out hunting together. But to see the older, much more experienced leader then get fatally out-fought by the far smaller adolescent in a knife-fight after “years of pent-up anger and fear” appears a highly unconvincing; “You are a monster and I am a fool. That is why I poisoned our meal with White Snakeroot -- So we may both die here for our sins!” 

Much more enjoyable than this publication’s narrative is therefore its artwork, courtesy of Doug Braithwaite’s pencilling. The British illustrator appears particularly good at highlighting the mass-murderer’s physical frailty during the character’s younger years, and subsequently ensures that the audience takes note of the cutthroat’s later professional prowess when he’s become a dangerous, highly experienced slayer of men for the cult of the Black Stone.

The regular cover art of "CONAN THE BARBARIAN" #29 by Roberto De La Torre

Conan The Barbarian #28 - Titan Comics

CONAN THE BARBARIAN No. 28, February 2026

For those long-term readers of the father of the sword and sorcery subgenre, Jeffrey Shanks’ claim at the rear of this comic book that Jim Zub is merely “finishing one of Howard’s unfinished yarns” may well ring rather hollow. Indeed, the notion that the Animex Honorary Award-winner's bizarre plot concerning Aquilonia’s King committing bloody acts of ritual human sacrifice in order to elevate himself as a master of the Dark Arts was actually developed from “Howard’s own words” is ambiguous at best – especially when the regular contributor to this publication’s back pages also admits that “Robert E. Howard never wrote about the event directly.”

Instead Issue Twenty Eight of “Conan The Barbarian” should probably be more accurately seen as just being an attempt by its Canadian author to weave his own long-running narrative concerning “Black Stone Magic” into one of the most beloved episodes of the Cimmerian’s career, irrespective of any conflicts it may cause with accepted canon. Unfortunately though, even this notion of simply being ‘fan fiction’ debatably doesn’t help make this storyline particularly convincing or even entertaining, as much of it consists of the narrator making broad, sweeping statements as to how the kingdom-sized war progressed, rather than telling a specific detail about its numerous military actions.

By far this comic’s biggest disappointment though has to be the way in which the Flower of the West’s mad monarch is portrayed as a guileless sorcerer who having mass-murdered many of his courtiers to attain the blessing of some unspeakable deity, simply allows Conan to approach his dais and strangle him. So undemanding a death for so powerful a ruler is truly underwhelming, and may well cause many a reader to wonder just why Numedides didn’t stab at his barbaric killer with his raised dagger, or at least put up some sort of physical struggle considering that the mercenary’s arm with which he is being throttled has just had an arrow go right into it. 

Far more convincing than this book’s script is Fernando Dagnino’s pencilling, which does a great job in depicting some of the various foot-fights and cavalry charges Zub fleetingly mentions. However, even the most ardent fan of the Spanish illustrator must surely have been a bit bemused by his handling of Count Trocero – who rather than being established as the titular character’s future “trusted counsellor” is instead sketched as a rather moody, disagreeable malcontent who fully intends to usurp the crown for himself; “Damn these hidebound fools! When I am crowned King of Aquilonia, I will remember who stepped up to meet destiny and who only fell in line when it was most convenient to do so!”

The regular cover art of "CONAN THE BARBARIAN" #28 by Gerardo Zaffino

Conan The Barbarian #27 - Titan Comics

CONAN THE BARBARIAN No. 27, January 2026

Considering just how sedentary so much of Jim Zub’s narrative for “The Ill-Suited Guest” is, it’s probably clear to many of this comic’s readers just why Robert E. Howard never penned “a specific story detailing Conan’s battle to win the crown of Aquilonia” himself. Sure, the Canadian writer does manage to inject a morsel of manic activity towards the book’s end – as the Cimmerian and Prospero make a rather unlikely prison break. But just why the civilisation’s population should suddenly riotously rise up against their monarch in the barbarian’s name is arguably far from convincing.

