Conan: Battle Of The Black Stone - Titan Comics #4

CONAN: BATTLE OF THE BLACK STONE No. 4, January 2025

Having made the shockingly bold decision to kill off this mini-series’ titular character in the preceding instalment, many a bibliophile was probably a bit perplexed that Jim Zub’s opening gambit for Issue Four of “Conan: Battle Of The Black Stone” was to quickly back-peddle on the Cimmerian’s brutal death, and quickly get the barbarian back on his sandaled feet. Indeed, the Canadian author’s decision to have the Sword and Sorcery adventurer shake off his numerous mortal wounds courtesy of Professor John Kirowan sacrificially stabbing out his own left eye with a knife, is easily as bizarre a plot-twist as the act of physical mutilation is disconcertingly gratuitous.

Furthermore, the fictional scholar of the Cthulhu Mythos doesn’t appear to suffer any ill-effects of his self-harm. But instead, uses the traumatic wound to help guide his team-mates straight to the source of the black stone’s power – and somewhat cynically rather neatly bring this comic’s pulse-pounding finale to a semi-satisfying conclusion within its limited page count; “Like Odin the Norseman, I asked for insight… A way to see paths of power normally closed to mortal minds.”

Seemingly just as contrived is this book’s rather inconsistent ending, which sees some of Robert E. Howard’s creations completely forget about their exploits in a Hyborian Age jungle, whilst others haphazardly carry their injuries/disintegrations ever onwards. These disconcerting discrepancies are perhaps best seen with the aforementioned Kirowan and his semi-regular partner. Hurled forward in time to when they first encountered El Borak in his nightclub, neither John Conrad or Francis Xavier Gordon (for that matter) appear to have any recollection that they died horribly during this publication's run, and yet the poor professor is depicted wearing a black patch over his lost eye.

Arguably far more successful than the Animex Honorary Award-winner’s awkwardly erratic storytelling is Jonas Scharf’s first-rate pencilling, which definitely adds plenty of adrenalin-fuelled action to the final battle. Coupled with some excellent colour work by Jao Canola, whose ghastly, green-hued spirits practically leap-off every panel in which they feature, the German illustrator’s artwork completely captivates the reader – to the point where the audience can actually hear Conan’s death-defying war-cry as he starts slaughtering the Picts protecting their demonic god with his deadly sword.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #4 by Thomas Nachlik

Conan: Battle Of The Black Stone - Titan Comics #3

CONAN: BATTLE OF THE BLACK STONE No. 3, December 2024

Somehow managing to make all of Robert E. Howard’s creations sound spookily convincing, as if their dialogue was actually penned by “the father of the sword and sorcery subgenre” himself, Jim Zub’s narrative for this “epic new Conan Event from Heroic Signatures and Titan Comics” should have gone down very well with any readers even remotely familiar with the late lamented Texan’s considerable cast of characters. In fact, some bibliophiles might actually feel a little disappointed when the giant-sized, unspeakably evil nightmare that has been following the central protagonists is once again conjured up from beyond time, and brings the group’s fascinating conversations amongst one another to a bloody end.

Fortunately, what follows also appears to quite wonderfully expound all the virtues of Solomon Kane, Dark Agnes de Chastillon, John Conrad and John Kirowan, as the unlikely party of adventurers pit both their brains and brawn against a seemingly unstoppable foe from the past. This confrontation is incredibly well-written by the Canadian author, and genuinely taps into the highly inquisitive nature of Howard’s occult professor as he is irresistibly drawn “to a mysterious eye symbol etched in black stone”, having previously been depicted fretting over just how believable his hastily-scrawled notes would be once he’d returned to his own 'modern-day' time-line.

Just as enthralling though, is the ill-fated Sixteenth-Century “Sword Woman”, who credibly allows her infamous short temper to get the better of her, and impetuously decides to challenge the cyclopean monster one-on-one, whilst being armed with nothing more than a fragile-looking fencing blade. In many ways this incredibly one-sided skirmish is arguably more impactive than Kirowan’s tearful loss of his beloved bespectacled friend, as the French fighter’s gratuitous demise disappointingly brings any notion of a lasting relationship with Kane to a very sudden, shocking end; “If we make it back alive, perhaps I’ll seek out your elder wisdom and we’ll smile at the follies of our youth.”

