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The Song of Red Sonja
Welcome to The Dollar Box, where I look at comics with an original cover price of a dollar or less. This time we travel back to the dim pre-history of Robert E. Howard’s Hyborian Age — and the even more remote year of 1973 — for a date with a certain she-devil with a sword in issue #24 of Conan the Barbarian!
It’s The Song of Red Sonja!
Two-and-a-half years into its run, Marvel’s Conan the Barbarian had survived an early flirtation with cancellation to become an accidental masterpiece. Sales were up, awards were rolling in, and the book had been promoted to monthly status. Ably guided by writer Roy Thomas and a brilliant young artist by the name of Barry Windsor-Smith, Conan had broken through to become one of Marvel’s most popular comics.
Unfortunately, Conan was about to become a casualty of its own success. The switch to monthly publication hastened Windsor-Smith’s departure from the book. Already feeling overworked and under-paid — and recognizing that the agonizing level of detail that he packed into each page could never survive a monthly schedule — Windsor-Smith would end his signature run on Conan with this very issue.
But what an issue it was — the Song of Red Sonja might be the finest single issue in the classic Thomas/Windsor-Smith run on Conan the Barbarian.
Following as he did Robert E. Howard’s Conan chronology, Roy Thomas knew he was years away from being able to bring the great loves of Conan’s life — Valeria and Belit — into the book, but he still wanted a strong female character for the series. Inspiration struck when Thomas learned of a non-Conan story from Robert E. Howard that featured a character named “Red Sonya of Rogatine.” Working from that tale, Thomas and Windsor-Smith constructed issue #23’s “Shadow of the Vulture,” an entertaining issue notable for featuring the first appearance of the subtly-renamed Red Sonja, introduced as a mercenary soldier fighting to defend the besieged city of Makkalet.
Red Sonja’s first appearance, from Conan #23
But it would be in issue #24’s “Song of Red Sonja” that the character would steal our Hyborian hearts.
This story is remarkable in that it is so un-remarkable. It is bolted together from a series of familiar Conan scenes. There’s a tavern fight, a tall tower to climb, riches that are stolen (and that just as rapidly slip through Conan’s fingers), and of course a giant snake to slay. All in a night’s work for our favorite Cimmerian! What makes the story memorable is Sonja, a rogue of a different sort, an otherworldly beauty who is nearly Conan’s equal with a sword, and clearly a couple laps ahead when it comes to brains.
Later Red Sonja stories would make much of Sonja’s vow of chastity — and at the end of this story she does declare that no man may kiss her unless he first defeated her in battle — but in this tale Sonja seems to honor that commitment only when convenient. Distinct from the somewhat dour Red Sonja on display in her later Marvel solo series, this Sonja is full of life, dancing with abandon on a tavern table, enjoying a moonlight swim with Conan, and teasing the barbarian with her feminine whiles.
Sonja, it turns out, is leading our hero on, needing his legendary Cimmerian climbing prowess to help her scale a treasure tower, but there is still enough heat in her exchange with Conan that it doesn’t seem entirely a manipulation or a relationship of convenience. Sonja genuinely likes Conan — it’s just that she likes riches more, and when push comes to shove Sonja takes what she wants and leaves Conan in the dust, leaving the barbarian to express his frustration with a rare ending where he didn’t get the girl by slamming his fist into a wall.
The thing about Sonja — what drives this story, and makes it so memorable and fun — is that we want her to get the best of our hero. The reader can see what is coming for Conan a mile away, and the only reason Conan can’t is because he’s thinking with his loins … and because he is a barbarian, as-yet unaccustomed to civilized ways. Having your main character fail at something so mundane as trying to get the girl is a great way to humanize him, and also to point up Conan’s own simple innocence and purity of spirit — something difficult to do with a larger-than-life hero splitting skulls like melons. Conan is a legendary character, even in this youthful phase of his career, and seeing him come up second best to anyone is a rare and memorable event.
Windsor-Smith’s Sonja is a delicate-boned creature, as are nearly all of his characters. Wearing a mail shirt and short pants that show plenty of leg (Sonja’s famous “chainmail bikini” would not appear until later) Sonja is clearly objectified, but she is not a sex object. The character is too self-assured and confident to be lumped in with the dancing girls and dissolute princesses of Conan’s world. Red Sonja is the hero of her own epic, and in her world it is Conan who is just passing through.
