Publisher: Titan Comics
Writer: Jim Zub
Artist: Ivan Gil
Color Artist: Jao Canola
Release Date: 26th November 2025

Having arguably done little more than adapt a trio of Robert E. Howard’s previously published prose adventures in this mini‑series’ first two instalments, it can be contended that Jim Zub finally takes the steering wheel with his narrative for issue three of Conan: Scourge of the Serpent. In fact, the Canadian author appears to go to considerable lengths to draw out the Cimmerian’s encounter with the serpentine deity from The God in the Bowl, inflating a single line describing the hero instantly decapitating the gorgon into a lengthy action sequence full of desperate lunges and slithering feints – all so the barbarian’s fight for survival can reach its zenith alongside those of King Kull and John Kirowan.

Surprisingly, the same cannot be said of the Animex Honorary Award‑winner’s handling of The Haunter of the Ring, in which the exploits of John Conrad’s partner are arguably truncated when compared to the deeds found in the novella’s original text. Admittedly, this abbreviation still follows the story’s general trajectory by having the Professor face his greatest antagonist, Yosef Vrolok. But rather than drive to the villain’s home, the writer seizes the opportunity to add his own spectral spin to the confrontation by having Kirowan instead trade blows with a murderous manifestation of his rival at Jim Gordon’s house.

Such a blatant divergence from Howard’s work may prove a step too far for purists. However, the change actually imbues the narrative with some much‑needed pace and ghostly ambience. Indeed, it allows the more modern tale to tie in neatly with both Conan and Kull’s battles against green‑hued, serpent‑like foes – especially once it becomes clear that the snake‑eyed medusa haunting poor Evelyn’s every thought is associated with the Cimmerian’s most notorious nemesis, Thoth‑Amon.

Undoubtedly helping to mesh these different threads and time‑streams together are “Ironclad” Ivan Gil and colour artist “Jumping” Jao Canola. Together, the creative pair seem particularly inventive when extending the barbarian’s aforementioned tussle with a fair‑faced serpent in the Nemedian municipality of Numalia. Yet their work is equally first‑rate when depicting Vrolok’s mystical materialisation from beyond the grave in Boston, 1934.

The writer of this piece was: Simon Moore
Simon Tweets from @Blaxkleric ‏
You can read more of his reviews at The Brown Bag