To begin with King Numedides isn’t depicted as being all that insane a ruler, at least until he suddenly declares that Poitain’s latest General will shockingly lead an ill-advised invasion of Zingara. Instead, the Web Cartoonists’ Choice Awards-winner merely hints at the monarch’s predisposition for the Dark Arts, as well as having plenty of political savvy when it comes to ensuring his kingdom’s most powerful Barons are constantly fighting one another rather than threatening him. As a result the everyday people’s decision to attack the ruler’s guards whilst they are publicly whipping the Wolves of Westermarck comes somewhat ‘out of the blue’, as does the masses’ call for the Mad King to be dethroned.

Similarly as unpersuasive though has surely got to be the author’s sub-plot featuring Conan somehow surviving the blades of three deadly assassins whilst chained to a cell’s ceiling. Now some long-term fans of the adventurer possibly won't be all that surprised by the Cimmerian managing to pull one of his shackles loose from its stone block before he is slain. However, the fact that the barbarian’s skin directly above his heart is so leather-like that it can apparently deflect a full-blooded dagger thrust must have caused them to raise an eyebrow or two in alarm; “Whatever light work these murderers thought they had this night… Now they must contend with a barbaric beast braced for vengeance!”

Far more successful than this twenty-two page periodical’s writing is therefore undoubtedly its art, thanks to some excellent illustrations by “Ferocious Fernando Dagnino”. The Spaniard seems especially adept at making many of this publication’s dialogue-driven sequences perfectly palatable by pencilling lots of interesting details on every one of Numedides’ banquet guests – not least of which is Dion of Attalus, whose cynical attempt to have Conan marry his beautiful daughter should genuinely raise a smile or two.

The regular cover art of "CONAN THE BARBARIAN" #27 by Nick Marinkovich

Conan The Barbarian: Scourge Of The Serpent #1 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.1, October 2025

Despite being proudly proclaimed by “Titan Comics” as the start of a “new Conan epic”, those readers well acquainted with the prose works of Robert E. Howard will doubtless find everything which occurs within this twenty-two page periodical disconcertingly familiar – especially those scenes depicting a young Cimmerian getting caught stealing from the museum of hapless Kallian Publico. Frustratingly, this is primarily due to almost all of “Stealing Faces And Finery” simply being an adaption of three of the father of the sword and sorcery subgenre’s short stories, rather than anything new which the Jim Zub has penned himself.

Indeed, apart from the odd piece of tinkering, such as the Nemedian curator actually being seen desperately trying to open up the gift which will soon bring about his grisly death, there’s arguably little to be found within this publication that isn’t inside the opening stages of “The Shadow Kingdom”, “The God In The Bowl” and “The Haunter Of The Ring”. Of course such reworkings are perfectly legitimate for the officially licenced British Publisher to undertake. Yet such re-treads, especially of a tale as well-known as Conan’s brush with the magistrate Demetrio in Numalia, arguably smacks of this mini-series relying far too much on Howard’s old yarns, as opposed to the Canadian author enthralling his audience with something altogether new.

Furthermore, Conan isn’t debatably even the lead protagonist of this book, with that role surely falling to Kull the Conqueror seeing as it’s the Atlantean’s adventure whose footsteps are the first to be followed. In fact, Issue One of “Scourge Of The Serpent” is quite neatly book-ended by the King of Valusia, as the monarch is joined by the Pict Brule the Spear-Slayer as they uncover a plot to assassinate the incredulous sovereign by shape-shifting serpent people.; “You have shown great skill and bravery. But it is only the beginning.”

Sadly even the pencilling of “Ironclad” Ivan Gil may well leave some bibliophiles wanting a bit more help to make sense of some of the storytelling, as the Canadian author leaps between the three different plot threads with little apparent reverence as to whether his audience has had time to take in what has just transpired. Of particular note are the opening panels depicting James Gordon’s extreme physical reaction to Michael O’Donnel showing him an ancient blade - a scene which will doubtless require a couple of rereads to make any sense, and even then it's only later on in the comic that his extraordinary outburst appears semi-convincing.