Also well-deserving of a pat on the back for this twenty-two page periodical’s success must be “Jaunty Jonas Scharf” and “Jumping Jao Canola” – who together combine their pencilling and colour-work to craft a highly atmospheric Pictland Jungle, west of Conajohara. Of course, the creative pair’s highlight comes with the aforementioned scraps between Conrad, Dark Agnes and the Beast from Beyond. However, the haunted look upon Kirowan’s previously confident facial features is absolutely first-rate, as is the palpable fury etched upon de Chastillon’s entire physique whilst slashing away at her apparently immortal foe.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #3 by Liam Sharp

Conan: Battle Of The Black Stone - Titan Comics #2

CONAN: BATTLE OF THE BLACK STONE No. 2, November 2024

Considering that Jim Zub already has the entire cast of characters created by Robert E. Howard to utilise as best he can for this mini-series’ lengthy storyline, his decision to still crowbar a Gurian tribeswoman of his own making into the already over-populated mix must have perturbed some within this comic’s audience – and potentially smacks of a little hubris creeping into this project..? Sure, the savage fighter’s sudden appearance from out of no-where certainly helps ramp up the publication’s pulse-pounding pace as she viciously wounds a multi-limbed monstrosity who is mercilessly murdering as many occupants of the Wanderer’s Club as it can catch. But surely the likes of Dark Agnes de Chastillon, the adventuress Valeria, or even Red Sonya of Rogatino making a timely entrance would have been far more in keeping with this ‘dedicated event to Howard’s literary works’, rather than one of the Canadian author’s concoctions - especially when it appears evident that at least three of Howard’s fantasy figures would have fatally fallen if not for the spear-slayer’s intervention.

Similarly as disconcerting is debatably the Web Cartoonists’ Choice Award-winner’s decision to grotesquely kill-off a badly debilitated Francis Xavier Gordon, having robbed the once mighty El Borak of his famous physical speed through a combination of heavy drinking and age. Indeed, unlike the rest of the sword and sorcery maestro’s handiworks, the Texan gunfighter from El Paso is shown as being far past his prime, foul-mouthed and something of a burden to his comrades-in-arms once wounded; “Mister Gordon’s condition is unstable and getting worse! I fear he’s having a cardiac arrest!”

Happily however, Zub does appear to give the reader some notion as to how formidable an explorer "The Swift" was when he travelled throughout the Arabian Desert during 1919 A.D., by means of an incredibly well-penned flashback sequence. Deftly depicting Francis utilising his trademark sharp-shooting against the seemingly self-same demon he’d face in his later years, this sense-shattering sequence should also completely catch a fair few onlookers off-guard with the confrontation’s cataclysmic conclusion.

Lastly, Jonas Scharf and Jao Canola’s artistic contribution to this twenty-four page periodical cannot be overlooked, as their pencilling and colours bring even some of the script’s less-convincing elements to vivid life. Of particular note is the horrified wonder and fear etched across the faces of Howard’s heroes as they face down the terrifying foe hunting their souls through time, as well as the aforementioned insight into El Borak’s battle, which somehow imbues the moustached man carrying a curved scimitar with all the confidence and bravery a pulp fiction fan would expect from someone who lives exclusively upon their wits and physical prowess.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #2 by Roberto De La Torre

Conan: Battle Of The Black Stone - Titan Comics #1

CONAN: BATTLE OF THE BLACK STONE No. 1, October 2024

There shouldn’t be much doubt to anyone reading this “epic new Conan event from Heroic Signatures and Titan Comics” that Jim Zub is quite masterfully manipulating many of Robert E. Howard’s mightiest creations towards some devilish end game like an in-form chess master. In fact, the way the Canadian author manages to quite quickly imbed the likes of Solomon Kane, El Borak, Dark Agnes de Chastillon, and even invalid writer James Allison into this twenty-two page, shadow-laden supernatural storyline is truly impressive; “She closed her eyes and saw a sign. A mark upon her soul. How can she trust her wits or will in the face of such uncontrollable fury.?”

