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Images courtesy Dark Horse Comics

Dark Horse strikes gold yet again in their comic book adaptation of Robert E. Howard's 'other barbarian-king', Kull of Atlantis. For those not in the know: Dark Horse brilliantly and successfully re-envisioned Conan and the Hyborian Age in which he treads for the new millennium.
 
Conan's stellar career as a cultural icon began in 'The Phoenix on the Sword', a cosmetically altered and re-titled version of 'By This Axe I rule', originally a tale of Kull. To many Kull remains a crude Conan prototype rather than a fully realized and complex character who can stand on his own sandaled feet and wreak bloody havoc with the best of them. 
 
REH scholar Mark Finn sets the record straight in his introductory essay to The Shadow Kingdom graphic novel, which collects this year's six-issue Dark Horse mini-series about the brooding monarch from mythic times.
 
Dark Horse's proven formula for the REH material serves them well with this adaptation. As with Conan they expand upon and connect the orthodox canon with exciting original material that supports and strengthens the internal consistency of the entire epic.     

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The graphic novel is an adaptation and continuation of REH's Valusian yarn The Shadow Kingdom.
 
Kull is new to his throne and he knows not whom to trust. In the process of establishing and strengthening political alliances through strategic marriages he is warned of an ancient and infernal conspiracy by the Picts, the natural enemies of the barbaric Atlanteans who fostered him.
 
If he is to keep his hard-won throne he must act quickly and decisively.
 
The Pictish leader Ka-Nu displays dangerous levels of trust and asks Kull to blindly match it in turn. This is difficult for Kull, who is very much a loner and strives to act through the office of his kingship. He finds it especially challenging to remain lofty and distant when dealing with the impulsive guardian he's been assigned, Brule the Spear-Slayer.
 
Together the barbarian that once was and the barbarian who still is confront a conspiracy older than the human race.
 
Arvid Nelson's writing is excellent. The artwork by Will Conrad and Cover Artists Paul Renaud, Andy Brase, Will Conrad and Joe Kubert evoke a brutal and barbaric era that is neither medieval nor Hyborian. There is a prehistoric feel to Kull's world that is almost dreamlike. The coloring of Jose Villarrubia greatly enhances this astral quality. Richard Starkings' lettering and comic-craft is the cherry on the cake.

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The Shadow Kingdom was a Kull experience above and beyond what I anticipated. The attention to detail, especially in the presentation of the different human and inhuman ethnicities that populate Kull's world, is uncanny. 
 
The publishing, editorial and other behind-the-scenes individuals who contibuted to this superb graphic novel are to be commended for their bold decisions and out-of-the-box creativity.
           
I was unaware as to just how much John Milius' film Conan the Barbarian owed to the Kull canon, aside from the borrowing of Thulsa Doom, until I read Arvid Nelson's closing essay. The connection is acknowledged in this adaptation, most notably throught the alarming spread of the serpent cult and its territorial towers. An earlier incarnation of the Eye of the Serpent and Rexor -who was beside himself when Conan slew his pet snake in the movie- also appear in this tome. 
 
Going in I didn't know what to expect but on re-emerging from my immersion into this graphic novel I find myself looking forward to experiencing more of Dark Horse's storytelling magic in the days when Kull was King. 
 
Onwards!
 
Musing by Thor the Barbarian
    

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