Batman/Tarzan: Claws of the Catwoman


By Ron Marz, Igor Kordey & various (Dark Horse Books/DC Comics)
ISBN: 978-1-5697-1466-9 (US TPB)            978-1-84023-235-6 (Titan Books edition)

I’m never particularly comfortable with the passion for cross-pollination that seems to obsess comics publishers. I admit that occasionally something greater than the sum of the originals does result, but usually the only outcome of jamming two different concepts into the same package is an uncomfortable, ill-fitting mess. So this tale – originally a 4-issue inter-company miniseries from the turn of the century – is a welcome example of success, and I’ll even offer a possible explanation for why…

This March sees the 80th anniversary of the Bat-Man’s debut. I expect there to be some fuss about the event and maybe even the re-release of a few lost treasures from his vast canon. I hope this is one of them…

Although primarily a literary and filmic phenomenon, Tarzan of the Apes has certainly won his spurs in graphic narrative. Edgar Rice Burroughs’ novel was published in 1912, with movies cropping up from 1917 onwards. The first pictorial adventures came on January 7th 1929: a newspaper daily strip by Hal Foster augmented by a full-page Sunday serial by Rex Maxon from March 15th 1931. It’s still running. In 1947, Lord Greystoke conquered the comicbook arena, beginning in Dell’s Four Color Comics #134 and 161 before hurtling into his own long-lived title in January 1948.

So what’s on offer here?

When Great White Hunter Finnegan Dent returns to Gotham City with artefacts from a lost city he has discovered in Africa, his sponsor and backer is delighted. But Bruce Wayne has reason to change his mind when he meets John Clayton, a charismatic English Lord known alternatively as Greystoke or Tarzan of the Apes…

The two quickly discover they have a lots in common: both orphans due to crime, extraordinary men shaped by wealth, privilege and mutual interest in Justice, albeit in very different and particular jungles…

When the feline Princess Khefretari tries to steal back the looted treasures of her very-much-thriving civilisation, she catapults the heroes into a frantic chase and dire battle against a ruthless monomaniac.

This classical pulp-informed tale invokes all the basic drives of both characters without ever getting bogged down in continuity or trivia. It is first and foremost an action adventure, full of emotional punches delivered with relentless rapidity. There are good guys and bad guys, no extraneous fripperies and plenty of cliffhanger moments before virtue triumphs and evil is punished.

In Claws of the Catwoman you need only have the most meagre grounding in either character to enjoy this simple thriller – and you will, so let’s hope it’s on someone’s schedule for republishing…
Text and illustrations © 1999, 2000 Dark Horse Comics, Inc., DC Comics, Inc. & Edgar Rice Burroughs Inc. All Rights Reserved.

Edgar Rice Burroughs’ Tarzan: The Complete Joe Kubert Years


By Joe Kubert with Burne Hogarth, Hal Foster, Frank Thorne, Robert Kanigher, Russ Heath & various (Dark Horse)
ISBN: 978-1-61655-982-3 (PB)

Win’s Christmas Gift Recommendation: Captivating Classic Comics Entertainment… 9/10

Soon after first publication in 1912 Tarzan of the Apes became a multi-media sensation and global brand. More novels and many movies followed; a comic strip arrived in 1929, followed by a radio show in 1932 with the Ape-Man inevitably carving out a solid slice of the comicbook market too, once that industry was firmly established.

Western Publishing were a big publishing and printing outfit based on America’s West Coast, rivalling and frequently surpassing DC and Marvel at the height of their powers. They specialised in licensed properties and the jewels in their crown were all the comics starring the Walt Disney and Warner Brothers cartoon characters.

The publishers famously never capitulated to the wave of anti-comics hysteria that resulted in the crippling self-censorship of the 1950s. Dell Comics – and latter imprints Gold Key and Whitman – never displayed a Comics Code Authority symbol on their covers. They never needed to…

Dell also sought out other properties like movie or newspaper strip franchises, and would become inextricably associated with TV adaptations once the small screen monopolised modern homes.

In 1948 Dell produced the first all-new Tarzan comicbook. The newspaper strip had previously provided plenty of material for expurgated reprint editions until Dell Four Color Comic #134 (February 1947).

This minor milestone featured a lengthy, captivating tale of the Ape-Man scripted by Robert P Thompson – who wrote both the Tarzan radio show and aforementioned syndicated strip – with art by the legendary Jesse Marsh.

Marsh & Thompson’s Tarzan returned with two further tales in Dell Four Color Comic #161, cover-dated August 1947. This was a frankly remarkable feat: Four Colour was a catch-all umbrella title that showcased literally hundreds of different licensed properties – often as many as ten separate issues per month – so such a rapid return meant pretty solid sales figures.

Within six months the bimonthly Tarzan #1 was released (January/February 1948), beginning an unbroken run that only ended in 1977, albeit by a convoluted route…

After decades as solid Whitman staples, licensing of Edgar Rice Burroughs properties was transferred to DC – not just Tarzan and his extended family, but also fantasy pioneers John Carter of Mars, Carson of Venus, Pellucidar and others – with the new company continuing the original numbering.

Tarzan #207 had an April 1972 cover-date and the series carried on until February 1977 and issue #258. From then on Marvel, Malibu and Dark Horse extended the jungle Lord’s comicbook canon…

The early 1970s were the last real glory days of National/DC Comics. As they slowly lost market share to Marvel, they responded by producing controversial and landmark superhero material, but their greatest strength lay – as it always had – in the variety and quality of its genre divisions.

Mystery and Supernatural, Romance, War and Kids’ titles remained strong or even thrived and the company’s eye for a strong brand was as keen as ever.

The Ape Man and his family had been a mainstay of Dell/Gold Key, as well as a global multi-media phenomenon, so when DC acquired rights they justifiably trumpeted it out, putting one of their top creators in sole charge of the legendary Ape-Man’s monthly exploits, as well as generating a boutique bunch of ERB titles in a variety of formats.

The DC incarnation premiered in a blaze of publicity at the height of a nostalgia boom and was generally well received by fans. For many of us, those years provided the definitive graphic Tarzan, thanks solely to the efforts of the Editor, publisher and illustrator who shepherded the Ape-man through the transition.

They were all the same guy: Joe Kubert.

Kubert was born in 1926 in rural Southeast Poland (which became Ukraine and might be Outer Russia by the time you read this). At age two his parents took him to America and he grew up in Brooklyn. According to his Introduction his earliest memory of cartooning was Hal Foster’s Tarzan Sunday strips…

Joe’s folks encouraged him to draw from an early age and the precocious kid began a glittering career at the start of the Golden Age, before he was even a teenager. Working and learning at the Chesler comics packaging “Shop”, MLJ, Holyoke and assorted other outfits, he began his close association with National/DC in 1943.

A canny survivor of the Great Depression, he also maintained outside contacts, dividing his time and energies between Fiction House, Avon, Harvey and All-American Comics, where he particularly distinguished himself on The Flash and Hawkman.

In the early 1950s he and old school chum Norman Maurer were the creative force behind publishers St. Johns: creating evergreen caveman Tor and launching the 3D comics craze with Three Dimension Comics.

Joe never stopped freelancing, appearing in EC’s Two-Fisted Tales, Avon’s Strange Worlds, Lev Gleason Publications & Atlas Comics until 1955 when, with the industry imploding, he took a permanent position at DC, only slightly diluted whilst he illustrated the contentious and controversial newspaper strip Tales of the Green Berets from 1965 to 1968. From then on, he split his time drawing Sgt. Rock and other features, designing covers and editing DC’s line of war comicbooks.

And then DC acquired Tarzan…

This monumental paperback archive (also available in digital formats) collects the entirety of his work with the Ape-Man: stories from Tarzan #207-235 (April-November 1972 to February/March 1975); a tour de force of passion transubstantiated into stunning comic art, with Kubert writing, illustrating and lettering.

Moreover, the vibrant colours in this epic re-presentation are based on Tatjana Wood’s original guides, offering readers a superbly authentic and immersive experience whether you’re coming fresh to the material or joyously revisiting a beloved lost time.

The only disconcerting things about this stellar compilation are the cover reproductions, which appear in all their iconic glory but manipulated to remove DC’s trademark logos. The mightiest force in the modern jungle is still Intellectual Property lawyers…

The tense suspense begins with Kubert’s Introduction to earlier collections before an adaptation of debut novel Tarzan of the Apes opens with a safari deep in the jungle.

A pretty rich girl is driving her white guide and native bearers at a ferocious pace as she desperately hunts for her missing father.

When a bronzed god bursts into view battling a panther, she watches aghast as human impossibly triumphs over killer cat and then pounds his chest whilst emitting an astounding scream. As the terrifying figure vanishes back into the green hell the girl’s questions are grudgingly answered by the old hunter who relates a legend he has heard…

‘Origin of Tarzan of the Apes’ reveals how, following a shipboard mutiny, John Clayton, Lord Greystoke and his wife Lady Alice are marooned on the African coast with all their possessions, including the vast library of books and Primers intended for their soon-to-be-born baby…

Against appalling odds, they persevered with Greystoke building a fortified cabin to shelter them from marauding beasts, especially the curious and savage apes which roam the region. Despite the birth of a son, eventually the jungle won and the humans perished, but their son was saved by a grieving she-ape who adopted the baby to replace her own recently killed “Balu”…

The ugly, hairless boy thrived under Kala’s doting attentions, growing strong but increasingly aware that he was intrinsically different. He only discovered the how and why after years of diligent effort: through sheer intellectual effort and the remnants of his father’s books and papers, Tarzan learned to read and deduced that he was a M-A-N…

The tale within a tale continues in ‘A Son’s Vengeance: Origin of the Ape-Man Book 2’ as the boy rises to prominence amongst his hirsute tribe and through imagination and invention masters all the beasts of his savage environment. Eventually a brutal, nomadic tribe of natives settle in the area and Tarzan has his first contact with creatures he correctly identifies as being M-E-N like him…

The new situation leads to the greatest tragedy of his life as a hunter of M’Bonga’s tribe kills beloved, devoted Kala and Tarzan learns the shock of loss and overpowering hunger for revenge…

Issue #209 revealed how civilisation finally caught up with Tarzan as ‘A Mate For the Ape-Man: Origin of the Ape-Man Book 3’ saw him meet and save American Jane Porter, her elderly father and his own cousin…

Just as had happened years earlier, these unlucky voyagers were marooned by mutineers. Discovering John Clayton’s cabin, the castaways find the lost peer’s diary, which is of especial interest to William Clayton, the current Lord Greystoke. As tensions rise and humans die, Tarzan takes his golden-haired mate deep into the impenetrable verdure…

It all concludes neatly and tantalisingly in ‘Civilisation: Origin of the Ape-Man Book 4’ wherein the innately noble Tarzan returns Jane to her fiancé William just in time for the westerners to be rescued by Naval Officer Paul D’Arnot.

When the dashing French Lieutenant is captured and tortured by M’Bonga’s tribesmen, Tarzan rescues him and nurses him back to health. In return, the grateful sailor teaches him to speak human languages that up until that moment he could only read and write in…

By then, however, the navy vessel and saved souls have all sailed away, each carrying their own secrets with them…

With no other options, lovelorn Tarzan agrees to accompany D’Arnot back to civilisation. The eternal comrades eventually settle in Paris with Tarzan practically indistinguishable from other men…

Even today ‘Origin of the Ape-Man’ is still the most faithful adaptation of ERB’s novel in any medium: potent and evocative, fiercely expressive, a loving and utterly visceral true translation of the landmark saga.