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #1 by Roberto De La Torre

Conan The Barbarian #26 - Titan Comics

CONAN THE BARBARIAN No. 26, December 2025

For those fans of Robert E. Howard’s sword and sorcery hero who were unaware of this ongoing series by “Titan Comics”, Jim Zub’s script for Issue Twenty-Six of “Conan The Barbarian” may well have proved the “perfect jumping on point”. In fact, such is the Canadian writer’s uncanny ability to mimic the late author’s storytelling style, that many within this book’s audience could easily have believed that “The Implausible General” was an actual adaption of one of the tales printed within the covers of “Strange Tales of Mystery and Terror” almost a hundred years ago.

Much of this marvellous mimicry seems to stem from the plot managing to mix sweeping political intrigues and betrayal, with the day-to-day exploits of the Cimmerian, and as such provides an enthralling insight into Aquilonian’s desperate days under the rule of its deranged king. Sure, sometimes it appears to be a pity that the spotlight doesn’t remain upon poor Count Trocero’s plight a little longer – such as when the soldier first leads a charge against the Zingaran blockade of his capital alongside the Westermarck Wolves. But it soon becomes clear that the Eisner Award-nominee needs this twenty-two page periodical to maintain a pulse-pounding pace, if it is to conclude on just the right note for his cliff-hanger; “Let us meet this strange Barbarian-General and see what kind of man he is!”

Furthermore, this “all new Conan story arc” fits rather snugly into Howard’s own prose canon, and promises a fascinating ‘take’ on just how the titular character might have toppled King Numedides to claim the mad tyrant’s crown. Indeed, Zub appears to have put a great deal of thought into just why an 'advanced' civilisation might have abruptly backed a primitive foreigner to become their undisputed leader, and the mercenary’s hard-fought victory at the Great Battle of Poitain goes a sizeable way to explaining the population's rationale – at least as far as Count Trocero and Captain Prospero are concerned.

Lastly, “ferocious” Fernando Dagnino does a first-rate job of depicting all the adrenalin-fuelled action, and ‘splash pages’ required for some of the yarn’s more broader brushstrokes. Of particular note though has to be the artist’s ability to imbue the Barbarian’s swordplay with all the heavily-muscled violence an onlooker would expect from a man whose living is solely carved out with a bloody blade.

The regular cover art of "CONAN THE BARBARIAN" #26 by Gerardo Zaffino

Conan The Barbarian #25 - Titan Comics

CONAN THE BARBARIAN No. 25, November 2025

Despite an arguably slow start to this “spectacular extra-sized twenty-fifth issue”, and a rather worrying insistence by its Canadian author to simply depict a series of nostalgic-flavoured flashbacks featuring some of Conan’s earliest adventures, “The Nomad” eventually takes on an intriguing life all of its own, and actually ends on a rather clever note that will surely have many a reader returning to this comic’s opening page for a re-read. Indeed, Jim Zub’s plan to craft a mysterious, almost hypnotic, white-skinned wanderer as the actual chronicler who pens the Cimmerian’s numerous exploits throughout the Hyborian Age is really well executed, and soundly sells the notion that the hooded wanderer’s gift of immortality to Aquilonia’s monarch is far more complex than merely making the aged King physically exist beyond the norm.

Furthermore, once the Animex Honorary Award-winner steers his ship away from merely retreading Robert E. Howard’s original short stories such as “The Frost-Giant’s Daughter”, the mix of old monsters and new predicaments proves rather exhilarating – especially when it comes to the ape-like Thak crucifying the barbarian whilst the terrifying Satha the Old One evilly watches on; “Life’s blood-rich wine still stings my palate, and I have not yet had my fill.”

Also well worthy of a mention, and a revisit, is the tension gradually built up by the disconcerting presence of the traveller before he ‘strikes’ during a grand feast. Admittedly, such is the patience shown by this book’s writer to reach this point in his narrative that a fair few bibliophiles might start to get a little tired of all the apprehension supposedly filling Conan’s royal courtiers. But with hindsight, the disquiet of Pallantides, the outrage of Publius, and loving concern of Zenobia, all help establish just how serious the situation is whilst the “tattered man” dwells within the grand gates of Tarantia.

