Tarzan: The Complete Russ Manning Newspaper Strips, Vol. 1 (1967-1969)

"In 1967 the Edgar Rice Burroughs estate asked Russ Manning to take over the "Tarzan" newspaper strip and bring it back to the original Burroughs vision..." ...and so a classic comic strip was reborn. The above quotation is taken from the dustcover to "Edgar Rice Burroughs' Tarzan: The Complete Russ Manning Newspaper Strips: Volume One: 1967-1969," a 285 plus paged hardcover book collecting the master storyteller's first three years writing and illustrating the daily and Sunday comic strips of the legendary "Lord of the Jungle." For fans of Russ Manning (particularly his North American admirers), this book, the premiere volume of a planned 4 book collection, is akin to at last finding the fabled jewels of Opar. Mr. Manning's beautiful rendition of the classic character has rarely been seen outside of the fortunate cities that featured the comic strip in their local newspapers. When it was occasionally reprinted, for example, in the DC Comics "Tarzan" series of the 1970s, the strip was heavily edited. Mr. Manning's strips were also reproduced in the now hard to find Comics Revue magazine from 1992-1999 and 2003-2006. But thanks to IDW Publishing, this memorable work is finally being showcased in an archival collection worthy of its status as a classic example of comic strip art. Russ Manning (1929-1981) came to the "Tarzan" newspaper strip after establishing himself as one of the foremost comic book creators of his time. After being mentored by veteran "Tarzan" comic book artist Jesse Marsh (1907-1966), Mr. Manning contributed his artistic skills to the "Brothers of the Spear" series, which first appeared in Gold Key Comics' "Tarzan" ongoing book in 1952. As his talent gained approval from enthusiastic comic fans, Mr. Manning created "Magnus Robot Fighter 4000 A.D." in 1963 for Gold Key; a science-fiction comic adventure he wrote and drew for 21 issues, his "Tarzan of the future" is highly regarded to this day. Also in 1963, Mr. Manning was assigned another comic series by Gold Key, "Korak Son of Tarzan," a companion book to the company's long-running "Tarzan" comic, which he illustrated for a total of 12 issues. When in 1966, Jesse Marsh died after a lingering illness, Mr. Manning was chosen to succeed his friend and mentor on the "Tarzan" comic. During his memorable run on the series, he collaborated with writer Gaylord Dubois (1899-1993) in adapting 10 of Mr. Burroughs' "Tarzan" novels into comic book form. With his interpretation of the classic Burroughs creation achieving great acclaim, Mr. Manning was given the privilege and challenge of furthering his vision of the "Tarzan" character in the ongoing newspaper strip. The gifted writer/artist would take up the task with the following words, spoken by "Tarzan" in his inaugural daily strip, published on December 11, 1967: "Too long have I adventured in strange lands! It is time I returned to the best land of all - home!" Thus, Mr. Manning returned the king of the Great Apes to Edgar Rice Burroughs' version of Africa. There, "Tarzan" was reunited with Jad-Bal-Ja, the Golden Lion, his beloved wife, Jane, and their son, Korak. Characters and settings familiar to fans of the classic novels would also be showcased, like the lost city of Opar, its devolved denizens, the beastmen, and their Queen, the beautiful, tragic La of Opar (Ohh, La!). Mr. Manning would echo this approach in the Sunday story continuity with "Tarzan" adventuring into Burroughs' mythic Africa, along with Korak, who enjoyed adventures of his own. This is a truly beautiful comic strip. Mr. Manning was a fan of science-fiction and a great admirer of Edgar Rice Burroughs' work, from his iconic creation, "Tarzan," but also John Carter of Mars, and David Innes of the underground world, Pellucidar, all romantic adventure heroes. He encorporated this view into his tales of "Tarzan." With his superb storytelling abilities, Mr. Manning excelled in showcasing the "Lord of the Jungle" in his element; protecting his lovely wife, Jane, battling the prehistoric creatures of Paul-Ul-Don, or simply communing with the Great Apes, who raised him to become the noble figure he