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

Conan The Barbarian #17 - Titan Comics

CONAN THE BARBARIAN No. 17, January 2025

With “Titan Comics” boldly proclaiming Issue Seventeen of “Conan The Barbarian” to be the beginning of a new story arc for the heavily-muscled Cimmerian, many a fan of Robert E. Howard’s sword and sorcery adventurer were probably expecting something a bit more pulse-pounding than Jim Zub’s “Fangs And Foolish Thieves”. Sure, the twenty-page plot taps into one of the character’s most memorable partnerships by having him accompany Bêlit, Pirate Queen of the Black Coast, to the Port of Prosperity for some much-needed rest and recuperation. But considering that over half the book subsequently just covers the pair drinking, dancing and love-making, there isn’t arguably much to either entertain this title’s long-term readers, or attract any new ones for that matter.

To make matters slightly worse though, when the Canadian author does eventually decide to inject his tale with some much-needed action, a fair few within the audience debatably won’t be able to shake the notion that the writer has somehow slipped one his unused plot-threads for “Dungeons & Dragons” into the mix. Such a notion is genuinely hard to ignore, with the powerful pair suddenly being attacked at night by a quartet of incompetent robbers whose party consists of a nimble thief, axe-wielding fighter, bull-necked thug and classic, double-bladed rogue; “Oh, look, my dear -- Visitors. What kind of fool wears any eyepatch they don’t need?”

Unfortunately, even the resultant skirmish isn’t especially convincing, with the ill-fated foursome supposedly able to match skills – albeit temporarily – with a Conan and Bêlit who are already warned of their approach, and have had time to arms themselves appropriately. In the novels, the Cimmerian would likely as not have brutally dispatched all of his attackers with great aplomb, especially as he’s initially able to ambush them in the darkness. However, Zub would have his audience believe the warrior would actually struggle to take out the aforementioned rogue, and implausibly then lose out to a Gunderman’s double-handed axe – at least until he is able to stop the big man’s blade literally with his bare hands..?

Danica Brine’s layouts are certainly far less bemusing as this publication’s penmanship, thanks largely to the "death-defying” illustrator’s style being somewhat reminiscent of the late, great Carmine Infantino. Indeed, it would be interesting to see just how well the GLAAD Award-nominee’s panels held up to scrutiny if inked by someone like legendary embellisher Terry Austin, rather than just being coloured by “Jumping” Jao Canola.

The regular cover art of "CONAN THE BARBARIAN" #17 by Roberto De La Torre

Conan The Barbarian #16 - Titan Comics

CONAN THE BARBARIAN No. 16, November 2024

Considering that the entirety of this twenty-two page periodical explores the titular character’s shocking belief that Crom doesn’t actually exist, it’s difficult to imagine all that many readers of “The Hidden World” will wholly agree with the British-based publishing house's claim that this book forms part of a “triumphant new era of Conan”. In fact, Jim Zub’s tampering with one of the fundamental foundations of Robert E. Howard’s most famous literary creations could well be seen as fairly sacrilegious by some dog brothers and sword sisters; especially when the Canadian author suddenly seems to double-down on his anti-deity narrative by proposing that the barbarian’s father also had his doubts as to Cimmeria’s indifferent god.

Furthermore, the Animex Honorary Award-winner wraps the young adventurer’s doubts regarding his people’s religion around an arguably unconvincing plot which depicts Osmin seeking revenge for not being chosen to accompany Wulfhere’s doomed band of warriors. Admittedly, the bearded bully is evidently full of drink and misgivings as to just why his fellow fighters have ‘adopted’ the black-haired Outlander so willingly into their midst. But his brutal, out-of-the-blue attack upon an unarmed, and frankly distracted Conan, still smacks of the writer needing some contrived spark with which to imbue his script with some much needed action. Indeed, up until the point where the drunkard suddenly emerges from the trees vehemently questioning the barbarian's manhood, the majority of this tome’s audience probably thought the disagreeably arrogant Aesir had been killed as part of the lost patrol.

