Conan has bested many things in mortal combat, but how can he triumph over death itself? Wood continues to examine what makes the barbarian tick in his latest issue. Anyone who labeled this book as “Northlanders” part two has probably reconsidered by now — and as someone who loves “Northlanders,” I don’t mean that in a bad way.
Brian Wood introduces Conan to a kind of fear he’s never experienced, in part two of “The Death”!
After the salvage of a derelict ship, a terrifying illness spreads swiftly throughout the Tigress, felling Bêlit and her entire crew. Healthy but fearful of losing Bêlit, Conan seeks help in a nearby town, where the welcome he receives is just as deadly!
With this most recent arc, Wood has forced Conan to deal with something much larger than himself. Previous issues have had their fair share of violence and action, but ‘The Death’ pits Conan against a force that cannot be harmed by a blade: the unstoppable approach of plague. In this issue, Wood portrays a man who has trouble wrapping his mind around a matter he cannot even attempt to stop with great care, never going out of his way to outright state this but still making it as clear as day. When Conan unleashes his full savagery upon an assailant, it is because now he finally has something he can stop with his fists — there may be a momentary pause where he realizes this is hardly the wisest course of action, but one can tell he relishes in this release by the full force of his blows when a mere flick of his wrist would normally be enough. When you hear a name such as Conan the Barbarian, it is reasonable to think of nothing but a crude monolith of a man, but Wood has been able to chart the emotional depths of the Cimmerian without losing the iconic, mythic figure’s keen edge. Barbarian he may be, but he is still a man, and Wood’s portrayal of the character reflects this.
The latest issue also is a great example of Wood’s talent for knowing when to compress and when to decompress. By stretching the opening scene across three pages, even though it could easily have been done in one (or even one panel), Wood establishes a foreboding tone for the pages to come — and appropriately so. The next two pages both succinctly remind readers of the situation the Tigress and its crew have found themselves in while flipping the “on” switch — this isn’t just a recap, per se, but a segment that points the issue in a specific direction. The next two pages certainly could have been compressed into one, but by leaving it at two Wood heightens the suspense (it’s not a matter of if these ruffians will be roughed up, but when). Then, of course, there is the much anticipated action scene (it is Conan, after all), divided into two segments: the first page where Conan is restrained, even hesitant, and then the remaining two where he unleashes hell as described before. A 50/50 split would soften the intensity when Conan fights with all of his might, and Wood knows this. I could break down the entire issue in this manner, but I think we would all get tired of it — and besides, we already get the point. Wood’s comics are airtight when broken down page-by-page, revealing a writer who is not just interested in telling a story, but in doing it right.
While fans of the Brian Wood/Becky Cloonan combo, such as myself, were originally drawn to “Conan the Barbarian” by the promise of more comics from the duo, the series has had a handful of great artists working on it since it started, and the latest addition to the team is Declan Shalvey. Fans of his work on “Thunderbolts” will note the stylistic changes he has made in order to fit Robert E. Howard’s landscape, but in this regard a lot of credit goes to colorist Dave Stewart The various artists that have worked on this book have each had distinct styles, and it is Stewart’s careful approach to his craft that preserves the visual consistency of this series. Were Stewart to color each artist’s lines the same way, their differences would be brought to light; instead, Stewart maintains the same palette but adjusts his technique according to each artist. By doing the art differently, things appear to stay the same. This isn’t to undersell Shalvey, though — his handle on facial expression and body language are particularly on display in this issue. When Bêlit makes her entrance midway through the issue, she stands in the doorway with some amount of dignity, but the strength that other artists have imbued her with is lacking. Sure enough, panels later, we see the mask slip away. This quality of Shalvey’s complement Wood’s writing, particularly in this issue; while the artist can certainly pummel us with action, and does, this human quality is necessary for the pathos Wood is trying to evoke.
Brian Wood has been exploring multiple facets of Conan’s personality ever since this book started, and this issue in particular showcases his ability to mine the human side of the protagonist while keeping him… well, barbaric. Declan Shalvey is a perfect companion in this take, and it will be a shame to see him go. This ongoing is the Conan comic for those who never considered themselves Conan fans — and has the potential to turn them, by Crom.
Final Verdict: 8.0 – Buy It!