Kubert’s intent was to adapt all 24 Burroughs novels and intersperse them with short, complete tales but the workload, coupled with his other editorial duties, was crippling. To buy some time #211 combined old with new as ‘Land of the Giants’ partially adapted and incorporated Don Garden & Burne Hogarth’s newspaper classic ‘Tarzan and the Fatal Mountain’: Sunday strip pages #582-595 which had originally ran from May 3rd to August 2nd 1942.

You can see that saga in all its uncut glory by tracking down Tarzan versus the Barbarians (Complete Burne Hogarth Comic Strip Library volume 2.

Here, however, a battle with crocodiles lands Tarzan in a lost valley where giant natives are persecuted by deformed, diminutive outworlder Martius Kalban; a sadist who hungers for the secrets of their prodigious size and strength. Even after gaining his dark desire, Kalban finds himself no match for the outraged Ape-Man…

It’s followed by ‘The Captive!’, a latter-day exploit beginning a run of yarns based on the short stories comprising ERB’s book Jungle Tales of Tarzan as the relationship between Ape-Man and elephants is explored with each saving the other from the ever-present threat of the hunters of M’Bonga…

The Jungle Tales reworkings continue with ‘Balu of the Great Apes’ as childhood friends of Tarzan becomes incomprehensibly aggressive after the birth of their first baby and this first astounding compilation ends with ‘The Nightmare’ as starving Tarzan steals and gorges on meat and drink from the native village.

The resultant food poisoning takes him on a hallucinogenic journey never to be forgotten: one that almost costs his life when he can no longer tell phantasm from genuine threat…

Following Kubert’s Introduction to Tarzan #215-#224, the pictorial wonderment resumes with another vintage visual treat as ‘The Mine!’ (Tarzan #215, December 1972) incorporates material originally seen in 1930s Sunday newspaper strips (by Hal Foster & George Carlin) embedded in an original tale by Kubert.

As previously deadline pressure again compelled Kubert to combine original with found material, detailing how the Ape-Man is captured by slavers and pressed into toil deep in the bowels of the earth for a sadistic mine owner.

Naturally, Tarzan soon chafes at enforced servitude and quickly leads a savage workers’ revolt to overturn and end the corporate bondage…

Issue #216 took another route to beating deadlines with old pal Frank Thorne pencilling Kubert’s script for ‘The Renegades’, leaving hard-pressed Joe to ink and complete the story of a murderous raid which wipes out a Red Cross mission.

Investigating the atrocity, Tarzan discovers the “maddened savages” responsible are actually white men masquerading as natives; stealing supplies for a proposed expedition to plunder a lost treasure vault. When he catches the culprits, Tarzan’s vengeance is terrible indeed…

‘The Black Queen!’ is an all-new, all-Kubert affair wherein the Jungle Lord almost saves a man from crocodiles. Acceding to the ravaged victim’s last wish, Tarzan then travels to his distant homeland and overturns the brutal regime of tyrannical Queen Kyra who rules her multicultural kingdom with whimsy, ingrained prejudice and casual cruelty…

The equally selfish choices of American millionaire tycoon Darryl T. Hanson blights his family as his search for ‘The Trophy’ decimates the fauna of Tarzan’s home and leads to a clash of wills and ideologies which can only end in tragedy…

With #219, Kubert began an epic 5-issue adaptation of ERB’s sequel novel The Return of Tarzan. It opens in Paris as the unacknowledged son of long-vanished Lord Greystoke tries to adapt to his new life as a civilised man of leisure.

One night his natural gallantry draws him to the side of a woman screaming for help and he is attacked by a gang of thugs. After easily thrashing the brigands he is astounded to find her accusing him of assault and simply bounds effortlessly away from the gendarmes called to the disturbance.

This entire trap has been engineered by a new enemy; Russian spy and émigré Nikolas Rokoff and his duplicitous toady Paulvitch

The rightful heir to the Greystoke lands and titles silently stood aside and let his apparently unaware cousin William Cecil Clayton claim both them and the American Jane Porter after Tarzan rescued her from attacking apes in the jungle. Missing her terribly, Tarzan had chosen to make his own way in the human world beside French Naval Officer Paul D’Arnot.

In the course of his urbane progression, the Ape-Man had exposed the Russian cheating at cards to blackmail French diplomat Count De Coude and earned himself a relentless, implacable foe forever.

When Rokoff subsequently tries to murder Tarzan, the vile miscreant agonisingly learns how powerful his jungle-bred enemy is…

With physical force clearly of no use, Rokoff’s latest plan is to put the Ape-Man through a ‘Trial by Treachery’; manufacturing “evidence” that Tarzan is having an affair with the Comte’s wife. Once again, the civilised beast underestimates his target’s forthright manner of dealing with problems and is savagely beaten until he admits to the plot and clears the innocent woman’s name…

With news of Jane’s impending marriage to Clayton, Tarzan seeks to ease his tortured mind with action and the next chapter sees him travel to Algeria where, sponsored by the grateful, ashamed Count, he begins working for the French Secret Service in Sidi Bel Abbes, ferreting out a traitor in the turbulently volatile colony…

His hunt soon leads him to a likely turncoat and subsequent brutal battle with Arab agent provocateurs, but things start to turn his way after he liberates a dancing slave who is the daughter of a local sheik.

When word of Jane comes from D’Arnot, Tarzan throws himself even more deeply into his tasks and falls into another ambush organised by Rokoff. This time his ‘Fury in the Desert’ seems insufficient to his needs until his newfound friend the Sheik rides to the rescue…

The intrigue continues to unfold in ‘Return of the Primitive’ as Tarzan finally uncovers a link between Rokoff and the espionage at Sidi Bel Abbes. Mission accomplished, he is then posted to Capetown and aboard ship meets voyager Hazel Strong, a close friend of Jane’s who reveals the heiress had never forgotten her tryst with an Ape-Man.

Unable to watch Jane enter into a loveless marriage, Hazel took off on an ocean cruise…

The story rocks Tarzan’s mind, but not so completely that he fails to notice Rokoff is also aboard and murderously dogging his footsteps. This time, however, the Russian is properly prepared and that night the jungle man vanishes from the ship…

Rokoff’s act of assassination is a purely pyrrhic victory. Soon after reaching Capetown the villain insinuates himself into the Clayton wedding party but when their yacht’s boilers explode next morning, he, Hazel, Clayton, Jane and her father are left adrift in a lifeboat…

Tarzan, meanwhile, has survived being tumbled overboard and spent days swimming hundreds of miles. He now washes up on the same beach his parents were left upon decades ago. Staggering inland, he finds himself in the cabin his father built before being stolen and adopted by Kala the She-Ape.

John Clayton is forgotten, for fate has brought Tarzan home…

A man changed by his time amongst other men, the Jungle Lord instinctively saves a native warrior from certain death and is astonished to find himself declared chieftain of the noble Waziri tribe.

…And off the coast, a lifeboat filled with dying travellers espies land and wearily sculls towards a welcoming beach in the heart of primeval forests…

Revelling in his newfound status, popularity and freedom, Tarzan enquires about the fabulous jewelled ornaments of his new friends and learns of an incredible lost metropolis. Soon he is curiously journeying to ‘The City of Gold’ where he encounters debased, degenerate sub-men led by a gloriously beautiful Queen.

La is high priestess of forgotten Atlantean outpost Opar, but can barely control her subjects enough to allow the perfect specimen of manhood to escape to safety. Both she and Tarzan know they are destined to meet again…

Refusing to be cheated of their sacrifice, the bloodthirsty Oparian males search far into the jungle and soon encounter the Clayton yacht survivors. When the primitives attack the human strangers and carry off Jane, Rokoff shows his true colours, leaving William to his fate. This callous act also inadvertently clears the path for Tarzan to finally claim his inheritance and reunite with Jane…

All the Jungle Lord has to do is break back into Opar, save his one true love from ‘The Pit of Doom!’ and escape the wrath of jealous Queen La…

That mission accomplished, he and Jane return to the beach in time to witness William’s dying confession and accept the succession to the estates and title of Lord Greystoke…

The adaptation is followed by an original adventure codicil, seeing Tarzan rescue a beautiful maiden from attacking apes and discovering she is a messenger from La, who is in peril of her life…

In Opar another insurrection by the Beast Men has left the Queen imperilled by her subjects and threatened by a gigantic mutant whom she tearfully reveals is her sibling in ‘Death is My Brother!’ With no choice, Tarzan regretfully battles the nigh-mindless brute and proves to the insurgents that his wrath is greater than their malice…

A third and final text missive of fond reminiscences from Kubert regarding the material from Tarzan #225-235 then leads into original tale ‘Moon Beast’ which sees a mother and child brutally slaughtered and Tarzan captured: framed for the hideous crime by cunning medicine man Zohar.

When the vile trickster overreaches himself, the captive Ape-Man breaks free but still has to deal with the mutant brute Zohar employed to perpetrate the atrocity…

Kubert only produced the cover for #226 as the crushing deadline pressures finally caught up with him. The contents – not included here – featured a retelling of the Ape-Man’s origins by Russ Manning, taken from the Sunday newspaper strips of 15th November 1970-7th February 1971.

Back for #227, Joe took Tarzan out of his comfort zone as ‘Ice Jungle’ saw young native warrior Tulum endure a manhood rite at the top of a mountain. Also converging on the site for much the same reason is American trust-fund brat J. Pellington Stone III, determined to impress his father by bagging a legendary snow ape. Sensing impending doom, Tarzan follows them both and is proved correct in his assessment…

After single-handedly killing an immense Sabretooth tiger in an unexplored region of the continent, Tarzan is captured by pygmies intent on offering him as sacrifice to a mighty monster who has terrorised them for years. However, his ‘Trial By Blood!’ sees Jungle Lord cleverly outwit giant lizard and teach the tribal elders a valuable lesson in leadership, after which albino queen Zorina seeks to extend her power by making him her consort.

The Ape-Man wants nothing to do with ‘The Game!’, and, after the kingdom descends into savage civil war, sees ironic Fate deal the white queen a telling death blow…

With Tarzan #230 (April/May 1974), the title transformed into a sequence of 100-page giants, mixing new material with reprints of ERB characters and thematically-aligned stars from DC’s vast back-catalogue.

Leading off that issue was a brief all-Kubert vignette as ‘Tarzan’ saves a deer from a lioness. That neatly segues into ‘Leap into Death’ starring Korak, Son of Tarzan and written by Robert Kanigher, with Kubert pencilling and inks from Russ Heath.

Here the titanic teen nomad hunted for his stolen true love Meriem and the barbarian Iagho who had abducted her, before stumbling into a nest of aggressively paranoid bird-people who learn to respect his courage but still fly away with his lover…

The next issue featured the start of another-Kubert-adapted Burroughs novel: possibly the most intriguing conception of the entire canon.

