Solomon Kane: The Serpent Ring #4 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 4, August 2025

It should be pretty clear from this comic’s frantically-paced plot just why “Heroic Signatures” were so keen to have Patrick Zircher on board for a Solomon Kane mini-series. For whilst the book’s twenty-four page narrative is arguably a little far-fetched in allowing all the central protagonists to miraculously survive a cataclysmic cave-in, it does still predominantly read like one of Robert E. Howard’s original short-stories from the late writer’s days penning pieces for “Weird Tales”.

Furthermore, whilst the Seventeenth-Century Puritan is most definitely at the centre of the American author’s yarn, blinding a gigantic serpent with some well-aimed pistol shots just as Ulysses once did with the one-eyed giant Polyphemus, the various villains of the piece are actually defeated by their own greed and hubris rather than by some extraordinary, superhuman effort by the deeply devout Englishman. Indeed, the sombre-faced traveller is even willing to limit his vengeance upon Rolando Zarza De Aragon to a solid smack upon the jaw, rather than gun down the cut-throat who left him for dead, because he realises their mission will need every able-bodied adventurer to succeed.

Likewise, it contains a brief moment of redemption for the rogue Nico Cassani, who despite his evident ungentlemanly lust for Diamanta Bensaid, bravely sacrifices himself for the female scholar during the height of this comic’s climatic battle sequence. Admittedly, the rogue’s uncouth advances towards Abramo’s daughter have proved pretty repulsive in the past. But the ne'er-do-well’s unthinking willingness to place himself between the woman and a deadly, Serpent warrior’s spear-point certainly makes his painful death far more poignant than it would have if he had merely been unceremoniously slain during the savage bloodbath beneath Set’s huge underground statue; “The devils have killed me.” 

Just as enthralling as this publication’s composition though, has to be its layouts, with Zircher clearly bringing his ‘A game’ to the table. Of particular note, has to be the artist’s ability to bring life to Sha-Kabet’s pet snake, which slithers about the wilderness outside the Temple of Set with hair-raising conviction. Furthermore, there’s a palpable sense of desperation in Kane’s final assault upon the serpent deity’s followers, as fiery death quite literally rains down upon him and his friends, as well as his scale-covered enemies, due to the supposed anger of the long-dead Stygian god.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #4 by Jessica Fong

Solomon Kane: The Serpent Ring #3 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 3, July 2025

Captivatingly transporting his audience to the “dark edge of the Kingdom of Ndongo”, and a deadly rendezvous with an ancient cult of devilish Serpent people, Patrick Zircher’s penmanship for Issue Three of “Solomon Kane: The Serpent Ring” is absolutely top notch. Indeed, the American author’s handling of the Early Seventeenth-Century Puritan is so entrancing, that many within this mini-series’ audience probably felt as if Robert E. Howard himself was whispering the storyline in his ear, and the Dayton-born writer simply capturing what he heard on paper; “But proceed. Wisdom, like the wind, cometh from all quarters.”

Spearheading these successes has to be the persistent aura of danger surrounding the comic’s quite considerably-sized cast, with little love shown between many of the adventurers – most especially Mbondu, who despite living on the dangerous lands upon which Rolando Zarza now seeks his fortune, is given no respect for his expert knowledge whatsoever. In addition, the shape-shifting Father Goncallo is repeatedly shown to be as treacherous as the snake deity he worships, and any onlooker is never at ease whenever the false priest is pencilled disconcertingly lurking in a panel’s shadows.

However, by far the book’s biggest achievements has to be its two action-packed set-pieces, which whilst rather short, are still crammed full of tense desperation. In fact, this twenty-three page periodical’s plot does a grand job in keeping its readers constantly on their toes worrying as to which characters will actually survive long enough to reach beyond the Stones of Pungo and Andongo. Such uncertainty genuinely is palpable, particularly after the rogue Nico Cassini is pencilled painfully taking an arrow straight in the arm, and Kane himself is left for dead after being bitten on the shoulder by one of the High Priestess Sha-Kabet’s fearsomely-fanged pet reptiles.

Bewitchingly, Zircher also provides ample examples of his prodigiousness as a top tier illustrator. There is simply so much to admire within this publication’s layouts, from the adrenalin almost dripping off of the adventurers as they fend off a ferocious volley from a tribe of natives with their muskets, through to the crystal clear hatred in Mbondu’s eyes whenever he casts a glance at the truly despicable Zarza. And few bibliophiles will surely forget the artist's truly awesome sketch of Diamanta and Solomon seeing their first African elephant up close and personal.