To make matters worse though, once the Cimmerian has defeated his foe, courtesy of Doug Braithwaite pencilling him splitting the fool’s head with a small hand-axe, the camp’s reaction is to immediately blame the "savage" for the death and cast him back out into the winter wilderness. Considering just how hard the heavily-muscled protagonist has fought for these people of Asgard in the past, and that it was Osmin who first cowardly clubbed Conan from behind to (re)start their non-canonical grudge-fight, such an illogical reaction appears to have been manufactured simply so the future King of Aquilonia can once again be sketched wandering the snow-covered countryside on his lonesome; “I gave up my hunt, doused your enemy’s fire, fought in your damned blood feud… of that’s not enough, step forth and try to take more.”

The regular cover art of "CONAN THE BARBARIAN" #16 by Colleen Doran

Conan The Barbarian #15 - Titan Comics

CONAN THE BARBARIAN No. 15, October 2024

Whilst many a fan of Robert E. Howard’s sword and sorcery hero may well acknowledge Jim Zub’s bravery in attempting to pen another comic book adaption of “The Frost Giant’s Daughter”, especially when the publication’s own afterword dutifully doffs its cap to Roy Thomas and Barry Windsor-Smith’s ‘beautiful’ reconstruction for “Savage Tales” in 1971, a fair few readers were probably also rather disconcerted by the Canadian author’s decision to radically alter Atali’s motivation for goading a battle-weary Conan into following her lithe form across a wintry wasteland. Indeed, much of this twenty-two page periodical’s plot suggests that the “unearthly beauty” wanted the Cimmerian’s heart for herself, as opposed to the original short story in which she knowingly leads the fast-fatiguing fighter into an ambush.

Such an alteration (or arguably aberration) is perhaps understandable given the writer’s evident desire to add his own twist to the tale, or at the very least make “Gods Of The North” a little different to what many in its audience were expecting. Yet in doing so, it’s debatably difficult to shake off the notion that the Eisner Award-nominee is tinkering with a narrative best left well alone, unless he wants to suggest he knows how to improve upon an already much beloved storyline penned by “the father of the sword and sorcery subgenre.”

What does seemingly work within this script though, at least to begin with, is Zub’s predisposition to tell the tale from the reddish-blonde haired woman’s perspective. This insight into her motivations, desires and machinations certainly holds the attention up until an angered Ymir suddenly intercedes in the chase by causing a non-canonical firestorm, and the 'acclaimed creator' perturbingly steers his literary ship away from the established novella and into waters both new and unconvincing; “F-Father? N-No! I found him! I brought him! He… He’s mine by right!”

Adding plenty of gore to this comic’s gruesome opening, and then titillation throughout the scantily-clad female’s flight, is Doug Braithwaite. The London-born illustrator appears intent on pencilling every voluptuous curve he can cram into a panel, rather than rely upon any bibliophile’s imagination as to Atali’s physical form. But it is the artist’s fearsome-looking giants which probably most capture the eye, with an astonishing attention to detail in their clothing, accoutrements and weaponry.

The regular cover art of "CONAN THE BARBARIAN" #15 by Mahmud Asrar

Conan The Barbarian #14 - Titan Comics

CONAN THE BARBARIAN No. 14, September 2024

Frustratingly trying to fill in some of the gaps of Robert E. Howard’s 1953 tale “The Frost-Giant’s Daughter”, Jim Zub’s storyline for Issue Fourteen of “Conan The Cimmerian” can certainly be seen as an attempt by the Canadian author to pen a prologue for that particular adventure. Indeed, the entire twenty-two page plot is dedicated to explaining how the young, heavily-muscled traveller just happened to be stood one day upon a snowy field in Nordheim when he first laid eyes on the bewitchingly white form of Atali; “Together we’ll bring those red-haired whoresons a feast of vengeance true!”

Yet whilst such a notion is arguably laudable, the writer does resultantly make a few bemusing decisions so as to ensure that the central protagonist quickly ingratiates himself with his would-be murderers to the point where he can then ‘lead’ them into battle. For example, having been ambushed by a trio of disagreeable Aesirmen, who mean to steal his food and at the very least physically maim him, the barbarian only defends himself with his bare fists – despite carrying a sword (and later hand-axe). This scrap is definitely well-paced. However, many a reader may well be left scratching their heads as to why the headstrong hero didn’t just gut the long-bearded and overconfident raiders as he would ordinarily have done..?

