The first issue of the final arc of Brian Wood’s “Conan” stint certainly feels like the beginning of the end.
Written by Brian Wood
Illustrated by Riccardo Burchielli
Colors by Dave Stewart“The Song of Bêlit” brings Brian Wood’s critically acclaimed epic adaptation of “Queen of the Black Coast” to a conclusion, as Conan and Bêlit sail up the black waters of the river Death . . . and into the horror that awaits them!
When one considers what the “theme” of Wood’s “Conan” has been, you have to look at the integral role that his lover Bêlit has played throughout. She’s challenged Conan at times, and this issue is no different, as they sail into some pretty unsafe waters on a quest spurred by her desires. She’s also loved Conan just as fiercely as she’s rivaled his strength. Their relationship is a kind that is not indicative of what we think of when we think of “Conan” stories, but it’s a no less valid entry into the canon. Bêlit brings something out in Conan. Issue #22 is an all-encompassing example of what defines the Conan/Bêlit partnership.
In that way, “Conan” #22 feels like the beginning of the end. We know where these characters will end up and we can feel Wood heading toward the logical conclusion that was set up from the ‘Queen of the Black Coast’ arc where his run began. Issue #22 is perhaps too focused on defining the relationship between the two, as the issue spends much of the time discussing the world views of its main characters and foreshadowing an impending doom. To Wood’s credit, the relationship between Conan and Bêlit feels authentic and developed – a definite boon that long form storytelling allows and that he has taken full advantage of. Because of that, I’m not sure this story has much to gain from spelling that relationship out so matter-of-factly as it does here.
One thing is certain, Riccardo Burchielli’s art is going to do a magnificent job of closing this story off. He and Wood clearly still have the collaborative chemistry that they displayed back in “DMZ.” Wood opens with a prose piece written for Bêlit. Alongside this, Burchielli crafts a eye of admiration toward her and the fire that she brings out in Conan, himself. But the mood soon becomes a foreboding one, as Conan and Bêlit sail into what is quite literally a river of death. Burchielli’s take on Conan’s world becomes even more expert, especially when one considers the look and feel that Wood and Becky Cloonan originally established. Burchielli’s Conan is the same lithe, crafty character that Cloonan’s style served to embody.
On the river of death, Burchielli flexes the muscles that any good “Conan” artist should possess – that of a keen eye for sword and sorcery. Burchielli and colorist Dave Stewart craft a swampy, foggy environment for the great ship Tigress to sail into. Impossible creatures are peppered through the land, acting as scavengers among the death. The deeper the crew gets, the more dire things get. The color scheme and shading create a different mood when compared to the lustier feel of the issue’s opening.
Wood and Burchielli look to bring Wood’s “Conan” run to a fitting end, but it may do so in a more predictable way than the run deserves. Wood’s “Conan” – to date – has been an offbeat take on the character and pretty consistently defied expectations. I guess this is the way things go, when one writer hands off to the next, but “Conan” #22 didn’t have to labor over defining Wood’s thesis one more time. The issue gets considerably better once the adventure begins again and shouldn’t be missed by anyone who was enjoying this take on “Conan” to begin with.
Final Verdict: 7.3 – Buy, if you’re buying “Conan” now.