Somewhat frustratingly though, such devotion to giving this book’s considerable cast quite so much spotlight also means that the periodical’s pacing is debatably a bit disconcertingly choppy in places – such as when a certain “Tudor-period Puritan adventurer” is drawn to the sigil within the space of a handful of panels, or a dumbfounded Dark Agnes apparently slaughters someone in the wilds, east of Grenoble, without any memory of why she has done so. These short-lived sequences may well generate a sense of intrigue or mystery within some bibliophiles. But in all likelihood the majority of readers would probably have preferred to have more closely followed the Cimmerian’s exploits in the savage lands of the Picts, or Professor John Kirowan’s superbly atmospheric visit to a salubrious speakeasy in 1936 Chicago.

Furthermore, the handling of Francis Xavier Gordon, and apparent horrific demise of Allison at the publication’s conclusion, may well perturb many a fan of Howard’s original literary works. El Borak’s portrayal as a dishonest heavy-drinker, who shakes at the mere mention of the aforementioned occult sign etched in black stone doesn’t ring particularly true with the “Texan gunfighter from El Paso who had travelled the world and settled in Afghanistan” penned by the late, great father of Sword and Sorcery. Admittedly, the American adventurer is now a much older, presumably less-audacious man, who relies upon his past exploits to fund his ‘retirement’. Yet, it would surely have been more in character for him to stern-facedly warn his guests as to the deadly nature of their enquiry, rather than cowardly deny having ever “seen that thing before.”

Quite possibly this comic’s biggest hook therefore lies in the layouts of “Jaunty Jonas Scharf”, whose raw energy genuinely adds to the sheer physical presence of Conan whenever the barbarian makes an appearance. Furthermore, the smell of cigarette smoke, alcohol and ancient artefacts is truly palpable from the pencils depicting Gordon’s covert club, and helps make the predominantly sedentary setting both believable and thoroughly enthralling.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #1 by Gerado Zaffino

Conan: Serpent War #2 - Marvel Comics

CONAN: SERPENT WAR No. 2, February 2020

Captivatingly pairing up this comic’s unlikely cast across two different time periods in their combined defiance against the Elder Gods, Jim Zub’s script for Issue Two of “Conan: Serpent War” probably pleased the vast majority of its 22,420 readers in December 2019. Indeed, the Canadian author’s development of Solomon Kane’s burgeoning relationship with Moon Knight makes the deadly duo’s escapades in England 1584 A.D. utterly compelling, and strongly suggests that the partnership could plausibly work in a future title together if penned with the same liveliness; “Slow down, Big Hat. I’m not with them. If you were fighting snake guys, then I think we’re on the same side.”

Perhaps unsurprisingly considering the strong-willed characters concerned, the same mutual respect does not appear all that forthcoming with Conan of Cimmeria and Agnes De Chastillon though, who could best be described as being prickly with one another. This hostility doesn’t admittedly manifest itself to the point where the two swashbucklers trade sword-strokes, but the Sixteenth-Century Frenchwoman’s somewhat infuriating ability to see a chauvinistic slight towards her in everything the Barbarian says and does, strongly suggests that if the pair weren’t entwined “on this snake-tainted journey” that they would not get along in the slightest.

Adding an extra element of intrigue to this twenty-page periodical’s proceedings, is Zub’s inclusion of the “Great Satyne”, a servant of Set from the village of Tezunar during the Hyborian Age. This priestess appears both generous and benevolent to her people, which resultantly generates a remarkable amount of positivity as to the young Stygian’s personality. However, having suddenly been approached by the living manifestation of Set, it quickly becomes clear that the “loyal and fervent” servant will not be so forgiving to those warriors who have “set upon a path to take” a sacred family heirloom “and shatter its power”.

