Guest Review - The Classics - Kull the Conqueror #2

   Back with another guest review is my pal Lyle Tucker, with a look at one of my all-time favorite Robert E. Howard-based comics:

KULL THE CONQUEROR #2, "The Shadow Kingdom," Marvel Comics, September 1971.

   Throughout the history of our favorite “junk medium” there have been runs of exemplary work which stand the test of time and shine like brilliant jewels in a sea of sometimes merely-competent visual literature (i.e. Eisner's SPIRIT, Lou Fine's CONDOR, Steranko's NICK FURY, etc). 

  

   With Marvel's KULL THE CONQUEROR such a run of visual sumptuousness started with the second issue. Even though the first-ever comic-book attempts at interpreting Robert E. Howard's Conan-lite were also visually highbrow, with Berni Wrightson giving us our initial gorgeous taste in CREATURES ON THE LOOSE #10, and Wally Wood splendidly inaugurating the CONQUEROR title with Ross Anru's assistance, it really wasn't until the brother-and-sister team of Marie and John Severin took the artistic chores that something quite special began. 

 

   Their KULL was a far more organic affair than either Wrightson's or Wood's, and the look they achieved immediately plunked us into a world quite unlike anything we had seen in the super-hero-centric '60s/'70s.

 

   Roy Thomas wrote the adaptation, and does a fine job of it, even if there is a bit of silliness involved with just how the villains of the piece are discovered and unmasked, and how that information is conveyed to Kull (by one of the people Kull suspects as being an imposter – which would be akin to The Joker disguised as Alfred telling Bruce Wayne he couldn't be anyone but himself because he is a butler). 

 

   It is Marie Severin who especially shines. Having already had a long history in comics, she takes to the subject exquisitely, penciling the brawn-heavy action with a deft eye and a raw sensibility one wouldn't have, perhaps unfairly, attributed to a woman. 

 

   Cementing the deal are John's immediately identifiable inks. As he had already shown over Trimpe's HULK, John's approach elevated any comic page to true works of art. 

 

   Even though this as-far-as-I-know only brother-and-sister team *ever* in comics produced less than a dozen issues, and such artistic luminaries as Mike Ploog and Alfredo Alcala would later do him justice, it is the run which begins with this issue that stands as the pinnacle of KULL's somewhat rocky comic-book reign.

 

Grade: A-

 

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Kull: The Cat and the Skull #2

You might be surprised to find out that Robert E. Howard's other barbarian king, Kull, spends a good part of this issue having a calm discussion with a cat.

But it's not just any cat - it's an ancient creature known as Saremes, and it seems to know many secrets - and even the future.

There's obviously a lot bubbling under the surface, but action fans will be glad to know that there's a brutal battle with an army of serpent men to keep the story moving along briskly.

This isn't one of Howard's best-known stories, but it's an interesting change of pace and well adapted by writer David Lapham.

I like the art by Gabriel Guzman - it covers the range from brutal, dark and bloody battles to calm and civilized discussions. I'd like to see more in the way of backgrounds, but that's a minor complaint.

I'd also like to see more of Kull's character - since Howard didn't write as many stories about Kull, the character has a lot of room to grow. Hopefully future stories will take advantage of that.

Grade: B+

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Kull: The Hate Witch #3 (of 4)

While I'm usually a fan of all things related to pulp writer Robert E. Howard, I have to admit that this mini-series starring Kull just hasn't captured the feel of the character for me.

The Hate Witch finds Kull traveling to his homeland on Atlantis to track down the (literal) witch who cursed him when he was a child and has returned to threaten his kingdom.

The residents there are apparently a savage lot, and there are misunderstandings and deadly battles aplenty. But the issue seems to get bogged down in side-events and doesn't really advance the story much at all.

The art by Gabriel Guzman and Mariano Taibo is solid - sometimes inspired, sometimes uneven - but professional throughout.

Don't get me wrong, I'm thrilled to see Kull back in action - but this series just feels like a generic barbarian adventure.

Hopefully the next issue will find things back on track.

Grade: C+

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Kull #5

I have always been a big fan of the Robert E. Howard adaptations written by Roy Thomas in the '70s for Marvel Comics. He managed to capture the lyrical side of the stories, along with the violence that was so much a part of the life of a barbarian.

I had first discovered Conan in the Lancer paperbacks issued in the late 1960s, and was thrilled to hear that Marvel was adapting the character for comics.

