What's Happening?
Marvel Comics' *Conan the Barbarian* #68 marks the conclusion of a five-part crossover event that also featured Red Sonja and Kull the Destroyer. This issue, titled 'Of Once and Future Kings!', picks up directly from the previous chapter in *Marvel Feature*
#7. The story sees Conan and Red Sonja pursuing a winged sorcerer-beast, eventually encountering Kull the Destroyer, who is presented in his 'classic' form as the barbarian usurper of Valusia, rather than the dethroned adventurer seen in his contemporary *Kull the Destroyer* series. This creative choice by writer Roy Thomas aimed to create a better contrast with Conan. The issue also features the rare instance of John Buscema inking his own pencils, offering a 'purer' representation of his art. The narrative includes a confrontation between Conan and Kull, a common Marvel trope of heroes fighting each other, which ends abruptly without a clear victor. Thoth-Amon also makes a visual cameo, echoing his earlier appearances in the *Conan the Barbarian* series.
Why It's Important?
This comic book crossover is important for several reasons within the context of 1970s comic publishing and the sword-and-sorcery genre. It represents a significant effort by Marvel to integrate its various Robert E. Howard-derived characters into a larger, interconnected narrative, a strategy that was crucial for building shared universes in comics. The decision to feature Kull in his 'Conqueror' iteration, despite his ongoing 'Destroyer' series, highlights the creative liberties taken by writers like Roy Thomas to serve specific story arcs and character dynamics, even if it created continuity discrepancies. The crossover also served as a promotional tool, aiming to cross-pollinate readership between *Conan the Barbarian*, *Marvel Feature* (starring Red Sonja), and *Kull the Destroyer*. The artistic choice of John Buscema inking his own work in this issue is notable for comic art enthusiasts, as it provides a unique insight into his unadulterated style, which was often modified by other inkers. The 'heroes fighting heroes' trope, exemplified by the Conan-Kull confrontation, was a popular and commercially successful narrative device for Marvel, catering to reader desires for epic clashes.
What's Next?
Following this crossover, Red Sonja was set to embark on her next solo adventure, not in *Marvel Feature* (which was nearing its second cancellation), but in her own dedicated title, *Red Sonja* #1. This indicates that the crossover likely succeeded in boosting her popularity and sales. Frank Thorne continued as the artist for *Red Sonja*, with Roy Thomas taking on assistants for writing. Meanwhile, Conan and Bêlit were slated to return to their life of piracy, with Bêlit's campaign against the usurper of her throne in Shem being a significant upcoming storyline in *Conan the Barbarian*, continuing through most of her tenure in the title. Kull the Destroyer's series would continue to follow his landless, throneless adventures, with the hope that he would eventually defeat Thulsa Doom and regain his crown, a plot point that would be resolved in *Kull the Destroyer* #29 in July 1978. The structural issues noted in the crossover, such as over half the issues feeling like a prelude, suggest that future multi-part stories might aim for better pacing and character development.
Beyond the Headlines
This comic book event subtly reflects the commercial pressures and creative strategies prevalent in the comic industry during the 1970s. The frequent cancellations and revivals of titles like *Kull the Destroyer* underscore the constant struggle for profitability and reader engagement. Roy Thomas's detailed explanations of his creative decisions, such as choosing a specific iteration of Kull or orchestrating hero-on-hero fights, reveal the intricate balance between artistic vision, fidelity to source material (Robert E. Howard's works), and market demands. The discussion of 'who's stronger' between characters like Thor and the Hulk, and its application to Conan and Kull, highlights a long-standing fan fascination with power levels and hypothetical battles, which creators often leveraged. Furthermore, the crossover's structure, with its acknowledged flaws in pacing, offers a historical perspective on the evolution of serialized storytelling in comics. It demonstrates how creators experimented with narrative arcs and character interactions to maintain reader interest and expand their fictional universes, even if the execution wasn't always perfect. The enduring appeal of these characters and their continued presence in various media attest to the foundational impact of such early comic book narratives.
