Longbox Graveyard #120

Conceived as a means of keeping me on track while organizing and reducing my comics Accumulation, the Longbox Graveyard has taken unexpected twists and turns these last hundred-plus issues. I never anticipated this blog would lead me to blog about Godzilla; or discover a deep appreciation for Jack Kirby’s take on Nick Fury’s spy gadgets; or to host a panel at San Diego Comic-Con. And likewise, it was my unplanned attendance at an Edgar Rice Burroughs panel as last year’s Comic-Con that led to this week’s column, as that presentation reignited my nostalgia for Tarzan.

Joe Kubert, Tarzan

I dove deep into Tarzan after Comic-Con, reading a half-dozen novels in as many weeks, and it has been fun to reacquaint myself with the Ape-Man. The books were a bit better than I remembered, with lightning-flashes of indelible imagery, like when Tarzan puts paid to poor Count Raoul de Coude in a Parisian drawing room in Return of Tarzan, or when the villainous Nikolas Rokoff is finally cornered by Sheeta and Akut in The Beasts of Tarzan, or when Tarzan explores ancient, night-haunted chambers in Tarzan And The Jewels of Opar. The novels are full of derring-do and reversals of fortune, and if the characters are sometimes thin and there is an over-reliance on shipwreck and people being kidnapped by apes … well, these are pulps that we are talking about — and pulps that are better than a hundred years old at that!

Burroughs’ shortcomings are even more forgivable when you realize that he was essentially a self-taught writer, who embarked on an astonishingly prolific career relatively late in life — a career that saw him create fantastic worlds of adventure on Mars, Venus, and at the Earth’s Core. His greatest achievement, of course, was to create one of fiction’s immortal characters in Tarzan, who would star in two-dozen novels from Burroughs, and innumerable television shows, movies, and … comic books! Tarzan’s early comic-strip adventures under master artists like Hal Foster and Burne Hogarth are treasures of the form, but more familiar to most audiences will be Joe Kubert’s 1972-1977 Tarzan run at DC Comics.

Joe Kubert, Tarzan

Tarzan’s first DC issue was #207 (continuing previous numbering when the book was published by Gold Key), and Joe Kubert was a one-man band — writing, drawing, and editing the new adventures of the Ape-Man. As befit a new enterprise, Kubert started at the beginning, with a four-issue adaptation of Burroughs’ Tarzan of the Apes.

Joe Kubert, Tarzan

Kubert’s adaptation of Tarzan’s origin tale is a marvel of economy, compressing Burroughs sometimes-meandering hundred thousand word jungle epic into four fast-moving and visual twenty-four page comic books, doing minimal violence to Burroughs story, and in some ways improving on the original through wise omission of elements that had not stood the test of time. Kubert’s script tightens Burroughs’ plot, reduces (somewhat) the original author’s reliance on coincidence as a plot device, and eliminates the broad comic relief of the novel — which incidentally also scrubbed the story nearly free of the mild-for-its-era racist stereotyping that is an unfortunate component of the novel.

Joe Kubert, Tarzan

The result is jungle magic. Using a conversation between an adventurous female looking for her father in the wilds of Africa and her guide as a framing device, Kubert tells the origin of Tarzan as a flashback. As was the case in Hal Foster’s strips — which were a profound influence on the young Kubert — Kubert’s Tarzan is heavily reliant on captions, sometimes taking on the sense of an illustrated story, but unlike Foster, Kubert deploys the full comic book toolbox, including the thought and word balloons that never intruded on Foster’s art. But even with these trappings competing for panel space, Kubert concedes little in illustrative power, bringing Tarzan, the jungle, and the jungle’s many beasts to life with marvelously-constructed panels and pages that aren’t afraid to go silent when the action warrants.

Joe Kubert, Tarzan

Effective genre comics require that the artist be a production designer as well as a storyteller. Bereft of familiar vistas like the rooftops of New York to anchor their comic book action, science fiction and fantasy comic book creators must work twice as hard to create a consistent and believable world around their characters. I felt that Marvel’s John Carter, Warlord of Mars series failed, in part, because world design was given short shrift — Tarzan’s Africa does not require the development of Carter’s Barsoom, but there is still a danger that the series will founder amidst indifferent swaths of jungle foliage.

Joe Kubert, Tarzan

Kubert sidesteps many of these pitfalls with the same technique he used on Sgt. Rock, with economical pencils that focus the reader’s eye on the dramatic subject of each panel — usually characters and their emotions — while using the environment as framing device or abstract background. But Kubert pays more attention to the environment here than he did on the war-torn Western Front, as befits his exotic subject, employing color to good effect to show the jungle in its many hues, and never missing an opportunity to use a sunset or a full moon to alter his palette for maximum mood and variety.

Joe Kubert, Tarzan

As a fan of both Burroughs and comic books, I am hard-pressed to imagine a better adaptation of Tarzan of the Apes into comics form, and I say this with full recognition of the limits and pitfalls of this kind of endeavor. In my own brief career as a comic book author, I wrote an adaptation of The Three Musketeers, but my reverence for the source material made for a poor comic book — my desire to preserve Dumas’ original language led to pages swarming with words that gave my letterer writer’s cramp and offered little insight for readers who might have been better advised to stick with the novel. In adapting Tarzan of the Apes, Kubert is respectful but unafraid to make judicious cuts when the comics form requires, bringing a lifetime of comics storytelling to bear to interpret Burroughs’ tale visually, using original language where appropriate, but also abridging and embroidering his version where additional action is warranted.

