If you missed this years Free Comic Book Day you can download the Conan comic "Tides of the Tyrant-King" now directly from Titan as a pdf:
https://media.titan-comics.com/uploads/conanfcbd2026.pdf
I hope a kindle version follows soon on Amazon, because the pdf quality is whack.
Issue #23 of SSoC immediately sets the tone with a fantastic painted cover by Alex Horley, depicting a pivotal moment from the main story. It’s always nice when a cover actually reflects a key scene from the issue itself. And speaking of great artwork, all one has to do is open the comic to find page after page filled with Rob de la Torre’s stunning linework and inks. This time, Rob not only handled the drawing board duties, but also came up with the story itself, later adapted into prose by Roy Thomas. More on that in a moment.
At this point, it is hardly a secret that Rob de la Torre is one of the most talented artists working in comics today, especially among those associated with "Conan the Barbarian". Rob does not just draw like John Buscema on one of his best days, he also inks his own work, something that stands out particularly strongly in this very issue. He brings the Hyborian Age vividly to life before our eyes, whether he is taking us across the Hyrkanian steppes with their imposing frontier fortresses, into snow-covered mountain ranges, through an Asian-inspired Hyrkanian mountain settlement, or deep into a tropical mangrove swamp filled with sunken temples and grotesque monstrosities. All of it is masterfully realized and reinforces the simple truth that the Hyborian Age itself, with its landscapes, ruins, and distant horizons, is as much a character in these stories as any of the people inhabiting it.
Roy Thomas once again proves why he remains the definitive Conan writer. The plot may not be his, but the words certainly are, and as always, they capture Conan’s character better than almost anyone before or since, with the obvious exception of Robert E. Howard himself. Thomas’ Conan is sharp-witted and strategic, at times cynical and almost bitter toward the excesses and hypocrisies of civilized peoples, yet still capable of sharp-biting humor. And when action is required, he acts decisively. Thomas has lost none of his ability to channel Howard’s tone and translate it seamlessly into the comic format. Whatever controversies may surround him personally, that much simply has to be acknowledged.
The story itself, centered around the legendary “Blue Orchid” diamond that Conan and several other thieves attempt to steal, originates from Rob de la Torre and turns into a wild ride across multiple regions and climates in the far eastern reaches of the Hyborian continent. If I had one criticism of the issue, however, it would be that the plot remains rather confusing even after multiple readings. I am still not entirely sure why the diamond ultimately ends up where it does, or what role it was really meant to play in the larger scheme of things. Too many elements seem to blur together, especially regarding the slave girl, or witch, Zaria. It is never entirely clear why she is where she is at the beginning of the story, nor how the rumor originated that Prince Yezdigerd possessed the diamond in the first place. These details are introduced somewhat abruptly, almost with the expectation that the reader will simply overlook the gaps because of the story’s relentless pacing.
As a result, Zaria feels somewhat inconsistent as a character. At one moment she is a fugitive slave girl, at another a wise herbalist with a fully equipped witch’s hut in the Hyrkanian mountain settlement of Shukhan, while at the same time apparently being considered the property of the local ruler, Skol Abdhur, a character longtime Conan readers will recognize as a nice little Easter egg. Those elements never entirely came together for me, and I occasionally wondered whether I had perhaps missed something as a non-native English speaker. Despite the strong action scenes and exciting locations, some of the character motivations and plot developments never fully clicked into place.
There is also a nice, almost silent Solomon Kane short story at the end of the issue, “The Wolves of Dundalk,” written by Enrique Duenas and illustrated by James A. Castillo. The story follows Kane as he confronts a nest of man-eating goblins lurking beneath an old graveyard. The art style is completely different from the main feature, but it is exceptionally well executed. It actually reminded me of old point-and-click adventure games from the early 2000s. Some hardcore grognard purists may find it all a bit too cartoony, but from a craftsmanship standpoint, it is absolutely top-tier.
Finally, it should be emphasized once more that this is very much a comic for adults. Conan’s world is brutal, sexist, and deeply xenophobic, and both Rob de la Torre and Roy Thomas portray it unapologetically in all its grimness, complete with nudity, slavery, and everyday racism. This is not a book for children. Whether the issue will ultimately be remembered as a future classic is hard to say given the somewhat muddled story, but the artwork and Thomas’ prose go a long way toward compensating for those shortcomings.
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BY CROM, what a great page to place a title there! It's by Jesus Merino, who will be responsible for drawing the "Conan: Tides of the Tyrant King" mini-series, which starts with the May 2nd Free Comic Book Day issue.
I find it fascinating how much the different styles in the mini-series have varied so far without any drop in overall quality. Jonas Scharf impressed with his expressive character design, while Ivan Gil brought a delicate, almost ornamental approach. Jesús Merino, once again, relies on clean, bold lines that draw every last detail out of the panel.
He also forgoes the classic Buscema bangs. Instead, Conan is given the majestic, rockstar-like mane, reminiscent of the style once established by Barry Windsor-Smith.
And of course, Jao Canola’s coloring deserves mention as well. He manages to give each of these distinct artistic styles exactly the right tonal treatment.