was. Mr. Manning illustrated the heroic ideal, personified in "Tarzan," and he rarely looked better. A perfect example of this is the December 23, 1967 daily strip: in just 3 panels, Mr. Manning depicted 3 distinctive, classic images of "Tarzan." Each individual drawing encapsulated the totality of the character in his most primal form...and it was just one strip! The daily strip continuity moved at an exciting, barely non-stop pace and the full color Sunday strips conveyed the full power of Mr. Manning's art. A showcase of this is on the back of the hardcover, a panel from the June 30, 1968 Sunday strip: in it, "Tarzan" and his comrade, Mugambi of the Waziri tribe, along with a trio of Great Apes, battle a huge reptile-man and his alligators. Former master "Tarzan" strip artist Burne Hogarth (1911-1996) must have smiled with approval at the dramatic power of this action-packed scene! To keep up with the rigorous demands of producing both a daily and Sunday strip, Mr. Manning worked with a team of talented assistants: Mike Royer, William "Bill" Stout (who provides an affectionate forward to the book), and a young Dave Stevens, but it was his uniquely elegant style and vision that culminated in the true majesty of the strip. Mr. Burroughs' "Tarzan" was in very capable hands when Mr. Manning wrote and drew his adventures. IDW Publishing has released this hardcover collection under its "Library of American Comics" imprint and the book is a respectful addition to their previously published reprint volumes. But, this reviewer was slightly disappointed in the size of this tome. While first perusing the pages of daily strips, I noticed the strips seemed a little smaller than I expected. When I later placed the book atop a copy of IDW's "X9: Secret Agent Corrigan" reprint series, which I happily own, I realized the Russ Manning "Tarzan" collection was about an inch smaller in dimensions to the volumes that collect the classic work of Archie Goodwin and Al Williamson. It's a little nit-picky thing, but this critic wishes the "Tarzan" daily strips by Mr. Manning were of a comparable size to those reproduced in the "X9" 5 book set...just so this Russ Manning fan could better gaze at this master's great artistry with his aging eyes. Fan is short for fanatic, after all...! Despite that one inch flaw, this is a wonderfully reproduced collection. The artwork is reprinted on high quality, non-glossy paper and the daily strips, printed three per page are clear and crisp in all their black and white beauty! The Sunday pages share the same quality and it is important to note that their colors, restored by IDW editors Lorraine Turner and Dean Mullaney, are unchanged from their original newspaper publications. This is unlike the revised color work done on the Tarzan Archives: The Russ Manning Years Volume 1 , released by Dark Horse Comics in December of 2013. Even the book's cover is cleverly designed, with its front cover adorned with a minimal amount of color, while the back cover displays the above mentioned full color action sequence, subtly suggesting the inner design format of the volume: daily black and white strips featured in the front of the book and the full color Sunday strips showcased in the back of the thick tome. The illustrated cover to the book is reprinted on both its dustcover and its hardback design; and the collection has a sewn binding featuring a gold ribbon book mark. For lifelong Russ Manning fans like myself, this book is perhaps the one reprint collection of his artistic genius we've been most eagerly awaiting. This reviewer can honestly state that I have been waiting for a book of this quality, devoted to Mr. Manning's "Tarzan" work for decades. As I complete this critique and look at my longheld dream finally realized... ...I am a very happy man! But the artistry of Russ Manning is not just for old fans of comic books and comic strips. Mr. Manning's art, like all great art is for every generation who loves this magical medium called comics. This book contains treasures for all. "Edgar Rice Burroughs' Tarzan: The Complete Russ Manning Newspaper Strips: Volume One: 1967-1969" comes with my absolute highest recommendation! Truly enjoy!

