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#robert e. howard
sictransitgloriamvndi · 4 months
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chernobog13 · 3 months
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Earl Norem's original painting for the cover of The Savage Sword of Conan (vol. 1) #23 (October, 1977), featuring Red Sonja and Conan.
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atomic-chronoscaph · 1 month
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Red Sonja - art by Tony DeZuniga (2005)
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dirtyriver · 2 months
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Savage Sword of Conan #51, April 1980, pin-up by Nestor Redondo
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howardia · 4 months
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“She was a luscious Hyborian, round, fair, with a mask of gold between her thighs–but she was corrupt. Overlorded by a dæmon; which so evidently lumbered over her, casting the shadow of a reptilian beast.”
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80smovies · 3 months
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misforgotten2 · 4 months
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A book you very likely don’t have on your shelf #437
Cover by Alva Rogers -- 1945
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theactioneer · 9 months
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Conan the Cimmerian (Virgin Games, 1991) 
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renegade-chaos-druid · 5 months
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"Break the skin of civilization and you find the ape, roaring and red-handed."
-Robert E. Howard
(art by Frank Frazetta)
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voidpunkverse · 7 months
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Conan the Warrior by Robert E. Howard, ed. by L. Sprague de Camp
1977 Ace reprint of the original 1967 Lancer edition, my own copy.
Cover art by Frank Frazetta.
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stickybasementobject · 3 months
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coupleofdays · 3 months
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One of the most interesting Lovecraft stories is the time he participated in a round-robin with some other pulp authors, the story being called "The Challenge from Beyond". Lovecraft's part of the story is about a guy who finds himself on an alien planet, and then in a typical Lovecraft twist, his part ends with the guy looking in a mirror and fainting when he discovers that his mind has been put in the body of one of the centipede-like aliens. This could be a fairly typical ending to a Lovecraft story. What's interesting is what happens next, when his old buddy Robert E. Howard writes the next part. This is how his part begins:
"From that final lap of senselessness, he emerged with a full understanding of his situation. His mind was imprisoned in the body of a frightful native of an alien planet, while, somewhere on the other side of the universe, his own body was housing the monster’s personality.
He fought down an unreasoning horror. Judged from a cosmic standpoint, why should his metamorphosis horrify him? Life and consciousness were the only realities in the universe. Form was unimportant. His present body was hideous only according to terrestrial standards. Fear and revulsion were drowned in the excitement of titanic adventure.
What was his former body but a cloak, eventually to be cast off at death anyway? He had no sentimental illusions about the life from which he had been exiled. What had it ever given him save toil, poverty, continual frustration and repression? If this life before him offered no more, at least it offered no less. Intuition told him it offered more—much more.
With the honesty possible only when life is stripped to its naked fundamentals, he realized that he remembered with pleasure only the physical delights of his former life. But he had long ago exhausted all the physical possibilities contained in that earthly body. Earth held no new thrills. But in the possession of this new, alien body he felt promises of strange, exotic joys."
From what I've seen on Tumblr, I think there are some folks here who would appreciate Howard's sentiment.
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chernobog13 · 1 year
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The three stages of Red Sonja by Frank Thorne:
- The Roy Krenkel version of the original Robert E. Howard character, Red Sonya of Rogatino, introduced in the story The Shadow of the Vulture.
- Red Sonja, the character created by Roy Thomas and Barry Windsor Smith in 1973, adapting Howard’s Red Sonya and transporting her to the Hyborian Age where she could interact with Conan the Barbarian.
- Red Sonya in the chainmail bikini designed by artist Esteban Maroto, and used to great effect by Frank Thorne, the artist most associated with Red Sonja during her long run at Marvel.
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atomic-chronoscaph · 1 month
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Red Nails - art by Margaret Brundage (1936)
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dirtyriver · 3 months
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Savage Sword of Conan #49, February 1980, pin-up by Tony DeZuniga
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howardia · 4 months
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“And the dark warrior stole forth on his thick destrier with his new sultry capture bellied on the nape of the very steed”
(For those who don’t know, this artwork is Tim Vigil’s rendition of Frazetta’s cover art for “Flashman at the Charge”)
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