From its inception, this tale has been as mighty as Conan himself. In this issue, things go left as Conan’s relationship with the Kozaki tribe goes south in the face of an infighting at the top of the food chain. Bunn does an incredible job at pulling in the story and setting it back on its violent path when the moments call for it. Brutality is Conan’s calling card. Yet Bunn refuses to write a lazy arc that leaves the heavy lifting for Dávila. At its best, the events that litter this issue force readers to choose a side to root for. There will always be those that take up the cause of the villain. The Kozaki chieftain’s youngest son plays that role to the hilt as his sinister ways reek of disloyalty and desperation. When all is struck down, Conan is left once again standing as a morose idol that has seen more carnage than maybe even he cares for. Atiyeh did a nice job making the bloodier moments pop against the neutral hues of the background. Most of his color choices are not garish opting to create a palette that is interesting yet restrained. Whether it’s the story, the art or how that art was filled in, its subtlety that wins the day here. This is strange because Conan The Slayer is the last title that would be expected to create onion-like layers to get its point across. Looking for something that feels cinematic? Conan The Slayer is exactly that book that fills that need. There’s a reason why this trio is so well-regarded in this business. Dark Horse has another hit.