This has been a golden twelve month period for all fans of Russ Manning's 'Tarzan'. Dark Horse has given us Tarzan Archives: The Russ Manning Years Volume 1 , Korak, Son of Tarzan Archives Volume 1 , and the (not entirely unrelated) Brothers of the Spear Archives Volume 1 . Flip through any of them, and I defy you not to be captivated by Manning's glorious art. But this brings me back to that quote I used as the headline for this review. That was John Romita (Sr.) on Milton Caniff, when interviewed by 'The Comics Journal' in 2002. More than six decades after a certain dramatic event in The Complete Terry and the Pirates, Vol. 4: 1941-1942 Romita could vividly recall the emotional punch of a particular storyline. And this segues in neatly with something that William Stout says in the foreword to this book: 'His beautiful art is so captivating that it's easy to understand how it might overshadow his scripts.' What separates this hefty tome from the Dark Horse books mentioned above is that here Manning was granted complete creative control of the Jungle Lord. Or at least as 'complete' as it gets when dealing with a property that is not yours. Caniff could do pretty much what he liked with Terry, Pat, and the Dragon Lady. But Manning had not created, and did not own, Tarzan. Or Jane. He probably couldn't remove even Jad-Bal-Ja from the scene. Given those constraints Russ Manning did a fine job. No, scratch that, he did a fine job, period. There is actual character development, as for instance in the case of Jane. As early as January 4, 1968, Jane looks at a Dum-Dum and finds herself wondering, "My husband... and son... part of thar screaming animal madness! How can I ever again feel that I truly know... and understand... them?" It is an important point because it will tie up with the very last panel of this volume, the Sunday strip of May 11, 1969. Jane's unease with, and Tarzan's complete acceptance of, their fantastic homeland is encapsulated in a daily strip, on April 18, 1969, when he tells her where he has left Korak. Jane's outrage is almost palpable. That final Sunday strip also ties up with the first strips in another way. Manning begins his run on Tarzan with the Jungle Lord expressing his desire to "return to the best land of all -- home!", but once home M'Bela hands him a letter from Korak announcing that Jane is missing. And in that climactic Sunday strip I mentioned earlier M'Bela hands Tarzan another letter, announcing... but no, you have to read this book for yourself. Some might, of course, argue that the bookending of the two letter sequences is the result of some fine editing by Dean Mullaney and Bruce Canwell. This may be true but Manning's writing talents are at their best and subtlest in the Auric Head sequence that runs from January 30 to March 15, 1969, with a reprise from September 13 to September 23, 1969. 1969 was a year of anti-war protests across the country. In 1968 a U.S. officer had been quoted saying, "It became necessary to destroy the town to save it." Auric begins with, "Now you are free! No longer will Tarzan make you slave for him...!" But when the Africans make it clear that they don't buy into his vision of development he yells out in fury, "Until you get it into your heads that I have come to help you, you will be detained... under guard!" And from there it is a quick step to, "They opposed me! Simple savages too backward to understand what I could do for them!" It is a classic account of how quickly idealism can be debased. I have no idea whether Manning was a hawk or a dove. I have no idea whether this was a deliberate mocking of ideologues, or whether Manning was simply responding unconsciously to the spirit of the times. What is relevant that even forty-four years later it is possible to have a debate on the subtext and the context of Manning's writing. Don't let the above give you the idea that the whole book is about serious stuff. It is, after all, an adventure strip set in a fantasy land -- so you also have dinosaurs (who bring an end to Auric's tyranny on the Ides of March), winged men (with a sly message on inter-racial marriage?), and long-lost Egyptian civilizations. And, of course, you have Manning's glorious art. I strongly recommend reading earlier reviews on this page, particularly by Dennis M. Roy, L. W. Swint, Diego Cordoba, and Trollbeard, who write with far greater knowledge than I possess. Diego Cordoba has made the point that it's unfortunate that the Library of American Comics didn't publish the Sundays separately and in a larger format. As a card-carrying member of the Bigger-is-Better Club I am always up for this. And there is a precedent in the form of LoAC's own Archie: The Classic Newspaper Comics (1946-1948) and Archie's Sunday Finest , with the Sundays being visibly larger. On the other hand, I have never seen comic strips in actual newspapers that were printed at anything more than postage stamp size, so who am I to complain? William Stout was correct; Manning's writing is often overshadowed because of the enthusiasm for his art. Dipping into this lovely book I, like John Romita decades ago with Caniff, started by looking at the art but was soon hooked by the story. Enthusiastically recommended!