Lastly, much of this “fully painted” periodical’s success also rests upon the shoulders of Alex Horley, whose artwork genuinely captures all the rich, colourfully vibrant life a sword and sorcery fan might envisage when visiting Howard’s Flower of the West. Of particular note has to be the illustration on canvas of this tale’s ‘antagonist’ dutifully approaching the Capital of Aquilonia, with the diminutive figure being absolutely dwarfed by the city’s huge walls and ornate entranceway.

The regular cover art of "CONAN THE BARBARIAN" #25 by Alex Horley

Conan The Barbarian #24 - Titan Comics

CONAN THE BARBARIAN No. 24, October 2025

Containing a genuinely skin-crawling confrontation between the titular character and a disconcertingly dark cavern filled full of Medusa-headed serpents, there probably isn’t any doubt that Jim Zub’s script for Issue Twenty-Four of “Conan The Barbarian” strongly taps into a rich vein of Robert E. Howard’s lore and legacy. But whilst this somewhat contrived situation is both thoroughly entertaining and action-packed, a number of other elements to this comic’s twenty-two page plot might not sit as well with those bibliophiles familiar with the Hyborian Age-based works of the “father of the sword and sorcery subgenre.”

Foremost of these concerns is surely the Canadian writer’s depiction of Zula as a somewhat untrustworthy, shadowy rogue, who cowardly deserts his comrade-in-arms towards the end of this comic just when the Cimmerian has need of his help to rescue poor doomed Livia from Athyr-Bast’s Tower. Indeed, the author quite overtly portrays the shapeshifting magic user as a devious deceiver of men, who even goes so far as to openly admit to the Barbarian that he actually saved the muscular warrior from a snake-borne spirit so he could harness its incredible power in an amulet, rather than simply do the adventurer a morally decent deed; “So your offer to free me from that evil was just a selfish stratagem?”

To make matters worse though, the utterly depressing ending to this book debatably raises the question as to what the actual point of Zub’s multi-part narrative even was – apart from him mercilessly killing off all of the cast members he took from Howard’s 1967 short story "The Vale of Lost Women”. So demoralising a conclusion simply leaves an aggrieved Conan determined not to enter Stygia again, and arguably also puts a significant dampener on the war chief of the Bamulas’ previous 'promise in prose' to innocent Livia that he would safely send her home to Ophir after she was almost sacrificed to the “devil from the Outer Dark.”  

Much more uplifting than this publication’s penmanship is Fernando Dagnino’s artwork. The Madrid-born illustrator does a first-rate job in imbuing the Cimmerian with all the ferocity any perusing bibliophile might expect from the agitated interloper, and impressively captures much of the look of director Ridley Scott’s haunting “Alien” egg chamber when he pencils the birthing lair of Thoth-Amon’s slithering man-serpents beneath the heavily-populated streets of Kheshatta.

The regular cover art of "CONAN THE BARBARIAN" #24 by Dan Panosian

Conan The Barbarian #23 - Titan Comics

CONAN THE BARBARIAN No. 23, September 2025

Despite containing a momentary glimpse of the titular character’s sword-fighting skills early on when Conan just about overcomes a rival sorcerer’s two bodyguards during the dead of night, the vast majority of Jim Zub’s narrative for this particular twenty-two page periodical consists of the barbarian conversing with either Zula, or his arch-nemesis Thoth-Amon. In fact, in many ways the Canadian author arguably appears to be utterly obsessed with penning Robert E. Howard’s literary creation just standing still and listening to all manner of bizarre, god-led machinations and grand schemes for the Hyborian Age’s future; “We move toward a time where lines will be drawn between the weak and the strong.”