‘Tarzan and the Lion Man Part One’ saw a movie company on location in the deep jungle. They are making a picture about a white man raised by animals who becomes undisputed master of all he surveys. The chain of coincidences grows more improbable as actor Stanley Obroski is a dead ringer for Tarzan… which probably explains why he is taken by savages set on torturing him to death…

Rescued by Tarzan, Stanley explains how the expedition was attacked, unaware exactly how much trouble his fellow actors are in. During Obroski’s absence, stand-in Rhonda Terry and starlet Naomi Madison are kidnapped by El Ghrennem’s Arab bandits who believe the production’s prop map leads to an actual valley of diamonds…

When Tarzan find the rest of the film crew he is mistaken for Stanley and drawn into their search for the missing women. The plucky Americans have already made a mad dash for freedom, however, and Rhonda has been captured by creatures she simply cannot believe…

After a fascinating bonus section revealing Kubert’s ‘Layouts and Thumbnails’ for the opening chapter, ‘Tarzan and the Lion Man Part Two’ reveals Rhonda taken by apes who speak Elizabethan English, and made the subject of a fierce debate. Half of the articulate anthropoids want to take her to “God” whilst the other faction believes her a proper prize of their liege lord “King Henry VIII”…

After being briefly recaptured by El Ghrennem, Naomi too is taken by the talkative Great Apes. When Tarzan discovers the kidnapper’s corpses, he follows the trail up an apparently unscalable escarpment. Rescuing and returning Miss Madison to her surviving friends, “Stanley” then returns to ascend the stony palisade and discover an incredible pastoral scene complete with feudal village and English castle…

Tracking Rhonda, he enters the citadel and meets a bizarre human/ape hybrid calling himself God. The garrulous savant explains that once he was simply a brilliant Victorian scientist pursuing the secrets of life. When his unsavoury methods of procuring test-subjects forced him to flee England and relocate to this isolated region of Africa, he eventually resumed his experiments and transformed himself into a superior being and apes into fitting servants.

Now they have a society of their own – based on the history books he brought with him – and his experiments are nearing completion. Having already extended his life and vitality far beyond its normal span by experimenting upon himself, God is now ready to attain immortality and physical perfection. All he has to do is consume Tarzan…

Of course, the madman has no conception of his captive’s capabilities, and when the Ape-Man and Rhonda promptly vanish from their dungeon it sends the palace into turmoil and God into a paroxysm of insanity…

The chaos also prompts already ambitious apostate King Henry to begin a revolution to overthrow his creator. As ‘Tarzan and the Lion Man Part Three’ opens, the war between Church and State is in full swing and Tarzan battles to rescue Rhonda whilst God’s castle becomes a flaming hell.

Losing her in the chaos Tarzan is forced into a hasty alliance with God, unaware that maniacal monarch Henry has taken her back to the jungles below the escarpment and into a region where God casts his scientific failures…

All too soon Henry is dead and Rhonda is facing beings even stranger than talking apes. Thankfully, ‘Tarzan and the Lion Man Part Four’ (preceded by another fascinating Kubert Layout spread) sees the Ape-Man arrive in time to save her from incredible peril before returning her to the film party in the dazzling, tragic conclusion…

Kubert ended his close association with Tarzan in #235’s ‘The Magic Herb’. Here the jungle hero saves a couple from a crashed aeroplane and siblings Tommy and Gail urge him to help them find a legendary flower that might cure the man’s fatal ailment. However, something about them makes Tarzan deeply suspicious…

Nevertheless, he takes them to the primeval lost valley where it grows, only to be betrayed as the intruders frame him: throwing the jungle lord to the resident lizard men whilst fleeing with specimens that will make them millionaires in the outside world.

Sadly, the treacherous pair have completely misunderstood the powers of the plant and pay the ultimate price all betrayers must…

Wrapping up the astounding thrills and captivating artistry (splendidly remastered by Sno Cone Studious & Jason Hvam) are more revelatory treasures from ‘Joe Kubert’s Tarzan Sketchbook’ tracing the art process from page-roughs to competed page

Supplemented by Creator Biographies of Burroughs and Kubert, this tome is another unmissable masterpiece of comics creation and wild adventure no lover of the medium or fantasy fan can afford to be without.
Edgar Rice Burroughs’ The Complete Joe Kubert Years © 1972, 1973, 1974, 1975, 2005, 2016 Edgar Rice Burroughs, Inc. All rights reserved. Trademark Tarzan and Edgar rice Burroughs Inc. All rights reserved.

Edgar Rice Burroughs’ Tarzan: The Jesse Marsh Years Omnibus volume 1


By Gaylord DuBois & Jesse Marsh with Robert P. Thompson (Dark Horse Books)
ISBN: 978-1-50670-224-7                  eISBN: 978-1-63008-760-9

Win’s Christmas Gift Recommendation: Epic, Eternal Adventure… 9/10

I don’t know an awful lot about Jesse Marsh, other than that he was born on 27th July 1907 and died far too young: on April 28th 1966 from diabetic complications at the height of a TV Tarzan revival he was in some part responsible for. What I do know, however, is that to my unformed, pre-fanboy, kid’s mentality, his drawings were somehow better than most of the other artists and that every other kid who read comics in my school disagreed with me.

There’s a phrase we used to use at 2000AD that summed it up: “Artist’s artist”, which usually meant someone whose fan-mail divided equally into fanatical raves and bile-filled hate-mail. It seems there are some makers of comic strips that many readers simply don’t get.

It isn’t about the basic principles or artistic quality or even anything tangible – although you’ll hear some cracking justifications: “I don’t like his feet” (presumably the way he draws them) and “it just creeps me out” being my two favourites…

I simply got Jesse Marsh.

He was another Disney animator (beginning in 1939) who in 1945 moved sideways to become a full-time comics illustrator for the studio’s comicbook licensee Whitman Publishing. He never looked back and became the go-to guy for other ERB adaptations such as John Carter of Mars.

Situated on the West Coast, their Dell and Gold Key imprints rivalled DC and Marvel at the height of their powers, and they famously never capitulated to the wave of anti-comics hysteria that resulted in the crippling self-censorship of the 1950s. No Dell Comics ever displayed a Comics Code Authority symbol on the cover – they never needed to…

Marsh jobbed around the adapted movie properties – mostly on westerns like Gene Autry – until 1948 when Dell introduced the first all-new Tarzan comicbook. A newspaper strip had run since 1929 and all previous funnybook releases had featured expurgated reprints of those adventures. This changed with Dell Four Color Comic #134 (February 1947) which featured a lengthy, captivating tale of the Ape-Man scripted by Robert P. Thompson, who wrote both the Tarzan radio show and the aforementioned syndicated strip.

‘Tarzan and the Devil Ogre’ is very much in the Burroughs tradition: the sometime John Clayton AKA Lord Greystoke and his friend Paul D’Arnot aid a young woman in rescuing her lost father from a hidden tribe ruled over by a monster, an engrossing yarn made magical by the simple, underplayed magic of a heavy brush line and absolutely unmatched design sense.

Marsh was unique in the way he positioned characters in space, using primitivist forms and hidden shapes to augment his backgrounds, and as the man was a fanatical researcher, his trees, rocks, and constructions were 100% accurate. His animals and natives, especially the children and women, were all distinct and recognisable – not the blacked-up stock figures in grass skirts even the greatest artists too often resorted to.

He also knew when to draw big and draw small: the internal dynamism of his work is spellbinding.

His Africa became mine, and of course the try-out comicbook was an instant hit. Marsh and Thompson’s Tarzan returned with two tales in Dell Four Color Comic #161, cover-dated August 1947. This was a remarkable feat: Four Colour was a catch-all title showcasing in rotation literally hundreds of different licensed properties, often as many as ten separate issues per month. So rapid a return engagement meant pretty solid sales figures…

In ‘The Fires of Tohr’ (adapted by Thompson from an unsold radio script), Tarzan and D’Arnot rescue a stranded professor and his niece as they search for a fabulous lost city, only to fall foul of the crazed queen of that ancient race, whilst in follow-up tale ‘Tarzan and the Black Panther’ the Lord of the Jungle crushes a modern slave trader who thinks himself beyond the reach of justice.

Within six months the bimonthly Tarzan #1 was released (January-February 1948), a swan-song for Thompson, but another unforgettable classic for Marsh – and the first of an unbroken run that would last until 1965: over 150 consecutive issues. In ‘Tarzan and the White Savages of Vari’ Greystoke rescued a lost prospector from a mountain kingdom of Neanderthals and the issue also featured the first of many pictorial glossaries, Tarzan’s Ape-English Dictionary, giving generations of youngsters another language to keep secrets in…

‘Tarzan and the Captives of Thunder Valley’ (Tarzan #2, March-April 1948) introduced a few more recurring characters such as Manu the monkey and noble great ape Gufta in the first of many tales written by Gaylord DuBois.

The Editor and prolific scripter (Lone Ranger, Lost in Space, Turok, Son of Stone, Brothers of the Spear and many more) would be Marsh’s creative collaborator for the next 19 years.

The story detailed how the Lord of the Jungle goes to the aid of an English boy searching for his father, a scientist specialising in radioactive ores. A sinister plot is duly uncovered that threatens to destabilise the entire world and concludes in a spectacular climax worthy of a Bond movie.

Issue #3 introduces Greystoke’s African family. In ‘Tarzan and the Dwarfs of Didona’ Jane is left to mind the store when Boy – later called Korak – plays with baboons and gets lost on an island in the Great Lake. Threatened with blood sacrifice by aggressive white pygmies, the dauntless lad can only wait for rescue – and a severe chastising…

In issue #4, (July-August 1948), ‘Tarzan and the Lone Hunter’ plunges the reader deeply into the fantastic worlds of Edgar Rice Burroughs as old friend Om-At the cat man from the lost land of Pal-Ul-Don (introduced in 8th novel Tarzan the Terrible) comes looking for his stolen mate and accidentally embroils the Ape-Man and his brood in a deadly battle with a megalomaniacal witch-doctor…

Two months later ‘Tarzan and the Men of Greed’ clashes in #5, as American gangsters unite with Arab slaver Hassan to steal Atlantean gold hidden in the vaults of the lost city of Opar. Their first move is to take Jane and Boy hostage, but they quickly learn that Clayton’s greatest asset is not his mighty limbs or bestial allies, but a cunning, devious brain…

Issue #6 returns to the primeval region of dinosaurs in ‘Tarzan and the Outlaws of Pal-Ul-Don’. The Jungle Lord and Boy are drawn beyond the Great Thorn Desert after beast-men abduct Jane and their quest soon sees Tarzan embroiled in a brutal civil war shaking that savage land…

More dinosaur delights are on offer in ‘Tarzan in the Valley of Monsters’ (#7) which sees an unsanctioned hot air balloon excursion dump Boy and his Waziri playmate Dombie in a secret valley infested with giant lizards and other antediluvian menaces. When Tarzan and Dombie’s dad Muviro fly after them in a plane, catastrophe ensues and the humans are forced into an arduous trek home across terrifying vistas and through lethal natural hazards…

Morris Gollub began illuminating the covers with #8 as ‘Tarzan and the White Pygmies’ finds the Greystoke, Muviro, Boy and Dombie still stranded far from home. As they laboriously traverse an immense mountain range, they are befriended by diminutive albino warriors and save their undiscovered city of Lipona from an invasion of predatory vultures…

In #9 our heroes resurface in Pal-Ul-Don where ‘Tarzan and the Men of A-Lur’ unite to save a bastion of civilisation from brutal insurrection whereas issue #10 provides two shorter, complete tales. Safely back in his home range ‘Tarzan and the Treasure of the Bolgani’ finds the erstwhile English Lord aiding Muviro after a band of city-dwelling gorillas abduct his fellow tribesmen. Then, Boy ignores adult warnings to mind his manners with the volatile monkeys and ends up in painful distress as ‘The Baboon’s King’

The Ape-Man makes new friends in #11 as ‘Tarzan and the Sable Lion’ sees him domesticate a magnificent feline predator before joining wandering warrior Buto in saving his captured tribe from the marauding slavers of Abou Ben Ephraim. ‘Tarzan and the Price of Peace’ in #12 then relates how the displaced English peer plays matchmaker, helping lovesick Kolu secure a bride-price for his beloved Leelah. Of course, the rich chief she was promised to has objections and many armed servants determined to make trouble…

Tarzan #13 (January-February 1950) opens a new era as a run of photo-covers – starring then-current movie Ape-Man Lex Barker – begins. Inside, ‘Tarzan and the Knight of Lyonesse’ has the heroic stalwart ally with Hal Hogarth, a knight errant of lost Crusader colony Carmel, founded 900 years previously by the followers of Richard the Lionheart.