Sonntagsnachmittags hallten die patentierten weissmullerschen Tarzanschreie durch unsere Siedlung, für die entnervten Nachbarn sicherer Anhalt dafür, dass es schon fünf Uhr durch war - von 17.00 Uhr sprach damals niemand - und der Tarzanfilm zu Ende. Ganz klar, Tarzan war einer der unseren, sonnengebräunt und mit nackten Beinen, auch wenn wir statt des Lendenschurzes kurze Hosen trugen (im übelsten Fall selbstgestrickte). Was stellten sich die Nachbarn, allen voran Frau Schulz, nur so an? Wenn Tarzan nach dem Erwachen seinen Schrei ausstieß, wurde doch schließlich auch der ganze Dschungel geweckt? Die Filme waren eine intellektuelle Herausforderung für mich als des Schreibens gerade erst in den Anfängen Unterrichteter. Wie sollte man den Namen von Tarzans Frau bitte schreiben: Dschehn? Meine Eltern hatten keinen Englischunterricht genossen und konnten nicht weiterhelfen. Gut, dass es die Comics gab, die brachten dann Aufklärung, und nicht nur über die korrekte Schreibweise der Namen Jane und Boy. Noch vor dem Schulenglisch waren mir über 30 Vokabeln aus der Sprache der Affen geläufig, beileibe nicht nur die gängigsten wie Kreegah und Bundolo. Wie kam man nun aber als acht- oder neunjähriger Knirps an die Tarzan-Comics? Gleich gegenüber gab es ein sogenanntes Kellergeschäft, das nach seinem Betreiber den wohlklingenden Namen Krause trug. Dort lernte ich rechnen, wenn ich für 10 Pfennige Bonscher kaufte: 7 rote und 3 gelbe bitte! Ansonsten gab es dort vor allem riesige Waschmittelkartons, Seife und sonstiges Haushaltszubehör. Von Comics keine Spur. Der Eckladen von Möck war da schon eine ganz andere Nummer, da gab es alles Mögliche, Matchboxautos zum Beispiel, und die Milch kaufte man noch lose, brachte also eine Plastikkanne mit und ließ sich einen Liter abfüllen. Über die Idee einer Milchtüte hätten wir uns schlapp gelacht; Milch in Tüten, da läuft doch alles raus… aber Comics gab es bei Möck nicht, nur seriöse Zeitschriften. Wenn man allerdings etwas mutiger war und bis zum übernächsten Eckladen an der großen Straße ging – warum lagen eigentlich die meisten Märkte damals an Ecken? – dann stellte man fest, dass dort alle Wünsche wahr wurden, das nötige Kleingeld einmal vorausgesetzt. Hier gab es Erbsen- und Knallpistolen, mit denen man die letzten Abenteuer von „Mit Schirm, Charme und Melone“ nachspielen konnte, vor allem aber gab es hier alle möglichen Comics! Die frühen Superheldenheftchen, die beim BSV-Verlag entweder als HIT- oder als TOP-Comics erschienen, interessierten mich noch nicht und DC und Marvel hätten mir genauso wenig gesagt. Aber die deutschen DELL- oder Gold Key-Ausgaben der Tarzanhefte, das war doch was! Schon die großartigen Titelbilder versetzten mich in Begeisterung und die Geschichten wurden rasend schnell und dann immer und immer wieder verschlungen. Als zusätzliches Futter gab es die Korak-Hefte, die aber irgendwie nur Ersatz waren. Tarzan immer auf dem Sprung, immer unterwegs, Jane zu retten oder Menschen in Not zu helfen; Kämpfe mit Krokodilen