The GeeksverseLeaving Proof 294 | Jewels of Gwahlur: Roy Thomas/Dick Giordano vs. P. Craig Russell

Leaving Proof 294 | Jewels of Gwahlur: Roy Thomas/Dick Giordano vs. P. Craig Russell
Published on Tuesday, February 16, 2016 by
We make a detailed comparison of two different comics adaptations of Robert E. Howard’s classic Conan the Barbarian story “Jewels of Gwahlur.”

One of the more interesting exercises one can do in studying how comics artists visualize text is to compare how two different illustrators interpret the same material. I’ve done this before, in comparing how the late Marshall Rogers and Todd McFarlane rendered Larry Hama’s original script for G.I. Joe: A Real American Hero #61.

Today, I’ll be conducting a similar side-by-side comparison of two separate and unrelated comics adaptations of Robert E. Howard’s 1935 Conan the Barbarian story, “Jewels of Gwahlur.” The first adaptation is by writer Roy Thomas and illustrator Dick Giordano, which appeared in Marvel’s The Savage Sword of Conan #25 (December 1977). I will be contrasting their interpretation of Howard’s work with that of artist-writer P. Craig Russell, who adapted the story into a three-part miniseries published by Dark Horse Comics in 2005.

I won’t be comparing every page, of course—just a selection of the opening passages and scenes.

Here is the story’s opening, as originally penned by Howard:

The cliffs rose sheer from the jungle, towering ramparts of stone that glinted jade-blue and dull crimson in the rising sun, and curved away and away to east and west above the waving emerald ocean of fronds and leaves. It looked insurmountable, that giant palisade with its sheer curtains of solid rock in which bits of quartz winked dazzlingly in the sunlight. But the man who was working his tedious way upward was already halfway to the top.

He came of a race of hillmen, accustomed to scaling forbidding crags, and he was a man of unusual strength and agility. His only garment was a pair of short red silk breeks, and his sandals were slung to his back, out of his way, as were his sword and dagger.

The man was powerfully built, supple as a panther. His skin was bronzed by the sun, his square-cut black mane confined by a silver band about his temples. His iron muscles, quick eyes and sure feet served him well here, for it was a climb to test these qualities to the utmost. A hundred and fifty feet below him waved the jungle. An equal distance above him the rim of the cliffs was etched against the morning sky.

He labored like one driven by the necessity of haste; yet he was forced to move at a snail’s pace, clinging like a fly on a wall. His groping hands and feet found niches and knobs, precarious holds at best, and sometimes he virtually hung by his finger nails. Yet upward he went, clawing, squirming, fighting for every foot. At times he paused to rest his aching muscles, and, shaking the sweat out of his eyes, twisted his head to stare searchingly out over the jungle, combing the green expanse for any trace of human life or motion.

Now the summit was not far above him, and he observed, only a few feet above his head, a break in the sheer stone of the cliff. An instant later he had reached it–a small cavern, just below the edge of the rim. As his head rose above the lip of its floor, he grunted. He clung there, his elbows hooked over the lip. The cave was so tiny that it was little more than a niche cut in the stone, but held an occupant. A shriveled mummy, cross-legged, arms folded on the withered breast upon which the shrunken head was sunk, sat in the little cavern. The limbs were bound in place with rawhide thongs which had become mere rotted wisps. If the form had ever been clothed, the ravages of time had long ago reduced the garments to dust. But thrust between the crossed arms and the shrunken breast there was a roll of parchment, yellowed with age to the color of old ivory.

The climber stretched forth a long arm and wrenched away this cylinder. Without investigation he thrust it into his girdle and hauled himself up until he was standing in the opening of the niche. A spring upward and he caught the rim of the cliffs and pulled himself up and over almost with the same motion.

There he halted, panting, and stared downward.

It was like looking into the interior of a vast bowl, rimmed by a circular stone wall. The floor of the bowl was covered with trees and denser vegetation, though nowhere did the growth duplicate the jungle denseness of the outer forest. The cliffs marched around it without a break and of uniform height. It was a freak of nature, not to be paralleled, perhaps, in the whole world: a vast natural amphitheater, a circular bit of forested plain, three or four miles in diameter, cut off from the rest of the world, and confined within the ring of those palisaded cliffs.

But the man on the cliffs did not devote his thoughts to marveling at the topographical phenomenon. With tense eagerness he searched the tree-tops below him, and exhaled a gusty sigh when he caught the glint of marble domes amidst the twinkling green. It was no myth, then; below him lay the fabulous and deserted palace of Alkmeenon.