If I recall correctly, the success of Conan was followed by a comic dedicated to Kull, and I enjoyed it, too - especially for the art by Marie and John Severin.

Of course, all those adaptations toned down the violence - so there were lots of blades swinging, but little blood in evidence. It was the style at the time.

Now, some 30 years later, Dark Horse is offering up its own take on some of Howard's creations, and once again, I'm a big fan.

Will Conrad's art is outstanding - brutal and vital and always powerful. If I had to make a complaint, it's the occasional lack of a "gutter" between some pages - for example, pages 8 and 9 run together as though they're intended to be a double-page spread - but they aren't. But that's a minor quibble.

The writing by Arvid Nelson is also outstanding, as he balances court intrigue with the evil threat of the ancient race of serpent men.

If you're any kind of fan of Howard's work, you should be reading this comic.

Grade: A-

Kull #3

The comic book starring Robert E. Howard's barbarian king, Kull, has been very good so far - but it just got better.

That's because the pieces of the opening story, The Shadow Kingdom, are finally moving into place, and a life-and-death showdown is about to begin.

I usually rave about the writer first, but let me give a nod to the incredibly detailed work on this series by artist Will Conrad (with colors by Jose Villarrubia). He really brings the city of Valusia to life through wonderful cityscapes - and a splash panel that looks at the ancient history of mankind is not to be missed. Some of the art is a bit gory - perhaps too much so for young readers - but it captures perfectly the violence of Howard's stories.

Now I'll rave about the writing. Arvid Nelson has done a great job capturing the primal feel of Howard's story. As the plot against humanity begins to unfold, the writing brings home the horror - and perhaps, the hopelessness of the situation facing Kull and his new ally.

The best compliment I can give is: they're doing Robert E. Howard proud. If you're not reading this series, you're missing a good one.

Grade: A

Kull #2

Two issues in and Kull continues to impress.

So is there any difference between Kull and the stories of Conan as king of Aquilonia? The easy answer is "Not really," other than a change in place names and swapping in a few different characters.

That's because Kull and Conan are more or less the same character. Both are barbarians who, at a certain point in their lives, seized the crown of a throne and became king.

The main difference is, as near as I can remember, Robert E. Howard only wrote stories about Kull as king of Valusia, while most of Howard's stories about Conan (though not all) take place before he became king.

And that's exactly where Dark Horse is placing the stories of those two heroes. Conan is still a young man wandering the lands of Hyboria, while some time long before Conan, Kull is dealing with the problems that fall on the king.

Another difference between the two takes center stage in this issue, as Kull has an important meeting with one of his allies, a Pict named Ka-Nu. To Conan, the Picts are deadly enemies.

More so than the first issue in the series, this comic focuses on Kull's struggles to handle problems with diplomacy, rather than brute force. There's actually very little action in this issue, but that should change next issue, as a secret menace moves its forces into place.

Once again, excellent work by writer Arvid Nelson in capturing the voice of Kull and the people of Valusia. The issue also features outstanding art by Will Conrad, whose towering style reminds me of the underrated Val Mayerick.

This comic continues to be a real pleasure and a great companion to the ongoing Conan comic. And that's the best connection between the two characters - they're both appearing in top-notch comics.

Grade: A-

Kull #1

Kull has never been as popular as his literary brother Conan, but that's not because his stories are lacking. (Both characters were created by Robert E. Howard, of course.)

Because Conan is better known, Kull just seems to trail along behind him, picking up the scraps. When Marvel's Conan the Barbarian became a hit in the mid-'70s, Kull's own title wasn't far behind. When Conan hit gold with the black-and-white magazine The Savage Sword of Conan, Kull's magazine wasn't far behind (though the title didn't last long). Now Conan is a hit for Dark Horse Comics, so in his wake we have Solomon Kane, and now Kull.

Where most of Conan's stories center on his days as a barbarian, wandering through the kingdoms of the Hyborian Age, Kull lived long before Conan, and his stories focus on his career as the King of Valusia.

Kull's best stories are those that combine raw battle scenes with political intrigue and drama in the king's court - and this first issue balances the two very well.

It kicks things off with a great battle scene in which Kull gives a terrific quote (which I won't spoil for you here), framed by the struggle to bring the nobles into line supporting him as king.

Writer Arvid Nelson impresses with this story, aided by some strong artwork by Will Conrad. The Joe Kubert cover is awesome, as well.

Kull may not be as popular as Conan, but when it comes to barbarians, he's definitely running a strong second - and it's a comic that's well worth following.

Grade: B+