Furthermore, having been forced to surrender the huge bear he single-handedly killed in exchange for his own life, the audience are then expected to believe Conan would willingly join Wulfhere's Aesir in chasing down a Vanir war party who’ve just destroyed one of the yellow-hair’s settlements. Admittedly, in doing so the “the wolves of Bragi” do break one of the Cimmerian’s more well-established codes of conduct by slaughtering women and children. But even so, the sudden successful attack upon a partially fortified wooden hamlet may well land a little unconvincingly with this comic’s audience as a genuine motivation for the warrior to accompany his former foes in their blood-soaked revenge.

Quite possibly just as sceptical as to the logic of some of these events is Doug Braithwaite, whose pencilling is somewhat ‘hit and miss’ throughout the publication. The British artist’s depiction of the climactic battle is absolutely first-rate in its sheer brutality and savagery. Yet this heady bout of gratuitous violence isn’t quite proficient enough to wipe away the memory of a rather impotent-looking barbarian supposedly wearing bulky armour for the first time…

The regular cover art of "CONAN THE BARBARIAN" #14 by Jae Lee

Conan The Barbarian #13 - Titan Comics

CONAN THE BARBARIAN No. 13, August 2024

It’s difficult to imagine that many who bought Issue Thirteen of “Conan The Barbarian” would agree with “Titan Comics” boast that the book continues the publisher's “triumphant new era” based upon the exploits of Robert E. Howard’s iconic sword and sorcery creation. For whilst Jim Zub’s narrative definitely contains plenty of tense, action-packed moments of ferocious close combat and desperate last minute gasps of barbaric bravado. The twenty-two page plot also depicts a titular character so disenchanted with his people’s belief in the grim and gloomy god Crom, that he foolishly wanders off into the winter wasteland of the North to almost suicidally test his mettle against the savage beasts found there.

Admittedly these ‘trials by combat’ are definitely entertaining, thanks to the Cimmerian repeatedly overestimating his ability with a sword, and subsequently having to resort to feats of supernatural strength so as to save his skin from the likes of a hungry wolf pack. But such displays as the future King of Aquilonia quite literally tearing a fully-grown Canis lupus apart with his bare hands or somehow surviving a murderous mauling by a huge bear when his blade fails him, is arguably the stuff of amateur fan fiction. Not what a bibliophile would ordinarily expect to find within an officially licenced comic book; “Their prey is wounded and ready to fall. They’re wrong. Conan has claimed this territory.”

Quite possibly this periodical’s biggest bemusement though lies with the Canadian author’s flashback to when an infant Conan decides he’s had enough taunting from his father, and unconvincingly bests him in a sword fight. This ‘battle’ stems from the boy’s unwillingness to accept Crom’s existence on the say so of the villagers alone, and supposedly demonstrates that the lad has his deity’s fire inside him after all. Yet, the suggestion that a mere untrained child, no matter how angry, could disarm his significantly larger parent with just a couple of swings of a heavy hand weapon is far from convincing, and again disappointingly smacks of something to be found in a fanzine.

Luckily artist Doug Braithwaite is able to provide this comic with plenty of energetic eye-candy, with his prodigious pencils doing a first-rate job in selling all but the most implausible of the plot's predicaments. Of particular note is how well the British illustrator depicts the young barbarian’s increasing wounds, so by the time the understandably weary hunter has brought his latest prize back to camp, he looks incredibly dishevelled with gore and bloody cuts.

The regular cover art of "CONAN THE BARBARIAN" #13 by Dan Panosian

Conan The Barbarian #12 - Titan Comics

CONAN THE BARBARIAN No. 12, July 2024

Heavily publicised by both “Titan Comics” and its author Jim Zub as a “thrilling arc finale”, it’s hard to believe that many of this ongoing series’ readers felt Issue Twelve of “Conan The Barbarian” actually answered all those “dark riddles of the past” which it promised it would. In fact, towards the end of the twenty-three page periodical the narrator even admits that they don’t know how the titular character managed to travel back through time, or even why for that matter; “Through forces I do not yet comprehend, your spirit has been sent spiralling to this moment.”