und Riesenaffen, auch gelegentlich mit Sauriern; unheimliche, fremde afrikanische Stämme, manche hilfsbereit, andere feindlich; ich liebte die Abenteuer und sie regten meine Fantasie an. Etliche Jahre später verkaufte ich dann alle Comics, die ich im Laufe der Zeit angesammelt hatte, für wenig Geld. Über so etwas denkt man heute lieber nicht nach, wenn man die Sammlerpreise auf Ebay sieht. Vierzig Jahre später stelle ich mir die Frage, ob es ein Wiedersehen mit Tarzan geben kann. IDW ist ein Verlag, der etliche Comic-Klassiker neu aufgelegt hat und mich mit der Qualität der Reproduktionen sowie der tollen Verarbeitung der Hardcoverbände überzeugt hat. Nun hat IDW vor kurzem Band 1 der Tarzan Newspaper Strips herausgegeben, gezeichnet von Russ Manning , erschienen zwischen 1967 und 1969. Die Dailies wurden in schwarz/weiß gedruckt, die Sundays sogar in Farbe. Schon technisch ist die Reproduktion über alle Zweifel erhaben. Die Panels sind durchgehend scharf und kontrastreich gedruckt und wie bei IDW üblich mit dem genauen Erscheinungsdatum und fortlaufender Numerierung gekennzeichnet. Künstlerisch war aus dem Trias Hal Foster, Burne Hogarth, Russ Manning mein Lieblingszeichner bei den Tarzan Comics immer Russ Manning. Klare Linien und Strukturen, große Dynamik bei Bewegungsabläufen, vor allem aber der Detailreichtum überzeugen. Durch die oft realistische Darstellung der Tiere und der Vegetation ist der Überraschungseffekt dann umso größer, wenn Tarzan, gerade durch einen unter einem Berg verlaufenden reißenden Fluss in ein Tal gespült, plötzlich einem so riesigen wie lebendigen Dinosaurier ins Auge sieht. Zeichnerisch gefällt mir Mannings früher Tarzan deutlich besser als sein eigener Held, Magnus Robotfighter, der im Vergleich einfacher, kindlicher, großflächiger gezeichnet ist. Auch die Kunst, eine spannende und zusammenhängende Geschichte zu erzählen, obwohl er dafür pro Tag nur drei Panels hatte, beherrscht Manning hervorragend. Seine Qualität als Erzähler ist oft und zu Unrecht übersehen worden, weil er eher als Zeichner wahrgenommen wurde. Im Vorwort des Bandes erfährt man, dass die „Edgar Rice Burroughs, INC“ mit Mannings Version ihres Helden so zufrieden war, dass man Manning Mitte der 70er Jahre sogar als Herausgeber der Tarzan-Heftreihe der ERB INC einsetzte, um die Figur wieder näher an die Idee ihres Schöpfers anzulehnen (leider war diese Comicreihe nicht sehr langlebig). Die Tarzan Dailies haben natürlich vor allem einen nostalgischen Wert, aber fast bin ich selbst ein wenig überrascht, wenn ich im Fazit folgendes feststelle: Es sind hervorragend präsentierte klassische Abenteuergeschichten, die auch heute noch Spaß machen, sie sind gut erzählt, gut gezeichnet und für alle Leser empfehlenswert, die nicht bei jeder Comic-Lektüre kritisch prüfen, ob die Inhalte politisch korrekt sind. Es sollen weitere Bände folgen, der zweite Ende Dezember 2013, und den werde ich bestimmt nicht verpassen!

An incredible book featuring Fantastic Russ Manning Tarzan art.