And here is that opening scene as interpreted by writer Roy Thomas and artist Dick Giordano:

And here is that same scene as depicted by Russell:

So far, so similar, right? Save for the Thomas/Giordano version being a bit more wordy, the visual interpretations appear to be mostly the same, differing largely only in terms of panel perspective.

There is a subtle but important difference, however. Readers will notice that Russell’s version opens with Conan riding a horse towards the cliffs, whereas the Thomas/Giordano version begins with Conan already busy climbing.

That horse-riding sequence actually comes from a flashback found in the next portion of the original text (the horse-riding sequence is in bold):

Conan the Cimmerian, late of the Baracha Isles, of the Black Coast, and of many other climes where life ran wild, had come to the kingdom of Keshan following the lure of a fabled treasure that outshone the hoard of the Turanian kings.

Keshan was a barbaric kingdom lying in the eastern hinterlands of Kush where the broad grasslands merge with the forests that roll up from the south. The people were a mixed race, a dusky nobility ruling a population that was largely pure negro. The rulers–princes and high priests—claimed descent from a white race which, in a mythical age, had ruled a kingdom whose capital city was Alkmeenon. Conflicting legends sought to explain the reason for that race’s eventual downfall, and the abandonment of the city by the survivors. Equally nebulous were the tales of the Teeth of Gwahlur, the treasure of Alkmeenon. But these misty legends had been enough to bring Conan to Keshan, over vast distances of plain, river-laced jungle, and mountains.

He had found Keshan, which in itself was considered mythical by many northern and western nations, and he had heard enough to confirm the rumors of the treasure that men called the Teeth of Gwahlur. But its hiding-place he could not learn, and he was confronted with the necessity of explaining his presence in Keshan. Unattached strangers were not welcome there.

But he was not nonplussed. With cool assurance he made his offer to the stately plumed, suspicious grandees of the barbarically magnificent court. He was a professional fighting-man. In search of employment (he said) he had come to Keshan. For a price he would train the armies of Keshan and lead them against Punt, their hereditary enemy, whose recent successes in the field had aroused the fury of Keshan’s irascible king.

This proposition was not so audacious as it might seem. Conan’s fame had preceded him, even into distant Keshan; his exploits as a chief of the black corsairs, those wolves of the southern coasts, had made his name known, admired and feared throughout the black kingdoms. He did not refuse tests devised by the dusky lords. Skirmishes along the borders were incessant, affording the Cimmerian plenty of opportunities to demonstrate his ability at hand-to-hand fighting. His reckless ferocity

impressed the lords of Keshan, already aware of his reputation as a leader of men, and the prospects seemed favorable. All Conan secretly desired was employment to give him legitimate excuse for remaining in Keshan long enough to locate the hiding-place of the Teeth of Gwahlur. Then there came an interruption. Thutmekri came to Keshan at the head of an embassy from Zembabwei.

Thutmekri was a Stygian, an adventurer and a rogue whose wits had recommended him to the twin kings of the great hybrid trading kingdom which lay many days’ march to the east. He and the Cimmerian knew each other of old, and without love. Thutmekri likewise had a proposition to make to the king of Keshan, and it also concerned the conquest of Punt–which kingdom, incidentally, lying east of Keshan, had recently expelled the Zembabwan traders and burned their fortresses.

His offer outweighed even the prestige of Conan. He pledged himself to invade Punt from the east with a host of black spearmen, Shemitish archers, and mercenary swordsmen, and to aid the king of Keshan to annex the hostile kingdom. The benevolent kings of Zembabwei desired only a monopoly of the trade of Keshan and her tributaries–and, as a pledge of good faith, some of the Teeth of Gwahlur. These would be put to no base usage. Thutmekri hastened to explain to the suspicious chieftains; they would be placed in the temple of Zembabwei beside the squat gold idols of Dagon and Derketo, sacred guests in the holy shrine of the kingdom, to seal the covenant between Keshan and Zembabwei. This statement brought a savage grin to Conan’s hard lips.

The Cimmerian made no attempt to match wits and intrigue with Thutmekri and his Shemitish partner, Zargheba. He knew that if Thutmekri won his point, he would insist on the instant banishment of his rival. There was but one thing for Conan to do: find the jewels before the king of Keshan made up his mind and flee with them. But by this time he was certain that they were not hidden in Keshia, the royal city which was a swarm of thatched huts crowding about a mud wall that enclosed a palace of stone and mud and bamboo.

While he fumed with nervous impatience, the high priest Gorulga announced that before any decision could be reached, the will of the gods must be ascertained concerning the proposed alliance with Zembabwei and the pledge of objects long held holy and inviolate. The oracle of Alkmeenon must be consulted.