Instead, the Canadian writer simply seems to hope his audience will completely throw any semblance of logical-thinking to one side, and just allow themselves to be caught up in his utterly unconvincing central plot which sees Conan single-handedly defeat an all-powerful undead Lich King, thanks in part to being invisible.!?! To make things even more unbelievable though, Kull of Atlantis also appears to simply shrug off being almost severed in half by Thulsa Doom’s deadly blade so that “many hours later” the Atlantean ruler is able to climb “forth from a subhuman grave” with Brule and happily return to his distant throne room.

Such moments genuinely test any willingness to suspend disbelief and arguably portray the Cimmerian and his friends as the indomitable defier of unsurmountable odds which so many pieces of amateur fan-fiction fall foul of. Indeed, even at the book’s end, when the barbarian is shown riding away from Shadizar as fast as his stolen horse will let him, there’s no explanation given as to why the adventurer suddenly appears completely unharmed from his previously self-inflicted Seppuku..? Or for that matter, how he came to rid himself of the zombie-like frenzy which had previously turned the thief into a one-man killing machine, and goaded him into brutally hacking many a hapless innocent into bloody pieces in pursuit of his previously-pawned Pictish sword..?

Much more compelling than its script is this publication’s sumptuous layouts by artist Rob De La Torre and colorist Diego Rodriguez, who together weave such a terrific-looking flashback sequence for Doom that it debatably looks as if it's been snatched straight out from a classic edition of “The Savage Sword of Conan”. Furthermore, the pair’s visual depiction of Kathulos’ skeletal form is utterly mesmerising, with the mighty wizard dominating every panel he is found in, regardless of whether he can actually see his massively-muscled opponent or not.

The regular cover art of "CONAN THE BARBARIAN" #12 by Jeffrey Alan Love

Conan The Barbarian: Free Comic Book Day 2024 - Titan Comics

CONAN THE BARBARIAN: FREE COMIC BOOK DAY 2024, May 2024

Evidently launching an event “which will roll out through late Summer and into the Fall”, this “all-new” Free Comic Book Day one-shot certainly seems to contain all the elements needed to prove a successful draw for devotees of Robert E. Howard’s creations. Indeed, it’s difficult to think of another twelve-page periodical which contains quite so many personalities previously penned by “the father of the sword and sorcery subgenre.”

Perhaps understandably leading this formidable roster is the late great novelist’s Conan the Barbarian, who is portrayed as valiantly fighting off a senseless suicidal Pict assault upon the freshly-established Aquilonian province of Conajohara. This ferocious skirmish, proficiently pencilled by “Jaunty Jonas Scharf”, is as blood-soaked as it well-written, and enjoyably depicts one of those rare moments where the black-haired Cimmerian actually faces a human opponent whose sheer physicality actually gets him to momentarily pause in his death-dealing; “Trees can be cut -- and my axe stands ready.”

Regrettably though, this gratuitous confrontation all-too suddenly concludes with the victorious titular character involuntarily recollecting his devilishly-tainted tales as witnessed in “Titan Comics” current ongoing series. Admittedly, in many ways this publication is just a blatant advertisement “to reach thousands of new and lapsed readers” anyway, so a summary of what an ill-informed bibliophile might have missed when Howard’s heavily-muscled mercenary first glimpsed the multi-tentacled ‘unspeakable evil beneath the dark waters of the past’ should perhaps be expected.

What comes next however is a total surprise, as Jim Zub’s narrative shows that the evil sigil seen by Conan hanging around his dead foe’s neck also haunts the likes of Solomon Kane, Dark Agnes De Chastillon, El Borak, Professor John Kirowan, and even disabled Twentieth-Century author James Allison – whose mysterious disappearance at the hands of some unseen monster conjured up by his imagination neatly bookends the comic. This notion of a single “Howardverse” won't be anything new to those familiar with the “Weird Tales” contributor's tales, as all of the stories concerning Allison are based upon the man recollecting his ancestor’s past experiences during the end of the Hyborian Age. Yet somewhat worryingly, such a potential mass-merging of so many genres into a single, over-arching plot debatably somewhat smacks of being ‘fan fiction’ as opposed to a serious continuation of the pulp fictionist’s numerous notable works.

Writer: Jim Zub, Artist: Jonas Scharf, and Color Artist: Jao Canola