By far the biggest (and debatably bemusing) of these dialogue-heavy discussions occurs within Thoth-Amon’s own Inner Sanctum, where Set’s foremost magician rather conveniently explains all of his plans to both the heavily-muscled, black-haired Cimmerian and his shape-shifting friend. To be frank, much of what the beetle-eating warlock spouts doesn’t debatably make all that much sense, though its general gist suggests the Great Serpent’s 'most loyal servant' requires allies to help Stygia bring its foes to heel.

However, as if Zubkavich himself realised that by this point many a bibliophile might have started to slowly nod off, the dark-hearted sorcerer suddenly decides that the heavily-disguised Guardian of the Grasslands might be a threat, and makes a move to eradicate Zula with a truly horrific, spiritual effigy of fang-filled skulls. Admittedly, even though this inexplicable attack comes completely out of the blue, it should – even for a mere instant – jar this comic’s audience awake. But then frustratingly, the owner of the Black Ring of Set completely changes his mind for no rational reason, and even forgives Conan for being about to stab him to death with his sword.

Desperately attempting to make so many of these head-scratching sequences at least attractive to the eye is Fernando Dagnino, who at least manages to imbue the Cimmerian with many of his more well-known physical mannerisms – most notably his uneasiness when in the presence of magic. In addition, colour artist Diego Rodriguez deserves an enthusiastic pat on the back for transforming Thoth-Amon’s private chamber into a genuinely disturbing realm packed full of sinister, serpent-shaped shadows and coiled, green-hued ghosts.

The regular cover art of "CONAN THE BARBARIAN" #23 by Dan Panosian

Conan The Barbarian #22 - Titan Comics

CONAN THE BARBARIAN No. 22, August 2025

Whilst many a novelist has attempted to ‘flesh out’ Conan’s career as they see it since Robert E. Howard’s tragically early demise in June 1936, few have arguably tackled the 'cause' with as much gusto as Jim Zub does in this particular twenty-two page sequel to the short story "The Vale of Lost Women". Indeed, the Canadian author appears disconcertingly meticulous in frustratingly bogging down the Cimmerian’s travels to a specific gladiatorial arena inside the Stygian City of Kheshatta for at least a couple months, as the bronze-skinned warrior bests some of Thoth-Amon’s most formidable fighters single-handedly; “I asked Athyr-Bast to buy you from the slave market weeks ago. But she kept delaying, saying you couldn’t be found.”

To make matters worse though, the Animex Honorary Award-winner does so by suggesting that this ongoing series’ subjugated titular character can simply shrug off all manner of debilitating physical injuries that would certainly kill a lesser mortal. Such unconvincing recoveries disappointingly smacks of a writer being desperate for ideas as to how to make this “Titan Comics” incarnation of Howard’s creation stand out, and are as implausible as the barbarian being skewered by “a knife as long as his arm” one minute, and then incredulously making love to a sorceress in the next.

Likewise, the powers that be behind this book’s narrative would also suggest that Conan would willingly endure week and week of senseless slaughter, including him massacring his former comrades-in-arms from the Black Kingdom, simply to then literally sit atop a stone pedestal like a prize jewel. Admittedly, Zub states that the Cimmerian is simply biding his time for the right moment to escape. Yet when that opportunity arises, the pit-fighter is unremarkably just stood in the presence of his Serpent-worshipping ‘mistress’ – something which he must have done countless times before..?

Much more convincing than this periodical’s penmanship however, are Fernando Dagnino’s amazing layouts, which seem to take the very best of both Sal Buscema and Alan Davis’ styles, and mix them in with a few set-pieces strongly influenced by the art direction of John Milius’ 1982 motion picture “Conan the Barbarian”. Of particular note has to be this comic’s carousel of panels showing the results of Athyr-Bast’s heavily-muscled slave after he receives “weapon training from one of the finest instructors in Stygia”, as well as his sullen, cross-legged ‘look’ whilst sat atop the aforementioned plinth.