The man out of time is on a quest to beard the Saracens for the honour of a fair lady and needs all the help he can get when the beastly revenants of Opar ambush him…

Balancing the high drama ‘Tarzan and the Ape-Hunter’ sees Greystoke dealing harshly with a ruthless trapper attempting to capture specimens of rare wildlife, whilst in #14 a return to the Valley of Monsters leads to another encounter with living history with ‘Tarzan and the Lost Legion’ detailing the discovery of an unknown Roman outpost, complete with its own power-crazed Imperator…

Backing up the epic ‘Tarzan and the Flying Chief’ adds light humour as a bullying native headman absconds with a small plane he cannot pilot and learns a most life-altering lesson…

‘Tarzan and the Cave Men’ is the lead in #15, revealing how a leisurely trip to Opar drops Tarzan into a plot by gigantic troglodytes to kidnap sublime Queen La, supplemented by ‘Tarzan and the Hunter’s Reward’ in which the Jungle Lord comes to the aid of another maiden being sold off in unwanted marriage.

This stunning paperback (and digital) compilation concludes with #16 (July-August 1950) ‘Tarzan and the Beasts in Armor’ as the wandering Lord revisits old ally Om-At and teaches Boy the finer points of training a triceratops, just as white outworlders attempt to conquer the primeval region. Then the marvels draw to a close as the indefatigable adventurer adds a colossal antelope to his collection of livestock and ends a nasty outbreak of human sacrifice in ‘Tarzan and the Giant Eland’.

Scattered throughout the fantastic fiction are educational features, back-cover pin-ups and information pages such as ‘Tarzan’s Friends’, ‘Jungle Animals’, ‘Tarzan’s Ape-English Dictionary’ and ‘Jungle World’, offering charming sidebars into the world of Edgar Rice Burroughs’ greatest creation.

Although these are tales from a far-off, simpler time they have lost none of their passion, inclusivity and charm, whilst the artistic virtuosity of Jesse Marsh looks better than ever. Perhaps this time a few more people will “get” him…
Edgar Rice Burroughs® Tarzan®: The Jesse Marsh Years Omnibus volume 1 © 1947, 1948, 1949, 1950, 2009 2017, Edgar Rice Burroughs Inc. Tarzan ® Edgar Rice Burroughs Inc. All rights reserved.

Tarzan and the Lost Tribes (The Complete Burne Hogarth Comic Strip Library volume 4)


By Burne Hogarth & Rob Thompson (Titan Books)
ISBN: 978-1-78116-320-7

The 1930 and 1940s was an era of astounding pictorial periodical adventure. In the years before television, newspaper strips (and later comicbooks) were the only visually-based home entertainment for millions of citizens young and old and consequently shaped the culture of many nations.

Relatively few strips attained near-universal approval and acclaim. Flash Gordon, Terry and the Pirates and Prince Valiant were in that rarefied pantheon but arguably the most famous was Tarzan.

The full-blown dramatic adventure serial started on January 7th 1929 with Buck Rogers and Tarzan debuting that day. Both were adaptations of pre-existing prose properties and their influence changed the shape of the medium forever.

The 1930s saw an explosion of similar fare, launched with astounding rapidity and success. Not just strips but actual genres were created in that decade, still impacting on today’s comic-books and, in truth, all our popular fiction forms.

In terms of sheer quality of art, the adaptations of Edgar Rice Burroughs’ immensely successful novels starring jungle-bred John Clayton, Lord Greystoke by Canadian commercial artist Harold “Hal” Foster were unsurpassed, and the strip soon became a firm favourite of the masses, supplementing movies, books, a radio show and ubiquitous advertising appearances.

As detailed in previous volumes of this superb oversized (330 x 254 mm), full-colour hardback series, Foster initially quit the strip at the end of a 10-week adaptation of first novel Tarzan of the Apes and was replaced by Rex Maxon. At the insistent urging of Edgar Rice Burroughs, Foster returned when the black-&-white daily expanded to include a lush, full colour Sunday page featuring original adventures.

Maxon was left to capably handle the weekday book adaptations, and Foster crafted the epic and lavish Sunday page until 1936 (233 consecutive weeks). He then left again, for good: moving to King Features Syndicate and his own landmark weekend masterpiece Prince Valiant in the Days of King Arthur – which debuted in February 1937.

Once the four-month backlog of material he had built up was gone, Foster was succeeded by a precociously brilliant 25-year old artist named Burne Hogarth: a graphic visionary whose superb anatomical skill, cinematic design flair and compelling page composition revolutionised the entire field of action/adventure narrative illustration. The galvanic modern dynamism of the idealised human figure in today’s comicbooks can be directly attributed to Hogarth’s pioneering drawing and, in later years, educational efforts.

Burroughs cannily used the increasingly popular comic strip to cross-market his own prose efforts with great effect.

This third titanic tome begins with the spectacularly illustrated ‘Jusko on Hogarth: An Education in Form and Movement’ with the fantasy artist harking back to his childhood comics experiences and influences after which the astounding action and adventure recommence. At this time, Hogarth was sharing the scripting chores veteran collaborator Rob Thompson, having only recently returned to the feature after a dispute with the owners. He had moved to the Robert Hall Syndicate for whom he produced seminal adventure classic Drago and then United Features where he created comedy strip Miracle Jones. During that time away from Tarzan, Hogarth – with Silas Rhodes – also opened the Cartoonists and Illustrators School which later evolved into the School of Visual Arts.

‘Tarzan and N’Ani’ (episodes #875-896; 14th December to 1948 to 9th May 1948) offers more raw drama as Tarzan visits old friend Pangola only to find the chief dead and his Wakamba tribesmen under the thumb of apparent spirit warriors and their White Queen.

A little spirited resistance and dedicated investigation by the ape-Man soon reveals crooked circus performers exploiting and enslaving the natives but before he can confront the villains they take his wife Jane hostage.

N’Ani’s big mistake is thinking her captive is a weak and feeble civilised woman…

With the bad guys and their trained big cats dealt with the excitement briefly subsides, but all too soon the Jungle Lord is tricked into boarding a scientist’s reconditioned atomic submarine and whisked away against his will to uncanny uncharted regions in the year-long epic ‘Tarzan on the Island of Mua-Ao’ (pages #897-947 running from 16th May 1948 to 1st May 1949).

After some Nemo-like subsea escapades Tarzan and his unwelcome companions fetch up on a Polynesian mini lost continent only to be captured by the scientifically advanced but morally barbarous Lahtian people. Their slave-owning totalitarian kingdom is ripe for revolution and after our hero and worthy warriors Soros and Timaru escape from the gladiatorial arena they go about arranging one.

Of course, that first necessitates traversing the savage jungle hinterlands, surviving its ubiquitous feline predators and making peace with the dominant Ornag-Rimba and Thalian tribes…

A minor complication occurs when local witchdoctor Totama feels threatened and repeatedly attempts to assassinate Tarzan but the Ape-Man counters every plot and foray in his own unstinting and decisive manner…

Eventually, however, Tarzan has his coalition in place and leads an unstoppable assault against the Lahtians which inevitably leads to a regime-change and his return to Africa…

This titanic hardback tome concludes with a macabre yarn and a radical overhaul of the strip. During ‘Tarzan and the Ononoes’ (#948-972) which ran from May 8th to 23rd October 1949, the traditional full-page vertical format was controversially switched to episodes printed in a landscape format, which allowed a certain liberalisation of layouts but inexplicably made the pages seem cramped and claustrophobic…

Narratively the tone is full-on fantasy as Tarzan swears to dying explorer Philip Ransome that he will rescue his lost daughter from the mysterious creatures holding her beyond the impassable Ashangola Mountains.

That mission brings him into conflict with the Waloks – a tribe of intelligent missing-link anthropoids – and their bitter enemies, a race of depraved monsters called Ononoes. These carnivorous horrors are giant heads with arms but no legs or torsos who have a penchant for human sacrifice. Their next victim is to be an outworlder girl named Barbara Ransome

Grim, grotesque and genuinely scarey, Tarzan’s struggle against the rotund terrors is a high point of the strip and promises even greater thrills in the forthcoming final collection.

To Be Concluded…

Tarzan is a fictive creation who has attained an immortal reality in a number of different creative arenas, but none offer the breathtaking visceral immediacy of Burne Hogarth’s comic strips.

These vivid visual masterworks are all coiled-spring tension or vital, violent explosive motion, stretching, running, fighting: a surging rush of power and glory. It’s a dream come true that these majestic exploits are back in print for ours and future generations of dedicated fantasists to enjoy.
Trademarks Tarzan® and Edgar Rice Burroughs® owned by Edgar Rice Burroughs, Inc. and Used by Permission. Copyright © 2017 Edgar Rice Burroughs, Inc. All Rights Reserved.

Tarzan Archives: The Joe Kubert Years volume 3


By Joe Kubert with Robert Kanigher, Russ Heath & various (Dark Horse Comics)
ISBN: 978-1-59307-417-3

The early 1970s were the last real glory days of National/DC) Comics. As they slowly lost market-share to Marvel they responded by producing controversial and landmark superhero material, but their greatest strength lay, as it always has, in the variety and quality of its genre divisions. Mystery and Supernatural thrillers, Science Fiction, Romance, War and Kids’ titles remained powerful attractions and the company’s eye for a strong licensed brand was as keen as ever.

A global multi-media phenomenon, Edgar Rice Burroughs’ Tarzan had long been a comicbook mainstay of Dell/Gold Key/Whitman, and when DC acquired the title they rightly trumpeted it out, putting one of their top Artist/Editors, Joe Kubert, in charge of the immortal Ape-man’s monthly exploits.

After decades as Whitman staples, total licensing of ERB properties was transferred to DC – not just Tarzan and his extended family, but also the author’s pioneering science fantasy characters – with DC wisely continuing the original numbering.