Writer/Artist: Patrick Zircher, and Colorists: Pete Pantazis & Patrick Zircher

Solomon Kane: The Serpent Ring #2 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 2, May 2025

Despite its twenty-three page plot heavily relying upon a dubious alliance between Robert E. Howard’s “sombre-looking” creation and the murderous villain Rolando Zarza, Patrick Zircher’s storyline for Issue Two of “Solomon Kane: The Serpent Ring” surely must have delighted its audience when it hit the spinner racks in April 2025. Sure, many readers may well struggle to believe the Seventeenth-century Puritan would stomach the dishonourable knight’s company for a single night, let alone the fifty-three days it takes them to travel together to the Kingdom of Kongo. But having placed the unlikely pair alongside a Venetian scholar and his daughter, as well as the highly disagreeable Nico Cassani, the ultimate fate of this band of incongruous adventurers certainly proves an attention-grabbing prospect. 

In fact, the American author wastes absolutely no time in showing this comic’s audience just how ‘unstable’ the five travellers can be whilst drinking together, by penning them all brawling in a disreputable tavern on the Gold Coast. This brutal bout of pugilism goes a long way to illustrate that none of the sword-fencing fighters will tolerate even the slightest disrespect to their so-called honour, whilst also rather cleverly portraying young Diamanta with a surprisingly wild side of her own when the brown-haired researcher merrily batters a local harlot over the head with a drinking jug; “I trounced that trollop!”

Similarly as beguiling though is arguably the artist-turned-writer’s secondary thread concerning the ill-fated Father Goncallo and a truly-terrifying Priestess Of Set. The fanatical Sha-Kabet’s obsession with keeping her killer cult’s presence a secret quickly shows that even a man of god is not safe from a harrowing demise, and also promises plenty of treacherous intrigues in the near future when the dead Christian is cunningly replaced by a shape-shifting serpent man.

Zircher’s layouts are also extremely pleasing to the eye, with the aforementioned holy man’s shock at seeing his exact doppelgänger clearly testing his sanity, if not his devout faith. Furthermore, the illustrator does a great job in physically imbuing the likes of Zarza and Cassani with just the sort of dangerous, dynamic energy an onlooker might well expect of two unprincipled brigades who have few moral scruples with which to live by.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #2 by Ivan Gil

Solomon Kane: The Serpent Ring #1 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 1, April 2025

Proudly announced by its British publisher in December 2024 as “the first Solomon Kane solo series in fifteen years”, this supposed “much-anticipated return” of Robert E. Howard’s creation quite possibly proved somewhat disconcerting to those readers familiar with the early Seventeenth century Puritan. For whilst the twenty-three page periodical certainly opens in a blaze of glory, as long-fanged savages attack a village of much-more agreeable African natives, and the titular character does bloody murder aboard a Portuguese caravel, Patrick Zircher’s narrative subsequently seems to get a little too bogged down in dialogue-driven conversations, word-heavy discourses and a bewildering carousel of new cast members.

Indeed, by the time a somewhat sore and badly limping ‘Sword of Vengeance’ has somehow managed to make his way to the gloomy Ghetto Vecchio, some bibliophiles’ heads may well be swimming from all the different people and their stacked speech bubbles which this comic’s American author relentlessly throws at them; “I am bringing old Tujaru. His eyes are not what they were, but he is like you -- a good teacher.”

Happily however, Issue One of “Solomon Kane: The Serpent Ring” still provides plenty of hooks and thrills with which to ensnare its audience. Kane’s lone charge on horseback against three mounted brigands in a darkly lit mountain tunnel is especially well-paced and lively, as is the suddenly rather tense discovery of a Serpent-man’s flesh-stripped skeleton on the vast tundra of Ndongo. These sadly short-lived scenes manage to inject this book with some much-needed energy, just as it’s in danger of drowning in the aforementioned sedentary sequences set in the Republic of Venice, and ultimately should keep the attention of any peruser of “Dead Man’s Promise” throughout.

Easily this comic’s biggest draw though, is surely the Dayton-born illustrator’s pencilling, which along with his very own colour work, does a fabulous job in bringing his interpretation of the Age of Elizabeth to vibrant life. Of particular note has to be the stark contrast between the brutally harsh Africa and La Serenìssima’s supposedly stylishly civilised world that is just as diabolically dangerous. Likewise, the artist-turned-author is extremely good at imbuing Solomon with the quiet mannerisms of a man confident in his god’s good graces, despite him aggressively blazing away with a pistol and slashing pirates to death with a sword.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #1 by J.H. WILLIAMS III

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