Best of this Week: Conan the Barbarian #10 – Jason Aaron, Mahmud Asrar, Matthew Wilson and Travis Lanham
Conan has faced the horrors of this world and beyond, but his greatest threat has been looming in the shadows far longer than he ever realized.
From the very first issue of this series, there have been these two creepy little children that have shown up at the sites of Conan’s greatest victories, waiting in the wings for his blood to get even richer from all of the death that he’s escaped over his long and bloody life. What we didn’t know is that they’ve been on Conan’s tail since the very moment he showed up at the Tower of Razael, their Blood God, and killed their mother. This issue covers their own crimson origin and their journey to finally seeing the end of Conan the King and the Rebirth of Razazel.
The Crimson Witch has been searching for warriors to give rise to the Blood God for an unknown period of time, but none of them had proven virulent enough for her in her many years. Lord Bevel Stonemarrow bragged that his castle was draped with the flayed flesh of Stygian She-Serpents and Hyperborean Witch Men, but alas it was likely all lies as his blood did nothing for Razael and the witch cast him aside with the other dead. The only “good” thing his seed provided was two children for her.
The sight of this old crone giving birth is absolutely disturbing. From the sweat dripping from her brow, snot from her nose and to the birth itself taking place on her sacrificial altar amongst the many corpses in the Tower. She offers her children up as the new disciples of Razazel, naming them Razza and Zazella, the Children of the Great Red Doom. Asrar does an amazing job of painting what this family is all about with just a few simple techniques. Their first cries are shown in blood and shadow. In the first three panels that they’re show, the background is either full black or littered with corpses, a good foreshadowing of their future.
Their childhood is signaled by a reverence for death contrasted by their playful nature as children. They play hide and seek amongst the many bodies of the Tower while their chores consist of dagger sharpening and gathering toads to make poisons. Aaron accentuates that by placing their childlike enthusiasm over wanting to hear about Razazel slaughtering the nonbelievers and blood oceans. These kids are absolutely adorable and terrifying at the same time. Asrar makes sure to make a point of this as well by drawing them and their mother as being a loving family, hugging and smiling as she goes off to have her first confrontation with Conan. The familial tie between them is as nearly powerful as their worship of the Blood God, despite the fact they are horrendous murderers.
We later find out that they were in the Tower the night that Conan nearly decapitates their mother and burns it all down, displaying a reverence for his ability to kill things and how the Blood Roots in the Tower resonated to his presence. As they watch their mother near death and the flames surround them, their eyes swell with tears and they resolve to kill each other with their own daggers. Children of the Great Red Doom don’t die by fire…and they wouldn’t as their mother and the power of Razazel kept her alive enough for them to escape.
These scenes are a beauty to look at. While most of the shots are flat, focusing on them from one angle, the intensity of the fire, their helpless expressions and their eventual rescue are amazingly well done. Their tiny kid bodies look ridiculous holding these massive daggers and the angles that they were going to stab each other at didn’t look right, but the despair on their faces is palpable. They look like they’ve been absolutely crushed after their mother is “killed” and their love for each other is shown as being genuine. When their mother does reappear, with her head barely being held on by magic and blood tendrils, she looks frantic, carrying them out of the furious flame. It’s disturbing, but heartwarming.
Matthew Wilson’s colors here are striking. The vibrancy of the veins is almost enough that they could pop out of the page at any moment. The fire appears amazingly hot and loud as it consumes the tower and the embers flying around is a really good effect. Wilson does an even better job of showing Razza and Zazella’s dedication growing when he colors their brown shirts with the same deep red of their mother’s neck tendrils. It’s great symbolism.
Over the next few years, the children prove themselves quite capable as worshippers of Razazel, luring many to their deaths with their growling mother ambushing and killing them. They drink the blood and eat the flesh of their victims with giddy smiles while their mother acts as a feral beast. Razazel’s magic keeps them young while they continue to keep tabs on Conan in the shadows, as seen through many of their appearances over the course of the story. Eventually, we come back to Conan’s capture at the end of Issue #2, I think?
The twins stab King Conan through the chest with their daggers and the Blood Roots surge with energy and the walls of the newly remade Tower start cracking. Conan manages to escape and fights The Crimson Witch, but it’s too late – a giant hand with many mouths emerges from the ground and Razazel awakens.
Mahmud Asrar is still an amazingly talented artist for this book. He manages to pull so much depth out of these characters through simple body language and body language. All the while I was reading about these two kids, I found myself feeling sorry for them for being raised the way that they were, but upon remembering how happy they looked, that sadness was replaced with fear. Asrar makes sure to draw their eyes with the same madness that their mother has – a cold excitement and lust for blood under piercing green eyes. The twins are dangerous and their cuteness allows you to let your guard down just enough for them to stab you in the neck.
Not only are his characters well drawn, but the scenery is as well thanks to Matthew Wilson’s colors. Wilson does an amazing job of giving each scene life through his use of deep reds, putrid yellow-greens and cold tones when things happen in the Tower. He always elicits an eerie feeling of darkness through his colors and no location feels safe. Even in the scenes that take place in the day time, light colors are used to lure the reader into a false sense of security before the tables are turned and the pages are colored with an intense orange for the action.
This issue was absolutely dark. Children in general are terrifying, but cannibal children that know blood magic and have managed to stay young for the simple purpose of resurrecting their God through ritual sacrifice are a nightmare. Razza and Zazella are absolutely compelling characters to read and could stand at the top with Conan’s great foes like Kulan Gath and Thulsa Doom. Their drive and dedication to killing Conan far outweighs that of most others in that they might have succeeded where hundreds if not thousands of others have failed.