Conan and Red Sonja would meet again, but the sparks would never quite fly so well as in this early story, which sported a cover price of fifteen cents back in the day, but which you’d be fortunate to find for less than sixty bucks today. The story is also available in Volume 4 of Dark Horse Comics’ excellent Chronicles of Conan reprint series, which may be the superior means of enjoying this story, as the more modern print technology employed by that series makes it more possible to enjoy Windsor-Smiths manic attention to detail in his art than was the case in the original printings.
Whatever the price or the form, it is well worth spending an evening with Conan the Barbarian #24 — it is a magical thing that it still feels so fresh and adventurous all these decades later, depending as it does on cliches and telegraphing an ending that only Conan couldn’t see coming. Sometimes the simplest tales are the best tales — especially when it comes to primal genres like sword and sorcery — and in the “Song of Red Sonja,” Roy Thomas and Barry Windsor-Smith (following in the tradition of Robert E. Howard) crafted a jewel richer than any of the treasure in that serpent haunted tower our two heroes raid. Like all the best tales, we’ve seen this all before, but we can’t wait to see it again.
This article originally appeared at StashMyComics.com!
NEXT MONTH: #140 Sincerely, The Sandman!
Nipples On Men!
This week’s F.O.O.M. Friday gets right to the point! (Two of them!)
FOOM #14 was all about Conan … and it is full of insightful and even scholarly commentary about what makes this character so great. It’s also an interesting time-capsule of an era when Conan was one of Marvel’s top-selling books.
But we don’t care about that.
We only care about the nipples. Men’s nipples!
I know this is a divisive issue. To judge by the Superbowl, America hates seeing men’s nipples. I don’t know how opinions might differ in the United Kingdom, but David Warner considered men’s nipples a waste of God’s energy in Time Bandits:
Comics have a complex issue with sexuality in general, but in classic mainstream superhero comics, it’s generally come down to women having (barely covered) naughty bits, while men don’t have them at all. Contemporary comics show plenty of skin, of course, so it may be difficult to understand how the original run of Conan the Barbarian by Roy Thomas and Barry Windsor-Smith broke new ground by showing off shirtless heroes and scantily-clad wenches.
Even more remarkable, Windsor-Smith broke the seal on one of the more puzzling taboos in comics by having the temerity to draw nipples on men!!
yep, there’s some nipples, all right!
Why, you can practically hear the monocles popping out!
Not only did Barry blaze a trail, he even set a precedent!
Roy Thomas, from FOOM #14 (1976):
There were things for example, like having nipples on the male figure, which were not genrally done in comics before Conan and became part of it all. After Barry did them, I insisted that other artists like John Buscema and Gil Kane include them, even though they were reluctant to do so, or kept forgetting them. Sometimes I’d draw them on myself if the artist had forgotten, or have them added to a whole book not because I thought it was terribly important, but it was a consistency that kept the book being all of a piece.
I don’t know about you, but the thought of Roy Thomas drawing nipples on John Buscema or Gil Kane’s pages is obscurely delightful. It’s the professional equivalent of going through your comics as a kid and drawing mustaches (or … other things) on all the characters. It’s a scandal. It’s Nipplegate! And who was the poor intern who got their start in comics adding nipples to barbarian books at Thomas’ command?
But Thomas’ nipple continuity would go largely unnoticed, and it would be several years before comics would get its first genuine high-profile nipples-on-men controversy …
That’s right — nipples on the Bat Suits, courtesy of director Joel Schumacher’s Batman & Robin! It damn near toppled the Republic back in 1997.
Somehow we survived. (It chased poor Batman out of theaters for the better part of a decade, though!)
See you next week for another F.O.O.M. Friday!
Top Five Ultraverse Comic Book Movie Properties
Editor’s Note: This week’s guest blog is a special treat — a look at the buried treasure that is the Ultraverse from two men who were there at the start! Along with a host of high-powered comics creators, Chris Ulm and Tom Mason played critical roles in the foundation of the Ultraverse, which might just be the greatest comic book universe you’ve never heard of! In an age where Marvel is bringing Ant Man and the Guardians of the Galaxy to the movie screen, the time may be right for the Ultraverse’s return!
