Kull. The Cat and The Skull. David Lapham (Writer), Gabriel Guzman (Art), Garry Henderson (Colours), Richard Starkings (Letters). Dark Horse Books (2012)

Very engaging and enjoyable sword and sorcery story that very effectively uses the story framework of the Kull adventures. When a young woman, Delcardes, arrives at Kull's court with a member of an ancient race, a cat called Sartemes she creates a stir. For Kull the news that the cat can see the future makes Saremes a very valuable advisor. As he is trying to rule Valusia in spite of the rumbling opposition of a large section of the population who despise him as a barbarian usurper, any advantage is very welcome. At the same time the snake cult , lead by a wizard who claims a direct connection to the snake god, is reasserting itself as a dangerous force. The story unfolds at a great pace, the reveals are very well staged, the action is superb and the climax is a nice piece of door opening to new story possibilities.
The most enjoyable aspect to this story is the smart way David Lapham uses two of the basic threads of any Kull story, the precarious position he is in as the King of Valusia and the fact that Kull is a barbarian with the fierce uncluttered will to win that comes with being one. There is a delicate balance that needs to be established and maintained between the problems that Kull has coming from his position and the solutions coming from his being a barbarian.In the story the balance is struck very well with a excellent use of two critical supporting cast members that can pick up the weight of the formula without it being unduly mechanical. Kull's wife, Igraine, daughter of the king Kull killed to take the throne, was born to the court and understands the intrigue and need for cermony. Wholly civilised and Valusian she brings that aspect of the story with her with a natural grace and sharp insight. On the other side the Pict, Brule The Spear Slayer is an unfettered barbarian, a companion for Kull when spilling blood is the way forward. Between they two they create the room for Kull to fill both his roles without falling too far into one or the other. Kull has the opportunity to be a king and a barbarian as required in a very satisfactory ways and his encounter with one of his major enemies in a confrontation creates a great set of possibilities for future stories.
Gabriel Guzman's art is lush and detailed, moving effectively across the multiple scenes above water and under it. The action is fluid and forceful, matched by the acute body language and expressive faces that underscore the dangerous quiet of the court and the constant movements of plots around the throne. Garry Henderson's bold colours are perfect for the full tilt storytelling called for by the genre. They bring out the details of the art and decoration that give Valusian a strong physical presence. Richard Starkings' subtle letters are so unobtrusively full of craft that they are heard as much as read. A great read.

Kull: The Hate Witch. David Lapham (Writer, Gabriel Guzman (Art), Marino Taibo (Inks), Dan Jackson (Colours), Richard Starkings (Letters). Dark Horse Books (2011) (

Enjoyable sword and sorcery story. Kull is visited in Valusia by an old enemy from Atlantis, the Hate Witch. She is the last survivor of an ancient race that ruled in Atlantis and she sees Kull as the key to her revenge on humanity. Kull is forced to chase her back to to Atlantis, where he is a hated enemy and exile, and where the Hate Witch can fulfill her plans. The reveals are smart and the action is fast and sharp.
Sword & sorcery is by its nature a straightforward genre, dealing in big ideas and loud action, it is possible to be too straightforward and this book is an example of that. Kull is a barbarian king of an old empire, ruling a restive population that do not fully accept him and surrounded by the constant possibility of revolt. Diplomacy is not his strong suit and the administrative aspect of ruling bores him. The opening of the book takes advantage of this as the Hate Witch starts to murder people to draw Kull into her plans. The existing fractures in Valusia are put under great pressure forcing Kull to return to Atlantis and deal with the threat.
Once on Atlantis the story looses its nice complexity and become a very straightforward hunt and kill, the return of an exile stirring up memories and more. Unlike the situation in Vaslusia where there is a nicely complex web of loyalties and jealousies simmering all the time, the action in Atlantis is just too simple.
The fact that Kull is exiled from Atlantis does not have enough present significance for the situation in Valusia for it to really matter much, so a story where it is central feels like a detour from the main action. While it does give some background and the Hate Witch is a first rate foe it is just too far from the central premise of the whole Kull saga to have much weight.The art by Gabriel Guzman and Mariano Taibo is lovely throughout the book, action or court dispute are given care and detail that make them a pleasure to read. For a story where physical presence and action is vital the cast move with in the context with force and energy. The facial expressions and the body language are clear and engaging, the cast are individual and feel like they are really on the adventure. The colours by Dan Jackson are superb, they draw out the details of the art without ever drowning it. Richard Starkings provides great sound effects and letters that give the words nuance and tone.
A minor well told Kull story is still a pleasure.