Tarzan #207 was the first (with an April 1972 cover-date) and the series stormed, garnering great acclaim until #258 in February 1977. Thereafter Marvel, Malibu, Dark Horse and Dynamite extended the Jungle Lord’s comicbook canon in sporadic sorties to recapture the sales and popularity of the 1950s…

The latter days of the Gold Key run had suffered ever since Russ Manning left the title to draw the syndicated newspaper strip, and even the likes of Doug Wildey were unable to revive the comic’s success in the face of constantly rising costs and a general downturn in sales across the market. DC’s continuation of the franchise premiered in a blaze of publicity at the height of a nostalgia boom and was generally well-received by fans.

DC pushed the title in many places and formats (such as bookstore digest collections and the gloriously oversized Tabloid Editions) and adapted other properties such as John Carter of Mars, Pellucidar and Carson of Venus in their own features and titles.

This third and final fabulous hardcover archive collection (also available in digital formats) re-presents material from Tarzan #225-235, covering November 1973 through February/March 1975 and concluding the master’s interior artistic contributions – writing, illustrating and lettering.

After more fond reminiscences in Kubert’s Introduction, the pictorial wonderment resumes with original tale ‘Moon Beast’ which sees a mother and child brutally slaughtered and Tarzan framed for the hideous crime by cunning medicine man Zohar. When the vile trickster overreaches himself, the captive Ape-Man breaks free but still has to deal with the mutant brute Zohar employed to perpetrate the atrocity…

Kubert only produced the cover for #226 as the crushing deadline pressures finally caught up with him. The contents – not included here – featured a retelling of the Ape-Man’s origins by Russ Manning, taken from the Sunday newspaper strips of 15th November 1970-7th February 1971.

Back in control for #227, Joe took Tarzan out of his comfort zone as ‘Ice Jungle’ saw young native warrior Tulum endure a manhood rite at the top of a mountain. Also converging on the site for much the same reason is American trust-fund brat J. Pellington Stone III, determined to impress his father by bagging a legendary snow ape. Sensing impending doom, Tarzan follows them both and is not wrong in his assessment…

After single-handedly killing an immense Sabretooth tiger in an unexplored region of the continent, Tarzan is captured by pygmies intent on offering him as to a mighty monster who has terrorised them for years. However, his ‘Trial By Blood!’ sees Tarzan cleverly outwit the giant lizard and teach the tribal elders a valuable lesson in leadership, after which albino queen Zorina seeks to extend her power by making him her consort.

The Ape-Man wants nothing to do with ‘The Game!’, and, after the kingdom descends into savage civil war, sees ironic Fate deal the white queen a telling death blow…

With Tarzan #230 (April/May 1974), the title transformed into a sequence of 100-page giants, mixing new material with reprints of ERB characters and thematically-aligned stars from DC’s vast back-catalogue.

Leading off that issue was a brief all-Kubert vignette as ‘Tarzan’ saved a deer from a lioness which neatly segued into ‘Leap into Death’ starring Korak, Son of Tarzan, written by Robert Kanigher, drawn by Kubert and inked by Russ Heath.

Here the titanic teen nomad hunted for his stolen true love Meriem and the barbarian Iagho who had taken her, before stumbling into a nest of aggressively paranoid bird-people who learned to respect his courage but still flew away with his lover…

The next issue featured the start of another-Kubert-adapted Burroughs novel: possibly the most intriguing conception of the entire canon.

‘Tarzan and the Lion Man Part One’ saw a movie company on location in the deep jungle to make a picture about a white man raised by animals to become undisputed master of all he surveyed. The chain of coincidences grew more improbable as actor Stanley Obroski was a dead ringer for Tarzan… which probably explained why he was taken by savages set on torturing him to death…

Rescued by Tarzan, Stanley explained how the expedition was attacked, unaware exactly how much trouble his fellow actors were in. During Obroski’s absence, stand-in Rhonda Terry and starlet Naomi Madison were kidnapped by El Ghrennem’s Arab bandits who believed the production’s prop map actually led to a valley of diamonds…

When Tarzan found the rest of the film crew he was mistaken for Stanley and drawn into their search for the missing women. The plucky Americans had already made a mad dash for freedom, however, and Rhonda had been captured by creatures she simply could not believe…

After a fascinating bonus section revealing Kubert’s ‘Layouts and Thumbnails’ for the opening chapter, ‘Tarzan and the Lion Man Part Two’ sees Rhonda taken by apes who speak Elizabethan English, and made the subject of a fierce debate. Half of the articulate anthropoids want to take her to “God” whilst the other faction believes her a proper prize of their liege lord “King Henry VIII”…

After being briefly recaptured by El Ghrennem, Naomi too is taken by the talkative Great Apes. When Tarzan discovers the kidnapper’s corpses he follows the trail up an apparently unscalable escarpment. Rescuing and returning Miss Madison to her surviving friends, Tarzan/Stanley then returns to ascend the stony palisade and discover an incredible pastoral scene complete with feudal village and English castle…

Tracking Rhonda, he enters the citadel and meets a bizarre human/ape hybrid calling himself God. The garrulous savant explains that once he was simply a brilliant Victorian scientist pursuing the secrets of life. When his unsavoury methods of procuring test subjects forced him to flee England and relocate to this isolated region of Africa, he eventually resumed his experiments and transformed himself into a superior being and apes into fitting servants.

Now they have a society of their own – based on the history books he brought with him – and his experiments are nearing completion. Having already extended his life and vitality far beyond its normal span by experimenting upon himself, God is now ready to attain immortality and physical perfection. All he has to do is consume Tarzan…

Of course the madman has no conception of his captive’s capabilities, and when the Ape-Man and Rhonda promptly vanish from their dungeon it sends the palace into turmoil and God into a paroxysm of insanity…

The chaos also prompts already ambitious apostate King Henry to begin a revolution to overthrow his creator. As ‘Tarzan and the Lion Man Part Three’ opens, the war between Church and State is in full swing and Tarzan battles to rescue Rhonda whilst God’s castle becomes a flaming hell.

Losing her in the chaos Tarzan is forced into a hasty alliance with God, unaware that maniacal monarch Henry has taken her back to the jungles below the escarpment and into a region where God casts his scientific failures…

All too soon Henry is dead and Rhonda is facing beings even stranger than talking apes. Thankfully ‘Tarzan and the Lion Man Part Four’ sees “Stanley” arrive in time to save her from incredible peril and return her to the film party in the dazzling, tragic conclusion…

Kubert then ended his close association with Tarzan in #235’s ‘The Magic Herb’. After the jungle hero saves a couple from a crashed aeroplane, siblings Tommy and Gail urge him to help them find a legendary flower that might cure the man’s fatal ailment. However, something about them makes Tarzan suspicious…

Nevertheless he takes them to the primeval lost valley where it grows, only to be betrayed as the intruders frame him: throwing the jungle lord to the resident lizard men whilst they make off with specimens that will make them millionaires in the outside world.

Sadly, the treacherous pair have completely misunderstood the powers of the plant and pay the ultimate price all betrayers must…

Wrapping up the astounding thrills and captivating artistry (splendidly remastered by Sno Cone Studious and Jason Hvam) is a revelatory selection of drawings from ‘Joe Kubert’s Sketchbook’ tracing the art process from page-roughs to competed page

Supplemented by Creator Biographies of Burroughs and Kubert, this tome is another unmissable masterpiece of comics creation and wild adventure no lover of the medium or fantasy fan can afford to be without.
Edgar Rice Burroughs’ Tarzan ® The Joe Kubert Years Volume Two © 1973, 1974, 1975, 2006 Edgar Rice Burroughs, Inc. All rights reserved. Tarzan ® is owned by Edgar Rice Burroughs Inc., and used by permission.

Tarzan Archives: The Joe Kubert Years volume 2


By Joe Kubert with Hal Foster, Frank Thorne & various (Dark Horse Comics)
ISBN: 978-1-59307-416-6

The early 1970s were the last real glory days of National (now DC) Comics. As they slowly lost market-share to Marvel they responded by producing controversial and landmark superhero material, but their greatest strength lay, as it always has, in the variety and quality of its genre divisions. Mystery and Supernatural thrillers, Science Fiction, Romance, War and Kids’ titles remained powerful attractions and the company’s eye for a strong licensed brand was as keen as ever.

A global multi-media phenomenon, Edgar Rice Burroughs’ Tarzan had long been a comicbook mainstay of Dell/Gold Key/Whitman, and when DC acquired the title they rightly trumpeted it out, putting one of their top Artist/Editors, Joe Kubert, in charge of the immortal Ape-man’s monthly exploits.

After decades as Whitman staples, total licensing of ERB properties was transferred to DC – not just Tarzan and his extended family, but also the author’s pioneering science fantasy characters – with DC wisely continuing the original numbering.

Tarzan #207 was the first: an April 1972 cover-date, and the series stormed on until #258 in February 1977. Thereafter Marvel, Malibu, Dark Horse and Dynamite extended the Jungle Lord’s comicbook canon in sporadic sorties to recapture the sales and popularity of the 1950s…

The latter days of the Gold Key run had suffered ever since Russ Manning left the title to draw the syndicated newspaper strip, and even the likes of Doug Wildey were unable to revive the comic’s success in the face of constantly rising costs and a general downturn in sales across the market. DC’s continuation of the franchise premiered in a blaze of publicity at the height of a nostalgia boom and was generally well-received by fans.

DC pushed the title in many places and formats (such as bookstore digest collections and the gloriously oversized Tabloid Editions) and adapted other properties such as John Carter of Mars, Pellucidar and Carson of Venus in their own features and titles

This second superb hardcover archive collection (also available in digital formats) re-presents material from Tarzan #215-224 (December 1972 to October 1973) and opens with fond reminiscences and grateful thanks to fellow artist Frank Thorne in Kubert’s Introduction.

The pictorial wonderment kicks off with a classic visual treat as ‘The Mine!’ incorporates material originally seen in classic 1930s Sunday newspaper strips (by Hal Foster & George Carlin) embedded in an original tale by Kubert.

Joe’s intent was to adapt all 24 Tarzan novels – writing, illustrating and even lettering the stories, with the brilliant Tatjana Wood handling the colours – interspersing them with new and original tales. However the workload, coupled with his other editorial duties, was crippling.

As with Tarzan #211, here he was again compelled to combine original with vintage to detail how the Ape-Man is captured by slavers and pressed into toil deep in the bowels of the earth for a sadistic mine owner.

Naturally, Tarzan soon chafes at enforced servitude and quickly leads a savage workers’ revolt to overturn and end the corporate bondage…

Issue #216 took another route to beating deadlines with old pal Frank Thorne pencilling Kubert’s script for ‘The Renegades’, leaving hard-pressed Joe to ink and complete the story of a murderous raid which wipes out a Red Cross mission.