Take it away, Chris & Tom!
Hey, Disney executives and producers with a Disney deal in your hand or a desk on the lot — have we got some ideas for you! As you know, your Marvel Comics properties are all locked up and tied together to create a Marvel Movie Universe that mirrors the founding comic books.
But, if you look on the fringes of Marvel’s super-hero properties, you’ll find a few gems in the Ultraverse, a universe of comic books that Marvel purchased from Malibu Comics back in 1994. There are several titles that could be pulled out to start their own tentpoles separate from the Marvel Universe.
Here (in no particular order) are our top five!
Mantra
Creator: Mike W. Barr, debut issue pencils by Terry Dodson
High Concept: Ancient Warrior Knight Reincarnated In The Body Of A Soccer Mom!
There’s nothing you guys love more than a body-switching movie. It’s been a reliable box-office performer ever since Freaky Friday. Sometimes, you have such a switch-crush that you’ll make two of them in the same year. In Mantra, an eternal warrior named Lukasz is killed but reincarnated into the body of a woman, Eden Blake. Now, you’ve got a manly-man warrior with the attitudes of a guy from centuries before stuck in the body of a single mom with two kids and an ex-husband. However you pitch it, it’s Highlander meets Switch and that’s either comedy gold or high drama.
Firearm
Creator: James Robinson, debut issue pencils by Cully Hamner
High Concept: Film Noire Detective Hunts Super-Heroes
Too many super-heroes? That’s what the so-called pop culture critics say. Somehow four super-hero movies in one year is too much for them and they need more idiotic rom-coms or weepy historical dramas instead. If you’re one of “those” people, then Firearm is your antidote: he hunts super-heroes. He’s no angry vigilante, though. He used to be in a British secret agency called The Lodge, but he “retired” and moved to California to set up shop as a private eye. But his cases are far from normal and usually involve crossing paths with both good and bad super-heroes, including the super-hero serial killer called Rafferty.
Prime
Creator: Gerard Jones and Len Strazewski, debut issue pencils by Norm Breyfogle
High Concept: Boy Living In A Man’s Body
The big man of the Ultraverse, he’s Superman and Captain Marvel all in one. A boy named Kevin Green transforms himself into a super-hero by “building” a super-strong hero shell around himself. The shell is built from organic liquid skin that ejects from his body. And when he transforms back, the body withers and spits him out. But that’s not the best part — he’s super strong and has basically all the powers of Superman, but he’s controlled by Kevin, a 14-year-old boy, with a boy’s experiences and emotions. So the world’s most powerful super-hero is an inexperienced, hormonally-charged teenager. The teenager never goes away — he’s always trying to masquerade as an adult. Once again, that’s either comedy gold or high drama.
Rune
Creator: Chris Ulm and Barry Windsor-Smith, debut issue pencils by Barry Windsor-Smith
High Concept: Twisted Twilight
Rune was a walk on the dark side. Rune, an ancient energy vampire, had many guises through the history of mankind: alien, sorcerer, beast, god, devil. Now he is dying of cancer and only the blood and energy of super-humans can stave off imminent death. Rune has it all: secret societies, government conspiracies, teenage romance and a story that spans the history of humanity.
The Strangers
Creator: Steve Englehart, debut issue pencils by Rick Hoberg
High Concept: Passengers Assemble!
Random passengers on a cable car get struck by energy and find themselves changed beyond recognition, with strange powers. Who becomes a hero? Who tries to hide? Who uses their newfound powers for evil? These are the questions that drive the strangest collection of super-heroes ever assembled. While suited to film, this property seems tailor-made for episodic television in the tradition of Lost or Under The Dome, with seemingly random characters thrown together, and then tested in the crucible of paranormal circumstances!
Malibu Comics Co-Founders Tom Mason, Chris Ulm, Dave Olbrich, and Scott Rosenberg at their 2012 Comic-Con Reunion
Drawing from classic super-hero comics, hard science fiction, horror and epic fantasy, the Ultraverse was known for its epic premises and imaginative takes on classic tropes. Many of the best concepts could not have been realized as movies because the state of the art for CG was not up to the task in 1993, and the audience was not sufficiently literate in all things comics. Now, that’s all changed — comic books drive box office world wide and it’s about time the strange and wonderful corridors of the Ultraverse were explored on the silver screen!