The regular cover art of "CONAN THE BARBARIAN" #22 by Dan Panosian

Conan: The Barbarian Free Comic Book Day May 2025 - Titan Comics

CONAN: THE BARBARIAN FREE COMIC BOOK DAY MAY 2025

Largely ‘locked on’ to a seventeen-year-old Conan’s unsuccessful attempt to burgle Aztrias Petanius’ manor in Nemedia, there initially appears to be plenty of engrossing narrative within this ‘Free Comic Book Day’ publication to keep even the most die-hard of Robert E. Howard fans thoroughly enthralled. Indeed, despite the aspiring thief’s poor choice of prey, and the Cimmerian’s unwillingness to actually splatter anyone’s brains during his confrontation with a pair of veteran guards, this periodical’s sixteen-page plot still contains a solid mixture of suspense, action and even glib humour; “Apparently the most appropriate punishment is letting your pitiful life carry on, worm.”

Unfortunately for some readers though, once this neatly-penned precursor to the 1952 short story “The God In The Bowl” concludes, the rest of Jim Zub’s script disappointingly transforms into a choppily-paced advertisement for the Canadian author’s upcoming "epic Conan event”, and rather ungracefully attempts to tie the titular character’s earliest adventures in with those of Brule the Spear-Slayer, Professor John Kirowan and Thoth-Amon. Of course, providing just such an appetiser is precisely the point behind this particular prelude to "Titan Comics" latest four-issue mini-series. However, it’s so clunkily crowbarred onto the end of this book's central yarn that it arguably appears a little too desperate in its desire to attract pre-orders.

In addition, the Web Cartoonists’ Choice Award-winner’s apparent obsession with the Hyborian Age's most powerful Stygian sorcerer being behind practically every one of the barbarian's misfortunes may well strike any bibliophiles already familiar with the writer's backlog of numerous Conan tales as being rather unimaginative – especially as the duo never actually meet face-to-face in any of the original novellas. Yet here is Zub (once again) trying to not only intrinsically link the two together, but also suggest that the snake-fixated warlock is dubiously connected throughout time and space to some of the father of sword and sorcery’s other creations too.

Probably this book’s biggest asset can therefore be found inside the layouts of artist Ivan Gil, who adds both the grandeur and grimness some bibliophiles may well expect to see whilst visiting the “night-swept streets” of Nemedia’s second largest city. In fact, the illustrator’s incredible ability to pencil a pair of snarling, ill-tempered soldiers in one panel, and then sketch them fearfully back-peddling away from the black-haired, heavily-muscled rogue before them in the next, is truly breath-taking.

Writer: Jim Zub, Artist: Ivan Gil, and Color Artist: Jao Canola

Conan The Barbarian #21 - Titan Comics

CONAN THE BARBARIAN No. 21, July 2025

Consisting of a number of nods to Robert E. Howard’s original short stories, such as "The Vale of Lost Women" and even arguably "Shadows in Zamboula", there is undeniably plenty within Jim Zub’s narrative for Issue Twenty One of “Conan The Barbarian” which should rather please any Hyborian heroes reading it. However, such is the fleetingly fast nature of this comic’s pacing, that few readers will actually be able to dwell upon the references before being faced with yet another in a disconcerting carousel of set-pieces; “Test your food carefully and do not drink any of the wine. Something about this feels strange…”

To begin with, this twenty-two page periodical’s opener absolutely races through a turbulent period of the titular character’s travels with a nameless band of mercenaries, and only appears to stop for a brief moment of respite to plug the Canadian author’s previously published Kull the Conqueror team-up tale, before dutifully leaping on to the Cimmerian’s battles alongside a tribe of Bamula warriors. Admittedly, this frantic flashback sequence, powerfully pencilled by “Ferocious” Fernando Dagnino, rather succinctly conveys the leading cast to an enigmatic town “near the border between Kush and Stygia", where this latest yarns starts. But such is the rocket-like momentum of the storytelling that it continues to carry the audience straight on through a suspiciously low-priced public house, a lively love-scene, and into a nervy nocturnal excursion across the mysterious municipal’s rooftops, before anyone knows what's happening.