Investigating the atrocity, Tarzan discovers the “maddened savages” responsible are actually white men masquerading as natives; stealing supplies for a proposed expedition to plunder a lost treasure vault. When he catches the culprits, Tarzan’s vengeance is terrible indeed…

‘The Black Queen!’ is an all-Kubert affair wherein the Jungle Lord almost saves a man from crocodiles. Acceding to the ravaged victim’s last wish, Tarzan then travels to his distant homeland and overturns the brutal regime of tyrannical Queen Kyra who rules her multicultural kingdom with whimsy, ingrained prejudice and casual cruelty…

The equally selfish choices of American millionaire tycoon Darryl T. Hanson blights his family as his search for ‘The Trophy’ decimates the fauna of Tarzan’s home and leads to a clash of wills and ideologies which can only end in tragedy…

With Tarzan #219, Kubert began an epic 5-issue adaptation of ERB’s sequel novel The Return of Tarzan. It opens in Paris as the unacknowledged son of vanished Lord Greystoke tries to adapt to his new life as a civilised man of leisure.

One night his natural gallantry draws him to the side of a woman screaming for help and he is attacked by a gang of thugs. After easily thrashing the brigands he is astounded to find her accusing him of assault and simply bounds effortlessly away from the gendarmes called to the disturbance.

This entire trap has been engineered by a new enemy; Russian spy and émigré Nikolas Rokoff and his duplicitous toady Paulvitch

The rightful heir to the Greystoke lands and titles silently stood aside and let his apparently unaware cousin William Cecil Clayton claim both them and the American Jane Porter, after Tarzan rescued her from attacking apes in the jungle. Missing her terribly, Tarzan then chose to make his own way in the human world beside new friend and French Naval Officer Paul D’Arnot.

(You could catch up by reading our review of Tarzan Archives: The Joe Kubert Years Volume One, but I’m sure you’d far rather see the book itself or even the original novel…).

In the course of his urbane progression, Tarzan had exposed the Russian cheating at cards to blackmail French diplomat Count De Coude and had earned himself a relentless, implacable foe forever. When Rokoff subsequently tried to murder Tarzan, the vile miscreant agonisingly learned how powerful his jungle-bred enemy was…

With physical force clearly of no use, Rokoff’s latest plan is to put the Ape-Man through a ‘Trial by Treachery’; manufacturing “evidence” that Tarzan is having an affair with the Comte’s wife. Once more, however, the civilised monster underestimates his target’s forthright manner of dealing with problems and is savagely beaten until he admits to the plot and clears the innocent woman’s name…

With news of Jane’s impending marriage to William Clayton, Tarzan seeks to ease his tortured mind with action and the next chapter sees him travel to Algeria where, sponsored by the grateful, ashamed Count, he begins working for the Secret Service in Sidi Bel Abbes, ferreting out a traitor in the turbulently volatile French colony…

His hunt soon leads him to a likely traitor and brutal battle with Arab agent provocateurs, but things start to turn his way after he liberates a dancing slave who is the daughter of a local sheik.

When word of Jane comes from D’Arnot, Tarzan throws himself even more deeply into his tasks and falls into another ambush organised by Rokoff. This time his ‘Fury in the Desert’ seems insufficient to his needs until his newfound friend the Sheik rides to his rescue…

The intrigue continues to unfold in ‘Return of the Primitive’ as Tarzan finally uncovers a link between Rokoff and the espionage at Sidi Bel Abbes. Job done he is then posted to Capetown and aboard ship meets voyager Hazel Strong, a close friend of Jane’s who reveals the heiress had never forgotten her tryst with the Ape-Man.

Unable to watch Jane enter into a loveless marriage, Hazel took off on an ocean cruise…

The story rocks Tarzan’s mind, but not so completely that he fails to notice Rokoff is also aboard and murderously dogging his footsteps. This time however the Russian is properly prepared and that night the Ape-Man vanishes from the ship…

Rokoff’s act of assassination is a purely pyrrhic victory. Soon after reaching Capetown the villain insinuated himself into the Clayton wedding party but when their yacht’s boilers explode next morning, he, Hazel, William Clayton, Jane and her father are left adrift in a lifeboat…

Tarzan meanwhile, has survived being tumbled overboard and spent days swimming hundreds of miles. He now washes up on the same beach his parents were left upon decades ago. Staggering inland, he finds himself in the cabin his father built before being stolen and adopted by Kala the She-Ape.

John Clayton is forgotten, for fate has brought Tarzan home…

A man changed by his time amongst other men, the Jungle Lord instinctively saves a native warrior from certain death and is astonished to find himself declared chieftain of the noble Waziri tribe.

…And off the coast, a lifeboat filled with dying travellers spots land and wearily sculls towards a welcoming beach in the heart of primeval forests…

Revelling in his newfound status, popularity and freedom, Tarzan enquires about the fabulous jewelled ornaments of his new friends and learns of an incredible lost metropolis. Soon he is curiously journeying to ‘The City of Gold’ where he encounters debased, degenerate beast-men led by a gloriously beautiful Queen.

La is high priestess of forgotten Atlantean outpost Opar, but can barely control her subjects enough to allow the perfect specimen of manhood to escape to safety. Both she and Tarzan know they are destined to meet again…

Refusing to be cheated of their sacrifice, the bloodthirsty Oparian males search far into the jungle and soon encounter the Clayton yacht survivors. When the primitives attack the human strangers and carry off Jane, Rokoff shows his true colours, leaving William to die. This callous act also inadvertently clears the path for Tarzan to finally claim his inheritance and reunite with Jane…

All the Jungle Lord has to do is break back into Opar, save his one true love from ‘The Pit of Doom!’ and escape the wrath of jealous Queen La…

That mission accomplished, he and Jane return to the beach in time to witness William’s dying confession and accept the succession to the estates and title of Lord Greystoke…

This captivating compilation concludes with an original adventure seeing Tarzan rescue a beautiful maiden from attacking apes and discovering she is a messenger from La, who is in peril of her life…

In Opar another insurrection by the Beast Men has left the Queen imperilled by her subjects and threatened by a gigantic mutant whom she tearfully reveals is her sibling in ‘Death is My Brother!’ With no choice Tarzan regretfully battles the dim brute and proves to the insurgents that his wrath is greater than their malice…

Supplemented by Creator Biographies of Burroughs and Kubert, this tome is another masterpiece of comics creation and total adventure triumph which no lover of the medium or fantasy fan can afford to be without.
Edgar Rice Burroughs’ Tarzan ® The Joe Kubert Years Volume Two © 1972, 1973, 2006 Edgar Rice Burroughs, Inc. All rights reserved. Tarzan ® is owned by Edgar Rice Burroughs Inc., and used by permission.

Tarzan on Film


By Scott Tracy Griffin (Titan Books)
ISBN: 978-0-85768-568-1

Soon after the publication of Tarzan of the Apes in 1912, the character – thanks in no small part to Edgar Rice Burroughs’ acumen as a self-promoter – became a multi-media sensation and global star.

Many sequels followed; a comic strip arrived in 1929, followed by a radio show in 1932 and the Ape-Man inevitably carved out a solid slice of the comicbook market too once the industry was firmly established. However, the earliest and most effective promotional tool – one which took on a life of its own – was Tarzan’s frequent forays into the world of celluloid.

This impressive coffee-table art-book, released to coincide with the latest long-awaited movie, offers an eye-popping blend of intimate background, biographies and a critical overview, supplanted by hundreds of production stills, candid photos and – most welcome to art lovers – movie posters and promotional artwork from each theatre release.

Compiled and written by author and historian Scott Tracy Griffin (Tarzan: The Centennial Celebration), the book catalogues the history of the filmic franchise by focusing on every film and each actor to play the Ape-Man and his mate Jane, as well as finding room to spotlight the most memorable villains, glamorous femme fatales, supporting characters and even that purely filmic innovation Cheetah.

Affording equal importance to the large and small screen iterations – live-action or animated – the history lesson begins after an Foreword from past-Tarzan Casper Van Dien and traces the iconic, world-famous Jungle Lord from Elmo Lincoln in 1918’s Tarzan of the Apes (one of the first six films ever to gross more than a million dollars) through to today’s The Legend of Tarzan, with Alexander Skarsgård delivering the “victory cry of the Great Bull-Ape”…

There’s even a tantalising section on the “Original Kids” CGI series Tarzan and Jane forthcoming from Netflix…

This magnificently monolithic epic (224 pages and 262 x 23 x 333 mm) hardback volume is liberally illustrated with photographic stills and promo art, and also includes examples of Bob Kline’s production art and storyboards, model sheets and stills from the glorious Filmation Tarzan, Lord of the Jungle Saturday morning cartoon show from 1976-1984.

For the technically-minded and those of a completist bent there’s also a full list of The Works of Edgar Rice Burroughs, including Tarzan Feature Films, Movie Serials, TV Movies and Series and thematically-linked Additional Films plus Acknowledgements and a copious catalogue of suggested Further Reading

It seems that whatever your vintage, there’s a nostalgia-drenched Tarzan waiting (mine is Ron Ely who starred as both TV and movie Man-Ape from 1966-1970) to spark old memories and foster fresh thrills and this is just the book to get those primal juices flowing.

Tarzan on Film is both intriguing and pretty: enticing and genuinely informative enough to keep any fan happy. If it’s not too soon for the “C” word it might well be this years first suggestion for giant-sized end-of year stocking-stuffer…
Tarzan ® & © 2016 Edgar Rice Burroughs, Inc. All Rights Reserved. All images © 2016 Edgar Rice Burroughs Inc., Warner Bros, or Walt Disney Pictures. All Rights Reserved.

Edgar Rice Burroughs’ Jungle Tales of Tarzan


ByMartin Powell & various (Dark Horse Comics)
ISBN: 978-1-63008-248-2

Jungle Tales of Tarzan was the sixth prose novel release, published in 1919 after monthly serialisation in prestigious pulp Blue Book Magazine between September 1916 and August 1917.

The content is a series of twelve loosely connected episodes, wherein the young Lord of the Jungle confronts various cognitive and physical stages in his own development. They are all set after the foundling’s ape foster-mother Kala was killed and before that first fateful meeting with Jane Porter and introduction to human civilisation.

The stories have been adapted in whole or in part by most of the American comics publishers who have released Tarzan material – Gold Key, Charlton, Marvel, DC and Malibu Comics – as well as by quintessential Tarzan illustrator Burne Hogarth in one of the industry’s earliest graphic novels.

In 2015 – anticipating this year’s movie release – current license-holder Dark Horse Comics released an all-new adaptation of the complete text, scripted by Martin Powell (Scarlet in Gaslight, Alien Nation), designed by Diana Leto and individually illustrated by a broad swathe of differently-styled artists.