Are you listening Disney?
About The Authors:
Chris Ulm was a co-founder of Malibu Comics and the Editor-In-Chief of the Ultraverse, which was based on his original development. He co-created the Ultraverse title Rune with artist Barry Windsor-Smith. Chris Ulm is now CEO and co-founder of Appy Entertainment, a leading mobile games development studio.
Tom Mason was a co-founder of Malibu Comics and the company’s Creative Director. He co-created the Ultraverse title Prototype with writer Len Strazewski. Mason is currently an Emmy-winning writer-producer in the big, wide world of television.
Thanks, Tom and Chris, for making your case why the Ultraverse is ready for its close-up! What do you think of their list? Did they forget your favorite Ultraverse character? Should Marvel go with their own C-list characters rather than develop these Ultraverse properties? Does the loyal devotion of Facebook’s Ultraverse group indicate the Ultraverse still has the capacity for mass appeal? Sound off in comments, below!
IN TWO WEEKS: #113 Ben Urich: Role Model in a Sea of Heroes
LONGBOX GRAVEYARD TOP TEN LISTS
- Top Ten Instagram Superheroes
- Top Ten Superhero Lairs
- Top Ten Manliest Superheroes
- Top Ten Longbox Graveyard Articles (Year One!)
- Superhero Music Top Ten
- Top Single Issue Stories
- Top 1o Loves of Peter Parker (Part 1)
- Top 10 Loves of Peter Parker (Part 2)
- Top Ten Marvel Comics Characters
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- Top Ten Spider-Man Battles (Part I)
- Top Ten Spider-Man Battles (Part II)
- Top Ten Captain America Villains
- Spider-Man’s Bottom 10 Bronze Age Bums
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- Top 5 Captain America Graphic Novels You Can Actually Buy (Sometimes), Read, And Enjoy!
Iron Fan
Editor’s Note: With Iron Man 3 in theaters this week I could think of no better time for a guest blog from my old pal Chris Ulm, who is a fine writer, a giant nerd, and the biggest Iron Man geek I know. Take it away, Ulm!
Iron Fan: A Think Piece About Brotherly Warfare, Armored Noses and Atomic Roller Skates
As I write this, we are exactly seven days away from Iron Man 3 hitting the big screen. Despite my inappropriate level of disappointment with the various trailers that have been released so far, I will be first in line. Why?
Because I really have no choice. See, the …
… has haunted me since the fateful day that I saw issue #47 on the racks at the slightly disreputable Sweet Liquor store in Culver City, CA:
My father reluctantly bought the tattered and beat up issue (in those pre-comic book store days, all of the comics I bought were characterized by embedded dents and folds from being pressed into wire racks and fondled by filthy urchins such as yours truly). I was instantly enthralled.
Entitled “Why Must There Be An Iron Man,” this re-telling of Iron Man’s origin was written by Roy Thomas and illustrated by Barry Windsor Smith. The story absolutely captivated me and turned me into a comic book nut. Thomas did a masterful job of recapping Tony Stark’s ill-fated journey into Vietnam, his subsequent ambush and race against the clock to build a weapon of vengeance with the help of kindly Dr. Yinsen. As I breathlessly read the issue, the first nine years of continuity exploded into my brain. I learned about Iron Man’s friends, lovers and enemies. About the Avengers, S.H.I.E.L.D., the rogues gallery — all the sturm und drang typical of Silver age Marvel under Stan Lee and Roy Thomas.
The story was told with economy typical of Thomas’ work. It probably helped immensely that In 1972, Iron Man has only been around for nine years and the Marvel Universe was only a tad older. To put it in perspective, Hollywood brought Marvel’s Spider-Man to the screen ten years ago, and the comic book Marvel Universe is now over 50 years old. Back then, ol Shellhead’s back story felt both infinite and containable to my young mind.