This was an awesome thing, and it caused tongues to wag excitedly in palace and bee-hive hut. Not for a century had the priests visited the silent city. The oracle, men said, was the Princess Yelaya, the last ruler of Alkmeenon, who had died in the full bloom of her youth and beauty, and whose body had miraculously remained unblemished throughout the ages. Of old, priests had made their way into the haunted city, and she had taught them wisdom. The last priest to seek the oracle had been a wicked man, who had sought to steal for himself the curiously cut jewels that men called the Teeth of Gwahlur. But some doom had come upon him in the deserted palace, from which his acolytes, fleeing, had told tales of horror that had for a hundred years frightened the priests from the city and the oracle.

But Gorulga, the present high priest, as one confident in his knowledge of his own integrity, announced that he would go with a handful of followers to revive the ancient custom. And in the excitement tongues buzzed indiscreetly, and Conan caught the clue for which he had sought for weeks—the overheard whisper of a lesser priest that sent the Cimmerian stealing out of Keshia the night before the dawn when the priests were to start.

Riding as hard as he dared for a night and a day and a night, he came in the early dawn to the cliffs of Alkmeenon, which stood in the southwestern corner of the kingdom, amidst uninhabited jungle which was taboo to common men. None but the priests dared approach the haunted vale within a distance of many miles. And not even a priest had entered Alkmeenon for a hundred years.

No man had ever climbed these cliffs, legends said, and none but the priests knew the secret entrance into the valley. Conan did not waste time looking for it. Steeps that balked these people, horsemen and dwellers of plain and level forest, were not impossible for a man born in the rugged hills of Cimmeria.

Now on the summit of the cliffs he looked down into the circular valley and wondered what plague, war or superstition had driven the members of that ancient race forth from their stronghold to mingle with and be absorbed by the tribes that hemmed them in.

This valley had been their citadel. There the palace stood, and there only the royal family and their court dwelt. The real city stood outside the cliffs. Those waving masses of green jungle vegetation hid its ruins. But the domes that glistened in the leaves below him were the unbroken pinnacles of the royal palace of Alkmeenon which had defied the corroding ages.

Swinging a leg over the rim he went down swiftly. The inner side of the cliffs was more broken, not quite so sheer. In less than half the time it had taken him to ascend the outer side, he dropped to the swarded valley floor.

With one hand on his sword, he looked alertly about him. There was no reason to suppose men lied when they said that Alkmeenon was empty and deserted, haunted only by the ghosts of the dead past. But it was Conan’s nature to be suspicious and wary. The silence was primordial; not even a leaf quivered on a branch. When he bent to peer under the trees, he saw nothing but the marching rows of trunks, receding and receding into the blue gloom of the deep woods.

Nevertheless he went warily, sword in hand, his restless eyes combing the shadows from side to side, his springy tread making no sound on the sward. All about him he saw signs of an ancient civilization; marble fountains, voiceless and crumbling, stood in circles of slender trees whose patterns were too symmetrical to have been a chance of nature. Forest-growth and underbrush had invaded the evenly planned groves, but their outlines were still visible. Broad pavements ran away under the trees, broken, and with grass growing through the wide cracks. He glimpsed walls with ornamental copings, lattices of carven stone that might once have served as the walls of pleasure pavilions.

Ahead of him, through the trees, the domes gleamed and the bulk of the structure supporting them became more apparent as he advanced. Presently, pushing through a screen of vine-tangled branches, he came into a comparatively open space where the trees straggled, unencumbered by undergrowth, and saw before him the wide, pillared portico of the palace.

As he mounted the broad marble steps, he noted that the building was in far better state of preservation than the lesser structures he had glimpsed. The thick walls and massive pillars seemed too powerful to crumble before the assault of time and the elements. The same enchanted quiet brooded over all. The cat-like pad of his sandaled feet seemed startlingly loud in the stillness.

Somewhere in this palace lay the effigy or image which had in times past served as oracle for the priests of Keshan. And somewhere in the palace, unless that indiscreet priest had babbled a lie, was hidden the treasure of the forgotten kings of Alkmeenon.

Conan passed into a broad, lofty hall, lined with tall columns, between which arches gaped, their door long rotted away. He traversed this in a twilight dimness, and at the other end passed through great double-valved bronze doors which stood partly open, as they might have stood for centuries. He emerged into a vast domed chamber which must have served as audience hall for the kings of Alkmeenon.