La première aventure de Tarzan dessinée par Russ Manning (1929-1981), « Jad-Ben-Otho » paraissant en strips (une bande dessinée souvent de quatre cases en noir & blanc à chaque livraison) dans les journaux de l’époque débute le 11 décembre 1967 et se clôt le 5 octobre 1968. S’enchaîne « Tarzan and the Renegade » (7-/10/68-18/10/69), toujours en noir & blanc. Inédit en France, la langue américaine ne fait pas obstacle à la lecture car le texte n’est pas prédominant, les dessins étant suffisamment évocateurs. Tarzan ne peut toutefois occulter la production antérieure et conséquente du talentueux dessinateur américain. Russ Manning est en pleine possession de son art. Dès la première case, Tarzan vole dans les airs sous les frondaisons. Il rentre chez lui, désireux de retrouver les siens. Il croise la route de Jad-Bal-Ja, un lion ami. Jane a disparu et Korak, leur fils, s’est lancé sur sa piste. 86 pages vont défiler et l’aventure sera sans répit. Il s’agit de tenir le lecteur du quotidien en haleine. L’histoire est limpide même si elle est méandreuse, pleine de fantasy avant l’heure (Edgar Rice Burroughs (1875-1950), romancier prolifique et créateur de Tarzan, 22 romans, 15 nouvelles, etc. invente des mondes et des lieux oubliés, Opar, Pal-Ul-Don, pose les rudiments de langages inouïs, croise les époques modernes, préhistoriques, antiques, etc.). Le dessin est lisible, d’une beauté formelle indéniable. Tout doit être saisi au premier coup d’œil ce qui n’empêche pas une relecture émerveillée. Tarzan retourne à Opar, cité oubliée, avec ses hommes simiesques, ses joyaux inestimables et ses prêtresses superbes puis pénètre dans Pal-Ul-Don, continent enfoui où les reptiles préhistoriques côtoient des hommes en lutte pour les terres et le pouvoir. Tarzan, Jane et Korak participent séparément aux évènements à leur corps défendant, saisissant toutes les opportunités pour s’extirper indemnes des conflits, retourner chez eux, tentant au passage de redresser quelques injustices. Les rencontres sont stupéfiantes, extraordinaires : un tigre à dents de sabre, un tylosaure [reptile marin préhistorique], des mutants cannibales dépigmentés dans une grotte de cristal qu’une vieille Anglaise, Twilla, commande, un trio d’aventuriers, Marta, N’Dema et Chulai, Auric, un Blanc sanguinaire chef d’une bande de pillards… Pressé par Jane de retrouver Korak laissé seul dans Pal-Ul-Don, Tarzan repart vers le continent oublié par la voie des airs, en construisant une montgolfière avec les cavités abdominales des dinosaures morts. Auric surgit, entraîne de force Jane et Chulai sur la montgolfière de fortune, laissant Tarzan au sol. Jane est enlevée en vol par un homme ailé à crête de punk et introduite dans un nid alvéolaire. Elle sera fécondée ainsi que toutes les autres femmes déjà kidnappée. Tarzan devra agir vite, fort et juste s’il veut retrouver les siens indemnes. Si les strips quotidiens sont en noir & blanc, les pages du dimanche qui s’ensuivent sont en couleur. Avec son format à l’italienne, l’édition américaine déroule trois récits somptueux publiés entre le 14/01/68 et le 11/05/69. Tarzan retrouve tout d’abord les hommes-fourmis en guerre, lutte ensuite contre un homme-hyène puis perce le mystère des femmes-éléphants. Les treize pages introductives sont d’un grand intérêt et complètent utilement, après lecture de la bande dessinée, le premier volume de l’œuvre intégrale de Tarzan par Russ Manning. On peut imaginer que le lecteur d’aujourd’hui n’ait pas les repères suffisants pour décoder les aventures de « Jungle Man ». Les histoires linéaires sans début ni fin, sans sexe et sans hémoglobine peuvent apparaître bien fades. Pourtant, à s’y pencher d’un peu plus près, la magie émane toujours des planches et opère ses envoûtements. Le graphisme élégant de l’auteur, le trait précis, délié, totalement lisible confère aux strips et aux planches du dimanche un plaisir de lecture intense et durable.

Per chi da piccolo leggeva il Tarzan di Russ Manning edito dalla Casa Editrice Cenisio. Un tuffo nell'avventura di..40 anni fa. Terre perdute, dinosauri, popoli di giganti e uomini formica...cosa desiderare di più? Il tutto in una veste grafica e ristampa impeccabile.

I will keep this very short although i would like to tell much but look at the other reviews (from Amazon com) and you know enough. Its a book on which i have been waiting many, many years and its perfect. All fans of comics, Tarzan, Russ Manning and those who want to see, learn how a master did it: buy this book! :-) And offcourse the three which will follow. I am very happy i did get the book before the date Amazon said it would be sold (i live in the Netherlands). Hopefully everyone will get to see this beautiful book of art.. (i have add some pictures to give an idea how it looks)