Marvel Comics - Conan The Barbarian # 104 - Original Comicbook Cover Art - (1979) - Artist: Ernie Chan (pencils & inking). ERNIE CHAN (Ernesto Chan - 1940-2012), was a Filipino-American comicbook artist, who worked for Marvel Comics and DC Comics, and collaborated on high-profile comicbook-series such as Detective Comics, The Incredible Hulk, Doctor Strange, Conan The Barbarian, and Savage Sword of Conan, during the Bronze Age of American comicbooks (1970-1985). At Marvel, he received big recognition for his collaboration as inker on the pencil-art of John Buscema, on the comicbook series "Conan The Barbarian", from issue #57 and on, stretching past "The Queen Of The Black Coast" storyline. To fans and connoisseurs, the Buscema-Chan collaboration depicted a Conan The Barbarian, that was the most faithful version, of the vision of his creator, the writer Robert E. Howard. Currently, the "Conan The Barbarian" franchise is trending, since Arnold Schwarzenegger recently announced, that the production of a new Conan-movie has started, with a story about Conan as an older king. ORIGINAL COMICBOOK COVER ART ERNIE CHAN was a longtime inker on the "Conan The Barbarian" comics, inking over the pencil-art of John Buscema, for the comicbook-stories, and the comicbook-covers. But for the cover of "Conan The Barbarian # 104", Chan was the penciller, as wel as the inker of the original comicbook cover-art. This way, his 100% original comicbook cover-art for issue 104, became an integral part of the classic iconic collection of "Conan The Barbarian" comicbook-covers. STORY: The story "The Vale Of Lost Women" is a comicbook adaption by scenarist Roy Thomas, of one of the stories by Robert E. Howard, that was inspired by H.P. Lovecraft's "Chtulhu" mythology, and the ancient monsters that inhabit those weird dimensions. COVER-ART-THEME: The cover-art of "Conan The Barbarian # 104" shows Conan, fighting for life against a vicious winged Lovecraftian monster, while he tries to save the priestess Livia. DRAWING PAPER QUALITY: The cover-art was originally in framed condition, behind UV-resistant glass and passe-partout. This might still explain the very slight yellowing in the paper on the outer-edges of the cover-art illustration on the front side.