Following author Robin Maxwell’s Introduction ‘Back to the Jungle’, the adaptations begin with ‘Tarzan’s First Love’ (painted by Leto) detailing how the adolescent Ape-Man was increasingly drawn to fetching young She-Ape Teeka. Incomprehensibly, no matter what he did, the young maiden just wasn’t interested in her ardent, hairless admirer…

A brutal and epic clash between the local tribesmen responsible for Kala’s death and the jungle legend highlights the uncanny bond between the seldom-seen but terrifying white ghost and mighty elephant Tantor, who proves valiant and true following ‘The Capture of Tarzan’ (delineated by Pablo Marcos, Diego Rondón & Oscar Gonzalez), whilst Lowell Isaac’s interpretation of ‘The Fight for the Balu’ shows wistful sensitivity and potent fury as childhood friends of Tarzan become incomprehensibly aggressive after the birth of their first baby. They soon change their tune after a leopard attacks…

Will Meugniot deftly details the constantly-questioning outsider’s search for ‘The God of Tarzan’ after overdosing on his dead father’s books and suffering a brain-expanding religious experience, whilst ‘Tarzan and the Native Boy’ – illustrated by Nik Poliwko – sees him experience paternal yearnings. After abducting a small child and learning of both guilt and folly, the Ape-Man earns his first arch-enemy by spoiling greedy fetish-man Bukuwai’s scam to impoverish little Tibo’s distraught mother…

Steven E. Gordon explosively renders the return match when ‘The Witch Doctor Seeks Vengeance’; trying – and failing – to feed little Tibo to hungry hyenas before Jamie Chase details ‘The End of Bukuwai’ as the vile witchman finally captures the “tree devil” Tarzan and learns that jungle vengeance is far worse than anything he could conceive of…

‘The Lion’ (Terry Beatty) explores Tarzan’s eccentric sense of humour as the Lord of the Apes acquires an entire skin of Numa the lion and learns from his anthropoid subjects a painful lesson about practical joking, after which Mark Wheatley turns in a lush and spectacularly effective interpretation of much-adapted fantasy ‘The Nightmare’.

Here starving, curious Tarzan steals and gorges on elephant meat from the native village. The resultant food-poisoning takes him on a hallucinogenic journey never to be forgotten and almost costs his life when he can no longer tell phantasm from actual foe…

Crafted by Sergio Cariello, Patrick Gama & Dave Lanphear, ‘The Battle for Teeka’ features an epic clash as the new mother is stolen by a rival ape pack and Tarzan must lead his people into a full-on war to save her…

‘A Jungle Joke’ (Tomás M. Aranda) sees an unrepentant Tarzan revive his hilarious Numa masquerade to bedevil the local natives; taking the place of an actual lion the savages plan to torture, before this legendary lexicon concludes in metaphorical triumph with Carlos Argüello limning an epic struggle after an eclipse blankets the jungle and ‘Tarzan Rescues the Moon’

With a bonus section highlighting Darren Bader’s cover art and additional illustrations by Bader, Thomas Floyd, Louis Henry Mitchell, Steve Price & Thomas Yeates, Jungle Tales of Tarzan is a delicious treat for both Ape-Man aficionados and devotees of the comics arts in all their multi-various styles.
Edgar Rice Burroughs’ Jungle Tales of Tarzan © 2015 Edgar Rice Burroughs Inc. All rights reserved. Tarzan ™ and ® Edgar Rice Burroughs Inc. and used by permission.

Tarzan versus the Nazis (Complete Burne Hogarth Comic Strip Library volume 3)


By Burne Hogarth with Don Garden & Rubén Moreira (Titan Books)
ISBN: 978-1-78116-319-1

The 1930 and 1940s was an era of astounding pictorial periodical adventure. In the years before television, newspaper strips (and later comicbooks) were the only visually-based home entertainment for millions of citizens young and old and consequently shaped the culture of many nations.

Relatively few strips attained near-universal approval and acclaim. Flash Gordon, Terry and the Pirates and Prince Valiant were in that rarefied pantheon but arguably the most famous was Tarzan.

The full-blown dramatic adventure serial started on January 7th 1929 with Buck Rogers and Tarzan debuting that day. Both were adaptations of pre-existing prose properties and their influence changed the shape of the medium forever.

The 1930s saw an explosion of similar fare, launched with astounding rapidity and success. Not just strips but actual genres were created in that decade, still impacting on today’s comic-books and, in truth, all our popular fiction forms.

In terms of sheer quality of art, the adaptations of Edgar Rice Burroughs’ immensely successful novels starring jungle-bred John Clayton, Lord Greystoke by Canadian commercial artist Harold “Hal” Foster were unsurpassed, and the strip soon became a firm favourite of the masses, supplementing movies, books, a radio show and ubiquitous advertising appearances.

As detailed in previous volumes of this superb oversized (330 x 254 mm), full-colour hardback series, Foster initially quit the strip at the end of a 10-week adaptation of first novel Tarzan of the Apes and was replaced by Rex Maxon. At the insistent urging of Edgar Rice Burroughs, Foster returned when the black-&-white daily expanded to include a lush, full colour Sunday page featuring original adventures.

Maxon was left to capably handle the weekday book adaptations, and Foster crafted the epic and lavish Sunday page until 1936 (233 consecutive weeks). He then left again, for good: moving to King Features Syndicate and his own landmark weekend masterpiece Prince Valiant in the Days of King Arthur – which debuted in February 1937.

Once the four month backlog of material he had built up was gone, Foster was succeeded by a precociously brilliant 25-year old artist named Burne Hogarth: a graphic visionary whose superb anatomical skill, cinematic design flair and compelling page composition revolutionised the entire field of action/adventure narrative illustration. The galvanic modern dynamism of the idealised human figure in today’s comicbooks can be directly attributed to Hogarth’s pioneering drawing and, in later years, educational efforts.

Burroughs cannily used the increasingly popular comic strip to cross-market his own prose efforts with great effect.

This third titanic tome begins with the prolifically illustrated ‘Hogarth on Burroughs’: George T. McWhorter’s interview with the master draughtsman from 1982’s Edgar Rice Burroughs Quarterly volume 1, #1, after which the timeless adventure resumes. At this time Hogarth had assumed the writing for the strip too, with veteran collaborator Don Garden leaving to pursue other, more patriotic pursuits…

‘Tarzan Against Kandullah and the Nazis’ (episodes #660-679; 30th October 1943 to March 12th 1944) is an explosive procession of coiled-spring action and crushing suspense as the Ape-Man, incessantly crisscrossing fabled, unexplored Africa returns to the lands of the Boers.

Here he discovers his old friends are being infiltrated by insidious Nazi deserters. The human monsters have seen that the tide of history is against them and instead of fighting on or surrendering are attempting to secure a desolate enclave from which they can rebuild a Fourth Reich to attack democracy again at some future date…

Their plan is to divide and conquer: fomenting strife between the native Mogalla tribe and the isolationist Afrikaaners. After narrowly averting that blood-stained crisis, Tarzan swears to deliver a military packet for a dying Allied airman, undertaking a staggering trek across the hostile lands before anonymously completing his mission and heading back into the veldt.

His travels next bring him into contention with a baroque and murderous slave-master in ‘Tarzan Against Don Macabre’ (pages #680-699, running from 19th March to 30th July). After rescuing beautiful captive Thaissa from his decadent clutches, the all-conquering Ape-Man decimates the Don’s menagerie of savage beasts – everything from a ravening bull to a giant octopus – and leads a slave revolt rebellion deep within his island citadel…

Once back on the mainland there was an extended return engagement for modern history’s most popular bad guys in ‘Tarzan Against the Nazis’ (#700-731) which ran from August 6th 1944 to March 11th 1945). This particular clash began innocuously enough with the Jungle Lord saving albino ape Bulak from his own dark-pelted tribe, before being distracted by sadistic Arabian hunter Korojak.

The wily stalker was trapping hundreds of animals for his master Emin-Nagra but secretly mistreating his prizes for his own sick amusement until Tarzan taught him the error of his ways. Sadly, it was not a lesson which stuck and before long both Bulak and the Ape-Man were part of the booty being transported to the golden-domed city of Bakhir

As Tarzan chafed in captivity as part of Emin-Nagra’s Circus, agents of Germany and Japan were negotiating for the oil under the cruel potentate’s pocket kingdom. They were pretty confident of a favourable deal, due to their column of storm troopers…

However, when Tarzan faced a tidal wave of starved jungle beasts in the Circus, he soon turned them into his personal army to bring down the despot. Then he turned his merciless attention to the Nazis and their nearby oil wells…

With the war winding down in the real world, escapist fantasy became a larger part of the Sunday strip environment. ‘Tarzan Against the Gorm-Bongara Monster’ (#732-748; 18th March to July 8th) saw the nomadic Ape-Man encounter a lost tribe of pygmies in a primordial valley, battling against them and latterly becoming their champion against a marauding, voracious dinosaur…

His inevitable victory led directly into ‘Tarzan and The Tartars Part One’ (#749-768, July 15th – November 25th) wherein landless prince Kurdu begged the Ape-Man’s assistance in overthrowing a usurper and saving his oppressed kingdom. The turbulent alliance offered privation, hardship, a quest for mystic relics and – for one of the heroes at least – the promise of true love…

This romantic epic is divided into separate chapters because from December 2nd 1945 onwards, Hogarth was replaced as illustrator by Rubén Moreira, who finished the tale from his predecessor’s scripts.

‘Tarzan and The Tartars Part Two’ (pages #769-778) concluded with the February 3rd 1946) instalment, after which Don Garden returned to provide fresh material for Moreira. You won’t find that here…

Hogarth was in dispute with the feature’s owners and moved to the Robert Hall Syndicate for whom he produced seminal adventure classic Drago and United Features where he created comedy strip Miracle Jones. During that time away from Tarzan, Hogarth – with Silas Rhodes – also opened the Cartoonists and Illustrators School which later evolved into the School of Visual Arts.

After his two-year hiatus, Hogarth bombastically returned to the Lord of the Jungle in 1947, midway through an ongoing story.

For the sake of convenience Garden & Moreira’s ‘Tarzan on the Island of Ka-Gor Part One’ (#840-856, April 13th – 3rd August 1947) is included here, setting the scene as sassy Texan heiress Dallas Doyle journeys to the home of Tarzan and his mate Jane, determined to recruit the famed Ape-Man in her search for her long-missing father.

It takes a lot of persuading, but eventually Tarzan capitulates, due in no small part to the urgings of native mystic Maker of Ghosts

Following an old map of a diamond mine, the expedition proceeds slowly on until sneak thief Dirk Mungo and a wily river-boat skipper steal it and frame Tarzan. Thrown in jail by a corrupt police official, the Ape-Man then abandons the niceties of civilisation and breaks out, following the villains with Dallas and golden lion Jad-Bal-Ja rushing to keep up…

The trail takes them through all manner of incredible horror and culminates in an aeroplane dogfight. Surviving being shot down, the pursuers doggedly press on, until captured by pygmies who trade them to decadent priests…

‘Tarzan on the Island of Ka-Gor Part Two’ (#857-861, August 10th – 7th September 1947) saw Hogarth’s spectacular re-emergence, illustrating Garden’s script as the lost senior Doyle is finally found and rescued, just as the entire lost world he ruled succumbs to volcanic destruction…

Hogarth then took sole control again for the concluding instalments. ‘Tarzan on the Island of Ka-Gor Part Three’ (#862-874, 14th September 7th – December 1947) swiftly wrapped up the saga as the hero saves his companions but almost loses his own life in the process. Wounded unto death, Tarzan is lost and dying and the rumours of his passing incite the various villains of the jungle lands to begin their raids and depredations again. However, saved by the tender ministrations of Manu the monkey and lumbering elephantine comrade Tantor, Tarzan soon storms back to restore his fair if heavy-handed peace…

To Be Concluded…

These tales are full of astounding, unremitting, unceasing action with Hogarth and the other contributors spinning page after page of blockbuster Technicolor action over months of non-stop wonder and exoticism. Plot was never as important as engendering a wild rush of rapt and rousing visceral responses, and every Sunday the strip delivered that in spades.