It was octagonal in shape, and the great dome up to which the lofty ceiling curved obviously was cunningly pierced, for the chamber was much better lighted than the hall which led to it. At the farther side of the great room there rose a dais with broad lapis-lazuli steps leading up to it, and on that dais there stood a massive chair with ornate arms and a high back which once doubtless supported a cloth-of-gold canopy. Conan grunted explosively and his eyes lit. The golden throne of Alkmeenon, named in immemorial legendry! He weighed it with a practised eye. It represented a fortune in itself, if he were but able to bear it away. Its richness fired his imagination concerning the treasure itself, and made him burn with eagerness. His fingers itched to plunge among the gems he had heard described by story-tellers in the market squares of Keshia, who repeated tales handed down from mouth to mouth through the centuries—jewels not to be duplicated in the world, rubies, emeralds, diamonds, bloodstones, opals, sapphires, the loot of the ancient world.

He had expected to find the oracle-effigy seated on the throne, but since it was not, it was probably placed in some other part of the palace, if, indeed, such a thing really existed. But since he had turned his face toward Keshan, so many myths had proved to be realities that he did not doubt that he would find some kind of image or god.

Behind the throne there was a narrow arched doorway which doubtless had been masked by hangings in the days of Alkmeenon’s life. He glanced through it and saw that it let into an alcove, empty, and with a narrow corridor leading off from it at right angles. Turning away from it, he spied another arch to the left of the dais, and it, unlike the others, was furnished with a door. Nor was it any common door. The portal was of the same rich metal as the throne, and carved with many curious arabesques.

At his touch it swung open so readily that its hinges might recently have been oiled. Inside he halted, staring.

He was in a square chamber of no great dimensions, whose marble walls rose to an ornate ceiling, inlaid with gold. Gold friezes ran about the base and the top of the walls, and there was no door other than the one through which he had entered. But he noted these details mechanically. His whole attention was centered on the shape which lay on an ivory dais before him.

He had expected an image, probably carved with the skill of a forgotten art. But no art could mimic the perfection of the figure that lay before him.

It was no effigy of stone or metal or ivory. It was the actual body of a woman, and by what dark art the ancients had preserved that form unblemished for so many ages Conan could not even guess. The very garments she wore were intact—and Conan scowled at that, a vague uneasiness stirring at the back of his mind. The arts that preserved the body should not have affected the garments. Yet there they were—gold breast-plates set with concentric circles of small gems, gilded sandals, and a short silken skirt upheld by a jeweled girdle. Neither cloth nor metal showed any signs of decay.

Howard actually does a fair amount of switching back-and-forth from the story’s present and past—the beginning of “Jewels of Gwahlur” makes for rather uneven reading, in my opinion. Thomas and Giordano stick with Howard’s flashback scheme in their adaptation, while greatly abbreviating Howard’s verbiage—talk about a picture being worth a thousand words!—although the dialogue balloons and narration boxes still threaten to overwhelm the art:

Russell, on the other hand, stitched together all the flashback sequences and presented them continuously. while also “decompressing” the flashback scenes and allowing them to breathe a bit better:

In an interview published with the hardcover collection of his adaptation, Russell explained the rationale for the change:

In reading the original story I thought the way [Robert E. Howard] slowly revealed the backstage maneuvering was unnecessarily confusing. I worried that the political chess-playing angle would be diluted if it was dropped into the middle of later action scenes

So I thought it best to combine it all in the opening scenes so that the setup would be perfectly clear to the reader.

Here are resources for readers interested in conducting a comparative study of the original text, the Thomas/Giordano adaptation, and Russell’s adaptation on their own:

  • Robert E. Howard’s “Jewels of Gwahlur” (also known by the alternative titles “Teeth of Gwahlur” and “The Servants of Bit-Yakin”) is in the public domain in Canada, Australia, and the United States (and perhaps in many other countries that are signatories to the Berne Convention). A free transcript of the original manuscript can be read at the Project Gutenberg Australia site. A free audiobook recording is also available at the Librivox site.
  • Roy Thomas and Dick Giordano’s adaptation of the story can be found in The Savage Sword of Conan #25 (December 1977), published by Marvel under its Curtis Magazines imprint. The issue was most recently reprinted in The Savage Sword of Conan, Vol. 3, published in May 2008 by Dark Horse Books (also available in digital formats from ComiXology and Dark Horse Digital).
  • P. Craig Russell’s adaptation was originally published by Dark Horse Comics in single magazine format as Conan and the Jewels of Gwahlur #1–#3 (April–June 2005). The miniseries was collected in a hardcover edition, published in December 2005 by Dark Horse Books (also available in digital formats from ComiXology and Dark Horse Digital).
Have Your Say
Your Name ↓
Your Email ↓
Your Website ↓
Tell us what you think of this story ↓
You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>
Advertisements

Connect With Us!
The Geeksverse on Instagram
Recent Comments