Joe Kubert, Tarzan

For example, Burroughs’ Ape-Boy doesn’t see his first action before the fifth chapter of Tarzan of the Apes, but Kubert gets an adult Tarzan into a battle to the death with a panther with a double-page spread on the second page of his adaptation. Additionally, Burroughs’ blizzard of supporting characters (whom the author largely abandoned after this debut novel) are minimized in favor of more visual jungle action, and Kubert even manages to adopt a bit of Jungle Tales of Tarzan (Burroughs’ sixth Tarzan novel, though it tells tales contemporary with Tarzan of the Apes) when he shows Tarzan’s battle with his future ape friend, Taug, over the affections of Tarzan’s “first love,” Teeka.

Joe Kubert, Tarzan

There are a few missteps, but they are minor. The framing device of the woman looking for her father doesn’t really pay off, and the page count does not permit a fuller development of the romantic triangle between Tarzan, Jane, and William Clayton, meaning that Tarzan’s selfless renunciation of his name and title in misguided consideration of Jane’s happiness rings a little hollow at the end of the tale.

Joe Kubert, Tarzan

But truthfully, I have to look to find faults with this masterful example of comic book storytelling, which I think will delight both Burroughs fans and Silver Age comics readers. That I haven’t afforded these issues my highest letter grade has less to do with the quality of Kubert’s Tarzan than it does with the simple observation that Tarzan’s tales are just less-suited to comic book storytelling than the long-underwear operas that are more commonly examined here at Longbox Graveyard … but by any measure, these are superior comics, whether as a change-of-pace or simply on their own.

Joe Kubert, Tarzan

Title: Tarzan
Published By: DC Comics, 1972-1977
Issues Rescued From The Longbox Graveyard: #207-210, April- July 1972
LBG Letter Grade For This Run: A-
Own The Reprint: Tarzan: The Joe Kubert Years, Volume 1

IN TWO WEEKS: #121 Iron Fist!


About Paul O'Connor

Revelations and retro-reviews from a world where it is always 1978, published every now and then at www.longboxgraveyard.com!

Posted on January 1, 2014, in Reviews and tagged , , , . Bookmark the permalink. 12 Comments.

  1. Wow. This is some wonderful stuff I haven’t seen before. Always a treat to see something that’s new to me from an artist of Joe Kubert’s caliber. Great post.


    • Thanks!

      Kubert was an outsized talent for this field. The more I (re)discover him, the more impressed I am. I’m very fond of Sgt. Rock but this Tarzan work is really special.

      I’m reading Haunted Tank right now (though that is primarily a Russ Heath book — and Heath is also brilliant). I hope to pick up a Kubert Enemy Ace collection in 2014. Really enjoying these classic DC war books.


  2. In the early to mid 1980s, our city’s public library had a wonderful hardcover, over-sized Tarzan comic book with lush illustrations we read over and over. It may have been the Burne Hogarth production from 1972 but we can’t say for sure.

    We notice Kubert’s art here is free from ben-day dots or any signs of aging. Are you pulling these images from a DC service similar to your Marvel online subscription?


    • Tarzan has had an embarrassment of riches when it comes to talent illustrators. I need to delve deeper into the Hogarth and Hal Foster Tarzans.

      The images accompanying this article are screen grabs from the Dark Horse digital version of their first Kubert Tarzan archive. Looked high and low for a print copy but they were going for an arm and a leg, so I went down the fifteen bucks for the digital and considered it a steal. I don’t doubt the original print and colors looked much different — these are a little “electric” but I’ve developed a taste for digital and looking at these colors isn’t so jarring as when I first started exploring that particular form.

      I do very much like the use of color in this series, particularly for backgrounds. Stunning stuff.


  3. I came on board with DC’s adaptation at the beginning. I enjoyed the Gold Key series, but Kubert’s version was a real eye-opener for me. I loved everything about his Tarzan…the economical storytelling (especially the first two years) and the beautiful art. For a ten year old kid, it was perfect, but even now when I go back and revisit, I still get a charge out of reading it. I have enjoyed reading the Hal Foster, Burne Hogarth, and Russ Manning versions over the years, but Joe Kubert does MY Tarzan.


    • I am a great admirer of Kubert’s “economical storytelling,” as you put it … comic artists of this era were paid more for productivity than for quality, but the best artists found a way to maintain quality even as they kept up their page rate. With Kubert, there was that cartoonist’s ability to draw only so much as was required to tell the story in any given panel, but his genius shows in that he never seems to be cutting corners or shortchanging the story. Add to this his immense talent for storytelling, anatomy, panel architecture, and his ability to draw animals, vehicles, and buildings … and you have one of the great masters of the form.

      I envy that you were able to enjoy these stories as a youngster. I was interested only in superheroes at that time, and missed this run entirely. It’s only taken me forty years to come around to Kubert, both with Tarzan and Sgt. Rock!


  4. DC’s Tarzan run is one of the few Bronze age titles I am searching out to complete. I often find these individual comics selling at amounts way below value…which is good for me and the collecting world! Kubert’s work is still astonishing. I recall the very first issue I had as a kid, my Dad brought home to me when I was sick…I would have never picked it up as a kid, but pleased that my Dad recognized Tarzan and made it a valued treasure now!


    • Hey, Albert — thanks for reading and commenting!

      Bronze Age books are very affordable if they don’t have Spider-Man or a mutant in them … I’d certainly rather spend two or three bucks on a comic from 1977 than spend the same (or more) on a contemporary book. I own very little Kubert aside from collections and reprints (which are great to have), but I would like to inexpensively fill in a few Tarzans, Sgt. Rocks, and Hawkmans from the Silver Age, just to have them.

      (And thus the Accumulation explodes again!)


  5. I haven’t read any Tarzan comics, but I love the novels (especially the early ones); I might have to track down Kubert’s Tarzan and check it out.


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