Edgar Rice Burroughs was a master of populist writing and always his prose crackled with energy and imagination. Hogarth was an inspired intellectual and, as well as gradually instilling his pages with ferocious, unceasing action, layered the panels with subtle symbolism. Heroes looked noble, villains suitably vile and animals powerful and beautiful. Even vegetation, rocks and clouds looked spiky, edgy and liable to attack at a moment’s notice…

These vivid visual masterworks are all coiled-spring tension or vital, violent explosive motion, stretching, running, fighting: a surging rush of power and glory. It’s a dream come true that these majestic exploits are back in print for ours and future generations of dedicated fantasists to enjoy.
Tarzan ® and Edgar Rice Burroughs™& © Edgar Rice Burroughs, Inc. All Rights Reserved. All images Edgar Rice Burroughs, 2015. All text copyright Edgar Rice Burroughs, Inc 2015.

Tarzan Archives: The Joe Kubert Years volume 1


By Joe Kubert with Burne Hogarth (Dark Horse Comics)
ISBN: 978-1-59307-404-3

Soon after first publication in 1912 Tarzan of the Apes became a multi-media sensation and global star. More novels and many movies followed; a comic strip arrived in 1929, followed by a radio show in 1932 and the Ape-Man inevitably carved out a solid slice of the comicbook market too once the industry was firmly established.

Western Publishing were a big publishing and printing outfit based on America’s West Coast, rivalling DC and Marvel at the height of their powers. They specialised in licensed properties and the jewels in their crown were all the comics starring the Walt Disney and Warner Brothers cartoon characters.

The publishers famously never capitulated to the wave of anti-comics hysteria that resulted in the crippling self-censorship of the 1950s. Dell Comics – and latter imprints Gold Key and Whitman – never displayed a Comics Code Authority symbol on their covers. They never needed to…

Dell also sought out other properties like movie or newspaper strip franchises, and would become inextricably associated with TV adaptations once the small screen monopolised modern homes.

In 1948 Dell produced the first all-new Tarzan comicbook. The newspaper strip had previously provided plenty of material for expurgated reprint editions until Dell Four Color Comic #134 (February 1947).

This milestone featured a lengthy, captivating tale of the Ape-Man scripted by Robert P Thompson – who wrote both the Tarzan radio show and aforementioned syndicated strip – with art by the legendary Jesse Marsh.

Marsh & Thompson’s Tarzan returned with two further tales in Dell Four Color Comic #161, cover-dated August 1947. This was a frankly remarkable feat: Four Colour was a catch-all umbrella title that featured literally hundreds of different licensed properties – often as many as ten separate issues per month – so such a rapid return meant pretty solid sales figures.

Within six months the bimonthly Tarzan #1 was released (January/February 1948), beginning an unbroken run that only ended in 1977, albeit by a convoluted route…

After decades as Whitman staples, licensing of Edgar Rice Burroughs properties was transferred to DC – not just Tarzan and his extended family, but also fantasy pioneers John Carter of Mars, Carson of Venus, Pellucidar and others – with the new company continuing the original numbering.

Tarzan #207 had an April 1972 cover-date and the series carried on until February 1977 and issue #258. From then on Marvel, Malibu and Dark Horse extended the jungle Lord’s comicbook canon…

The early 1970s were the last real glory days of National/DC Comics. As they slowly lost market-share to Marvel, they responded by producing controversial and landmark superhero material, but their greatest strength lay – as it always had – in the variety and quality of its genre divisions.

Mystery and Supernatural, Romance, War and Kids’ titles remained strong or even thrived and the company’s eye for a strong brand was as keen as ever.

Tarzan had been a mainstay of Dell/Gold Key, and a global multi-media phenomenon, so when DC acquired rights they justifiably trumpeted it out, putting one of their top creators in sole charge of the legendary Ape-Man’s monthly exploits, as well as generating a boutique bunch of ERB titles in a variety of formats.

The DC incarnation premiered in a blaze of publicity at the height of a nostalgia boom and was generally well received by fans. For many of us, those years provided the definitive graphic Tarzan, thanks solely to the efforts of the Editor, publisher and illustrator who shepherded the Ape-man through the transition. They were all the same guy: Joe Kubert.

Kubert was born in 1926 in rural Southeast Poland (which became Ukraine and might be Outer Russia by the time you read this). At age two his parents took him to America and he grew up in Brooklyn. According to his Introduction his earliest memory of cartooning was Hal Foster’s Tarzan Sunday strips…

Joe’s folks encouraged him to draw from an early age and the precocious kid began a glittering career at the start of the Golden Age, before he was even a teenager. Working and learning at the Chesler comics packaging “Shop”, MLJ, Holyoke and assorted other outfits, he began his close association with National/DC in 1943. A canny survivor of the Great Depression he also maintained outside contacts, dividing his time and energies between Fiction House, Avon, Harvey and All-American Comics, where he particularly distinguished himself on The Flash and Hawkman.

In the early 1950s he and old school chum Norman Maurer were the creative force behind publishers St. Johns: creating evergreen caveman Tor and launching the 3D comics craze with Three Dimension Comics.

Joe never stopped freelancing, appearing in EC’s Two-Fisted Tales, Avon’s Strange Worlds, Lev Gleason Publications & Atlas Comics until in 1955 when, with the industry imploding, he took a permanent position at DC, only slightly diluted whilst he illustrated the contentious and controversial newspaper strip Tales of the Green Berets from 1965 to 1968. From then on he split his time drawing Sgt. Rock and other features, designing covers and editing DC’s line of war comicbooks.

And then DC acquired Tarzan…

This first fabulous hardcover archive (also available in digital formats) collects the lead stories from Tarzan #207-214 (April-November 1972); a tour de force of passion transubstantiated into stunning comic art, with Kubert writing, illustrating and lettering. Moreover, the vibrant colours in this epic re-presentation is based on Tatjana Wood’s original guides, offering readers a superbly authentic and immersive experience whether you’re coming fresh to the material or joyously revisiting a beloved lost time.

The only disconcerting things about this stellar compilation are the cover reproductions, which appear in all their iconic glory but manipulated to remove DC’s trademark logos. The mightiest force in the modern jungle is still Intellectual Property lawyers…

The tense suspense begins with an adaptation of first novel Tarzan of the Apes and opens with a safari deep in the jungle. A pretty rich girl is driving her white guide and native bearers at a ferocious pace as she desperately hunts for her missing father.

When a bronzed god bursts into view battling a panther, she watches aghast as human impossibly triumphs over killer cat and then beats his chest whilst emitting an astounding scream. As the terrifying figure vanishes back into the green hell the girl’s questions are grudgingly answered by the old hunter who relates a legend he has heard…

‘Origin of Tarzan of the Apes’ depicts how, following a shipboard mutiny, John Clayton, Lord Greystoke and his wife Lady Alice are marooned on the African coast with all their possessions, including the vast library of books and Primers intended for their soon to be born baby…

Against appalling odds they persevered, with Greystoke building a fortified cabin to shelter them from marauding beasts, especially the curious and savage apes which roam the region. Despite the birth of a son, eventually the jungle won and the humans perished, but their son was saved by a grieving she-ape who adopted the baby to replace her own recently killed “Balu”…

The ugly, hairless boy thrived under Kala’s doting attentions, growing strong but increasingly aware that he was intrinsically different. He only discovered the how and why after years of diligent effort: through sheer intellectual effort and the remnants of his father’s books and papers, Tarzan learned to read and deduced that he was a M-A-N…

The tale within a tale continues in ‘A Son’s Vengeance: Origin of the Ape-Man Book 2’ as the boy rises to prominence amongst his hirsute tribe and through imagination and invention masters all the beasts of his savage environment. Eventually a brutal, nomadic tribe of natives settle in the area and Tarzan has his first contact with creatures he correctly identifies as being M-E-N like him…

The new situation leads to the greatest tragedy of his life as a hunter of M’Bonga’s tribe kills beloved, devoted Kala and Tarzan learns the shock of loss and overpowering hunger for revenge…

Issue #209 revealed how civilisation finally caught up with Tarzan as ‘A Mate For the Ape-Man: Origin of the Ape-Man Book 3’ saw him meet and save American Jane Porter, her elderly father and his own cousin.

Just as had happened years earlier, these unlucky voyagers were marooned by mutineers. Discovering John Clayton’s cabin, the castaways find the lost peer’s diary, which is of especial interest to William Clayton, the current Lord Greystoke. As tensions rise and humans die, Tarzan takes his golden haired mate deep into the impenetrable verdure…

Both tales conclude neatly and tantalisingly in ‘Civilisation: Origin of the Ape-Man Book 4’ as innately noble Tarzan returns Jane to her fiancé William Clayton in time for the westerners to be rescued by French Officer Paul D’Arnot.

When the dashing Lieutenant is captured and tortured by M’Bonga’s tribesmen, Tarzan rescues him and nurses the Frenchman back to health. In return the officer teaches him to speak the human languages that up until that moment he could only read and write in…

By then however the navy vessel and saved souls have all sailed away, each carrying their own secrets with them…

With no other options, lovelorn Tarzan agrees to accompany D’Arnot back to civilisation. The eternal comrades eventually settle in Paris with Tarzan practically indistinguishable from other men…

Even today ‘Origin of the Ape-Man’ is still the most faithful adaptation of ERB’s novel in any medium: potent and evocative, fiercely expressive, a loving and utterly visceral true translation of the landmark saga.

Kubert’s intent was to adapt all 24 Burroughs novels and intersperse them with short, complete tales, but the workload, coupled with his other editorial duties was crippling. To buy some time #211 combined old with new as ‘Land of the Giants’ partially adapted and incorporated Don Garden & Burne Hogarth’s newspaper strip tale ‘Tarzan and the Fatal Mountain’: Sunday strip pages #582-595 which had originally ran from May 3rd to August 2nd 1942 (you can see that saga in al its uncut glory by tracking down Tarzan versus the Barbarians (Complete Burne Hogarth Comic Strip Library volume 2).

Here a battle with crocodiles dumps Tarzan in a lost valley where giant natives are being persecuted by deformed, diminutive outworlder Martius Kalban who hungers for the secrets of their prodigious size and strength. Even after gaining his dark desire, Kalban finds himself no match for the outraged Ape-Man…

‘The Captive!’ is a latter-day exploit, beginning a run of yarns based on the short stories comprising ERB’s book Jungle Tales of Tarzan. Here the relationship between Ape-Man and the elephants is explored with each saving the other from the ever-present threat of the hunters of M’Bonga…

The Jungle Tales reworkings continue with ‘Balu of the Great Apes’ as childhood friends of Tarzan becomes incomprehensibly aggressive after the birth of their first baby and this first astounding compilation ends with ‘The Nightmare’ as starving Tarzan steals and gorges on meat and drink from the native village. The resultant food-poisoning takes him on a hallucinogenic journey he will never forget and almost costs his life when he can no longer tell phantasm from genuine threat…

Supplemented by full Creator Biographies of Burroughs and Kubert, this tome is a masterpiece of comics creation no lover of the medium or fantasy fan can afford to be without.
Edgar Rice Burroughs’ Tarzan ® The Joe Kubert Years Volume One © 1972, 2005 Edgar Rice Burroughs, Inc. All rights reserved. Tarzan ® is owned by Edgar Rice Burroughs Inc., and used by permission.