Sadly such a whirlwind tour of this “oasis” also requires a few contrivances to occur, so as to force Conan into the very slave pit he finds during his aforementioned recce. Perhaps one of the biggest of these ploys is that the Cimmerian originally discovers the buried cell containing all the unfortunates drugged by the townspeople to be completely unprotected. Yet when the black-haired barbarian repeatedly attempts to break out for himself - by climbing up its walls, the Tripwire Award-winning writer stymies his escape with a number of “grinning guards” who knock him back to the ground. 

By far this comic's most unconvincingly manufactured moment though, is surely the titular character's crucial capture, when he unwisely decides to single-handedly storm straight into a tight-spaced tavern which is wall-to-wall with treacherous residents. This downfall is as swift as it was avoidable, and resultantly will cause many a bibliophile to feel it was only penned to allow Belit's former bodyguard to be climatically dragged before the feet of Thoth-Amon Just before this book runs out of panels.

Writer: Jim Zub, Artist: Fernando Dagnino, and Color Artist: Diego Rodriguez

Conan The Barbarian #20 - Titan Comics

CONAN THE BARBARIAN No. 20, May 2025

Apparently continuing a “triumphant new era of Conan”, this publication’s twenty-two page plot certainly seems to contain many tropes which are highly reminiscent of Robert E. Howard’s writing during the early 1930’s. But sadly, despite all these entertaining elements, such as the heavily-muscled barbarian ferociously fighting both a shape-shifter and a demonic shadow of himself, this book’s audience will doubtless only glean some modicum of satisfaction right at its very end – when the truly treacherous Tarnasha appears to finally get her just desserts at the hands of a snake-headed “gentlemen from the South".

Much of this disappointment debatably stems from ‘acclaimed creator’ Jim Zub repeatedly showing Zulu shrugging off injuries which would ordinarily fell a mortal foe. Admittedly, the “guardian of the Grasslands” is able to transform himself into the guise of a black panther. However, having done just that in this ongoing storyline’s previous instalment, and been literally brained by the titular character with a hand-sized rock, it seems rather unconvincing that every time the chap changes – be it a big cat, feathered raven, or even a lithe, barely-dressed woman – all of the warrior’s wounds are instantly healed.

Furthermore, the Animex Honorary Award-winner would have his readers believe that for some time now Conan has been carrying the taint of Set, the Serpent God within his own belly. This notion is arguably pretty hard to swallow considering that the black-maned adventurer has shown no such symptoms until Zulu unwisely summons the sinister snake deity’s spirit onto the mortal plane before the pair of them, and resultantly smacks of simply being a dubious device with which to pen their unconvincing confrontation in the first place; “And yet I say again -- I do not worship Set. I have never been to Stygia.”  

What does prove far more compelling than this comic’s narrative though, is Doug Braithwaite’s prodigious pencilling. The British artist provides all of Zulu’s physical manifestations with plenty of energy, and is bound to cause many a bibliophile to pant with heat fatigue as the Cimmerian cuts his way through one of the Southern kingdoms’ sweaty, vegetation-packed jungles. In addition, the thief Tarnasha’s grim demise inside a seedy merchant’s store is so dramatically drawn that the final panel should genuinely leave a lasting impression upon any person who witnesses it.

The regular cover art of "CONAN THE BARBARIAN" #20 by Roberto De La Torre

Conan The Barbarian #19 - Titan Comics

CONAN THE BARBARIAN No. 19, April 2025

Described by its British-based publisher as “Jim Zub’s fresh take” on Roy Thomas’ co-creation Zula, it is probably fair to say that much of this twenty-two page periodical’s storytelling actually relies upon the layouts of Doug Braithwaite rather than the pen of its Canadian author. Indeed, it isn’t until Conan stumbles upon an isolated village “far to the South” that the Cimmerian actually holds a conversation with anyone, and even this stilted dialogue is cut dramatically short by a faceful of spear-points; “No pay. No gift. You have death in you. Leave now.”