Supporting so diverse a story is Stephen Segovia as the publication’s leading artist and Vanesa R. Del Rey, who once again pencils this book’s haunting sequence of James Allison on his deathbed. The Filipino illustrator’s panels depicting Captain Basso’s treachery and his sailing ship’s subsequent destruction at the hands of Marc Spector’s alter-ego is absolutely first-rate, and does a terrific job of cementing the aforementioned friendship between the Fist of Khonshu and Robert E. Howard's crack-shot Puritan.

Writer: Jim Zub, Artists: Stephen Segovia & Vanesa R. Del Rey, and Colorist: Frank D'Armata

Conan: Serpent War #1 - Marvel Comics

CONAN: SERPENT WAR No. 1, February 2020

Considering that the task in hand to pen Issue One of “Conan: Serpent War” was for Jim Zub to create a somewhat believable introduction to “an all-new saga built on [both] Robert E. Howard and Marvel lore from across the ages”, this thirty-page periodical’s plot can probably be viewed as being something of a major success. Sure, it’s never explained just how the mysterious James Allison is able to bend time to his will so as to bring the likes of the black-maned Cimmerian and swashbuckling Dark Agnes together on their “ages-spanning quest”, nor what manner of devilish creature is slowly slithering its snake-like tendrils about the supposedly immortal man’s dying frame. But such unanswered conundrums behind the origin of the “Elder God called the Wyrm” still manage to imply the enormous enigmatic power at work; “I am there with them all in spirit and song. The crashing of thunder. The scream of the crowd. It’s beautiful and terrifying… A cacophony of ages past flowing together to be as one.”

Furthermore, the Canadian author’s narrative easily manages to deliver on his promise that the publication should “act as a nice jumping on point for grand sword and sorcery adventure.” All four of this comic’s leading cast get plenty of spotlight throughout its serpent-entwined shenanigans, and Zub uses these opportunities to quickly bring any perusing bibliophile ‘bang up to speed’ as to just what the likes of Moon Knight, Solomon Kane, Agnes de Chastillon and Conan are all about. Indeed, the Web Cartoonists’ Choice Awards Winner does a particularly splendid job in demonstrating just how torn Marc Spector is between being “blessed… in the service to a god”, and pulling his normal life “back together” whilst suffering from the multiple personalities of his schizophrenia.

Also ably helping this book’s storytelling are artists Vanesa R. Del Rey and Scot Eaton, whose two decidedly distinctive styles are utilised depending upon whether the action is focused upon Allison’s death-bed, or the likes of Kane fighting his way through a demonic cult covertly housed inside Northumberland’s Dunbar Castle. The Cuban illustrator’s emaciated sketches depicting James’ final hours are debatably not as visually clean-cut as Eaton’s panels portraying Dark Agnes slaying a handful of poorly-skilled assassins who have been foolish enough to attack her “seven miles south of the Canal du Cure.” Yet Del Rey’s images still do an excellent job in strongly contrasting between the immortal warrior’s ghost-laden own past and that of the heroes he is hoping to use to thwart Set’s “plans to usher in an eternity of darkness.”

Writer: Jim Zub, Penciler: Scot Eaton, Inker: Scott Hanna, and Colorist: Frank D'Armata

Dark Agnes #2 - Marvel Comics

DARK AGNES No. 2, May 2020

Despite only being the one hundredth best-selling title of March 2020, following a fall in sales of approximately six and a half thousand copies, Becky Cloonan’s script for Issue Two of “Dark Agnes” must have still pleased the comic’s remaining 16,942 loyal readers. For whilst the book’s narrative spends a considerable amount of time focusing upon its titular character feasting and carousing with Etienne Villiers at the Chateau de Fontainebleau, it still provides a positively enthralling storyline packed full of deception, intrigue and murderous manoeuvres.