Set as a series of flashbacks at a funeral, Barry’s art knocked me out. I loved the different incarnations of Iron Man and the sense of progress that was held within the strip. Much later, I would have the privilege of co-creating Rune with Barry during my long tenure as Malibu Comics Editor-In-Chief.
After consuming this issue, Iron Man instantly became my favorite character of all time. I knew it in my guts — but I couldn’t have told you why — at least not then.
Iron Man was born the same year I was — 1963. He debuted in Tales of Suspense #39 and was created by Stan Lee, Larry Lieber, Don Heck and Jack Kirby.
Stan is reported to have wanted to create a businessman hero patterned after Howard Hughes (in Hughes’ glory days). Lee wanted to create a rich industrialist, a munitions maker, that would be exactly the kind of character that the readers would reject.
“… I thought it would be fun to take the kind of character that nobody would like, none of our readers would like, and shove him down their throats and make them like him,” Lee explained.
Which was actually very true. Tony Stark was pretty damn unlikeable but his creation was awesome. Iron Man was instantly more captivating to me than any of the other Marvel pantheon.
I admired Captain America. A lot. As a young pre-teen, I found that green trash can lids made excellent Adamantium shields and my brother Eric made an equally excellent Red Skull — it was actually amazing how far trash can lids can be flung with enough determination. So Cap was great. And he was right in Tales Of Suspense next to Iron Man.
And Spider-Man was likeable and funny. Couldn’t get enough of Spidey.
But I didn’t want to BE Cap or Spidey. I liked to read about them. When I read Iron Man, I imagined myself in the role of Tony Stark. It actually helped that Tony was a cipher. Really, Tony was either Reed Richards with a welding helmet, Don Draper with a pimpy mustache or a whiny drunk in need of therapy. Sometimes he was all three in the same issue.
(In fact, my secret shame is that I didn’t like Tony Stark at all until Robert Downey Jr. so brilliantly gave him a personality injection in the first Iron Man movie.)
But I didn’t need to.
In the Silver Age, Cap was a Goody Good, Spidey was a Loser, Thor was a Shakespearean Stiff and Ant Man was … well … ANT MAN.
Tony Stark may have been a giant douche but Iron Man was AWESOME.
Unlike the vast majority of the Marvel Universe, Iron Man was not a radioactive accident or a product of faulty cosmic ray shielding. Nor was he created by the activation of a happenstance X-gene or being born to the right All Father. No, what I loved about Iron Man is that he is the only Silver Age Marvel character that created himself.
(I refuse to count Ant Man).
Iron Man changed all the time. Iron Man had the same advantage over the other heroes that Homo Sapiens had over the rest of the hominids. Now there were some misfires, most notably the nose:
But by a large, Iron Man bootstrapped his abilities by using his brain to build better tools. Repulser Rays? Check! Uni Beams? Check! Jet powered roller skates? Check and check again!
See, if you want to be Batman, you have to take on a lot of emotional baggage. There is no Batman without the death of Bruce’s parents. There is no Batman without the ongoing evil of Gotham City to motivate him. Not true for Iron Man. Stark can be tinkering in the sunlight of Malibu in between assignations with strippers. Even Stark’s problems are all self-created. He’s a drunk. He treats women like dirt and can’t commit. He throws away his money and lets evil corporations buy him out. All his own fault.
I just knew I could have done so much better, given a big slice of genius and inexhaustible resources.
And in a sense, I have, with my very own Iron Man suit. My good friend, a gifted artist and partner in Appy Entertainment— Farzad Varahramyan — was all too aware of my Iron Man fetish and, after my twin daughters were born gifted me with his own interpretation of the Golden Avenger:
Iron Man 3 opens on my birthday. I’ll be there.
Thanks to Chris Ulm for this week’s blog!
NEXT WEDNESDAY: #99 A Secret Wars Apologist
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The Song of Red Sonja
The Song of Red Sonja
March brings a new Dollar Box column over at StashMyComics.com.
Yesterday I wrote about the not-so-great Red Sonja solo series from the 1970s, but this article is all about Sonja’s origins, in one of the finest single comic book issues of all time — Conan the Barbarian #24. It’s a classic tale from Roy Thomas and Barry Windsor-Smith. Read all about it!
Thanks, as always, to StashMyComics.com for hosting The Dollar Box!
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