Rather enjoyably however, the London-born illustrator is more than up to the task of carrying the weight of this particular comic upon his shoulders, and pencils its central character with all the deep-set weariness a fan of Robert E. Howard’s adventurer would expect in a story set straight after the death of Bêlit, the Queen of the Black Coast. Furthermore, the artist’s handling of the barbarian’s battle with a hungry crocodile, should genuinely make many a reader hear the frantic water splashes during the fight, as well as cause a fair few to actually hold their breath as the fast-drowning hero desperately stretches for his sword hilt at the bottom of a river bed.

Similarly as well-sketched is this book’s conclusion, in which its revealed that Conan is being tracked by a large black panther. The duo’s subsequent scrap atop a rocky outcrop does a cracking job of showing just how close to instant death the Cimmerian comes, whenever the claws of the creature he’s wrestling with are aimed at his head. As with the aforementioned semi-aquatic reptile, Braithwaite’s panels really do capture all the savage fury occurring between the two combatants, and towards the sense-shattering sequence’s end, it is quite possible for the odd bibliophile to feel the heaving animal’s hot breath upon their face as it triumphantly sits atop their momentarily bested foe.

Perhaps therefore, the only slight disappointment to be found within this publication comes at its very conclusion, which sees a badly beaten barbarian batter the great cat standing over him with a conveniently-placed hand-sized rock. This victory from the quite literal jaws of defeat is rather unconvincing, and far from resulting in the large feline’s demise, shockingly shows the bloody, badly wounded Panther magically transform into a seemingly uninjured ‘Guardian of the Grasslands’.

The regular cover art of "CONAN THE BARBARIAN" #19 by Roberto De La Torre

Conan The Barbarian #18 - Titan Comics

CONAN THE BARBARIAN No. 18, March 2025

For those fans of Jim Zub who have enjoyed his previous penmanship on various “Dungeons & Dragons” titles over the years, his quest-like storyline for Issue Eighteen of “Conan The Barbarian” will doubtless prove a rather fun reading experience as it contains a strong mix of thievery, magic hand-weapons, treachery and a fanatical priest who suddenly turns into a super-strong serpent man. However, for those followers of Robert E. Howard’s titular character, this comic’s twenty-two page plot is arguably packed full of inconsistent characteristics, utter stupidity and good fortune bordering on the incredulous; “After a few close calls, they return to the Tigress. In their absence the crew has restocked the shop and made minor repairs.”

To begin with the Canadian author appears to have turned both Belit and her heavily-muscled lover into a pair of far too trusting buffoons, who readily ally themselves to a young robber who was literally just moments earlier attempting to murder them in cold blood. This unbelievable bond is then made all the more unconvincing when Tarnasha starts telling the Pirate Queen of the Black Coast what ‘minor’ role the Shemite is to play in the attempted theft, and begins openly flirting with Conan right before the marauder’s eyes. Such insolent behaviour would surely never have been tolerated by “the only woman in a ship with an all-male pirate crew”, and disconcertingly suggests that the art professor at Toronto's Seneca College was simply scrambling around for a reason to justify Belit’s subsequent lateness to the botched burglary.

Possibly even worse though, is Zub’s writing concerning the central Cimmerian, who unwisely decides to tackle a huge, scale-encrusted Stygian with just his bare hands, rather than slay the snake-like man-monster with a straightforward sword thrust from behind. This physical encounter unsurprisingly goes very badly for the Conan, and results in artist Danica Brine having to pencil the heavily outmatched barbarian being viciously stabbed in the belly by the very double-bladed dagger he was attempting to steal. So savage a deep wound would surely kill, or at very least render immobile, any other human being. Yet this book's highly unlikely narrative desperately attempts to suggest that the adventurer is able to shrug off the life-threatening injury, as well as the resultant massive loss of blood which betrays his every footstep, to the point where he valiantly yomps back across the length of Kyros to his partner’s ship for this tale's all-too sudden ending.

The regular cover art of "CONAN THE BARBARIAN" #18 by Darick Robertson