Indeed, in many ways, the American author’s twenty-page plot pans out like the opening to a thrill-a-minute detective novel, with Robert E. Howard’s creation very much playing the role of both investigator and ultimately stooge. Surrounded by treachery and just the sort of disconcertingly anonymous disguises one would expect to fill a huge residence hosting a masquerade, its desperately difficult to determine just who the swashbuckling heroine can trust, especially when earlier in the tale, the Pisa-born writer overtly lets slip that the distinctly deadly Sister Marie knows far more about the shady shenanigans taking place than her holy habit should allow.

Furthermore, Cloonan still manages to imbue this publication with moments of pulse-pounding pace, most notably when two clerks-turned-assassins unwisely attempt to waylay Helen de la Mere’s stagecoach armed only with a crossbow, blade and evidently not nearly enough men. Fearless as she is resolute, this action-packed sequence should have any perusing bibliophile cheering in delight, as Agnes de la Fère finally dispatches one of the villainous rogues from the Pewter Pot with a surprisingly risky sword-thrust through the chest from atop an out-of-control horse-drawn carriage; “The bounty was too sweet to pass up. And you tore a hole in my favourite doublet -- Zut --!”

Bringing some extra bounce to this comic’s well-animated ambush, as well as plenty of menace to the fancy dress ball, are Luca Pizzari and Andrea Broccardo’s competently-crafted, consistent-looking layouts. Atmospherically coloured by Jay David Ramos, it is hard to actually spot the difference in the two artist’s contributions to this book, presumably due to the Italian “Star Wars” illustrator simply providing the finishes to Pizzari’s mid-comic breakdowns.

The regular cover art of "DARK AGNES" No. 1 by Stephanie Hans

Dark Agnes #1 - Marvel Comics

DARK AGNES No. 1, April 2020

For those of this comic’s 23,631 strong audience somewhat disconcerted by Becky Cloonan’s pre-publication admission that she wasn’t “ashamed to say I’d never heard of Dark Agnes before Mark Basso, my editor at Marvel sent me an email asking if I’d like to write this miniseries”, this title’s opening instalment probably provided them with some reassurance that the Pisa-born writer was still going to do Robert E. Howard’s “Sword Woman” justice. Indeed, starting with a public execution which is packed with both humour and tension, the American author’s narrative for Issue One of “Dark Agnes” definitely contains its fair share of giggles and swashbuckling swordplay, most notably when the heroine successfully undertakes a bold mission to rescue Etienne Villiers from the executioner’s axe.

Admittedly, the more uncharitable critic could suggest that the pacing for this twenty-page periodical momentarily dips once the pair have ridden out of Chinon to freedom and sought sustenance in the Pewter Pot public house. But to be fair it isn’t long before Agnes has thrown her dagger into some miscreant’s doublet when the braggart foolishly suggests he should claim the five hundred francs the Duke D’Alencon has placed upon the woman’s head, and then later falls into a distinctly disturbing, drunken nightmare, packed full of anthropomorphic animals; “Ungrateful Wench! Your new husband will tame you, I warrant. He will not humour you as I have, daughter.”

Enjoyably, even this bizarre sequence populated by slavering wolfmen, talking pigs, drowning sheep and anxious-looking poultry doesn’t bring Cloonan’s startling shenanigans to an end, with the book still containing enough space for the “Mistress Of Death” to save a holy sister from the foul intentions of a drunken lout. Utterly merciless in dispatching her fallen foe with a thrust of her sword, despite the man being completely unarmed, this short-lived scene is extremely impactive, and sets up the titular character as a no-nonsense killer when her blood is up.

Adding some additional tongue-in-cheek levity to the pulse-pounding proceedings is Luca Pizzari’s pencilling, who proficiently portrays the book’s proceedings with plenty of gusto and pace. In fact, this publication's layouts are so jolly-looking that it’s easy to see why Becky gave “big props” to both the Italian artist and colorist Jay David Ramos in her March 2020 interview with the “Comics Bulletin” website.

Writer: Becky Cloonan, Artist: Luca Pizzari, and Colorist: Jay David Ramois