Deluxe Edition for the comic adaptation of the 1982 film Conan the Barbarian, directed by John Milius. Panini Comics collects it in its largest format so we don’t lose detail with John Buscema’s art re-coloring.
read to the beat of the soundtrack
if you have seen the movie Conan the Barbarian (1982) It is practically impossible to encounter its adaptation for the comic without hearing in our head the tunes of certain songs that are part of the original soundtrack, composed by Basil Poledoris, the American scion of a Greek family. From the main theme, the one that is heard when Conan and Subotai cross the steps or the one that mellows us when we enter the jeweled palaces, our reading is naturally enriched by a very complete work that has created four colors. Took the character created from. by Robert Ervin Howard in 1932 on the pages of the pulp magazine Weird Tales.
Film directed by John Milius, and starring Arnold Schwarzenegger as the Cimmerian. It includes everything you need to understand how the character was forged, from a dramatic origin to a plot that unleashed the fury of a murderer, thief and vengeful barbarian of the North in the Hyborian era. It was shot in Spain to reduce costs and has the participation of well-known actors from our country, such as Nadiuska as Conan’s mother or a young Jorge Sanz who plays the Cimmerian when he is still a child. There is a child. Places such as the enchanted city of Cuenca provided a unique backdrop for some of the scenes.
from celluloid to paper
The commission to complete this adaptation for the comic fell to the most emblematic cartoonist of those who have passed through the various collections of the most universal wild. We could argue a lot about taste, name Barry Windsor-Smith, Gil Kane or someone else. But if John Buscema took up the pencil, few would object. And not only that, he had the script as well, because “Big John” saw the film and immediately got to work running this company. The dialogues were already based on the older Buscema’s composition later by Michael Fleischer.
We’re probably looking for more fidelity when watching a movie displayed in graphic novel format, but Buscema chose to show us the Conan we were accustomed to, without letting us see Schwarzenegger’s features anywhere, the story’s villainous figure. in the form of. Thulsa Doom, the only one to bear a resemblance to James Earl Jones, the actor who played him in the film. However, and without many details, if we recognize the environments in which the film takes place and we are familiar with the Serpent Worshipers’ Tower in Zamora, with its sacrificial pit or burial mound where battles against those who form the nearest core take place Till doomsday
If we compare the cinematographic work of Conan the Barbarian with the comic, we find some significant changes, starting with the way the story is told. In the film, the role of the narrator corresponds to that of the little magician who lives next to the mound, which Mako very aptly represents.
However, in the comic it is Conan himself who reflects his thoughts in the dialogue’s supplemental text box, minus the epic point that leads him to comment on his deeds in the mouths of others later in the Nemedian Chronicles. will be collected. , We can also see that the adventure doesn’t end like in the movie, stealing from us the night scene in which Conan goes in search of Thulsa Doom and ends with him and his cult of the set in one fell swoop. Here the battle of the burial mound is grouped with the epilogue and although it manages to win in narrative rhythm, we are left with that intimate moment of complete revenge in stages, without diminishing the importance of the villainous figure.
In general we can say that it is a great adaptation. The heist of its time, in which many films were transferred to comics, but some of the details that made cinema great are not reflected so well in Buscema’s work. Despite being an exceptional drawing worthy of its normal level, it falters when it comes to translating it into its own script. The original has been color improved by Lynn Worley with the intervention of Deborah Pedlar and gives much more depth in the vein of the graphic novels of the eighties. This edition’s foldout flap includes a foldout poster with a movie poster. We also count in additions to this edition with interviews with director John Milius, production designer Ron Cobb, and actors Schwarzenegger and Earl Jones.