Please collect the short-lived Bronze Age series, Rima The Jungle Girl, featuring gorgeous art from Nestor Redondo* in his prime. It might not be a best-seller, but fans in the know will thank you profusely will their support.
Trust me on this.
Your pal,
Greg
(No scan or photo will do real justice to this dazzling splash page featuring dozens of exotic and detailed tropical birds.
I didn’t realize Joe had worked on a Punisher storyline until I saw these lovely original art pages. And, no surprise, it’s a terrific looking arc, indeed.
Chuck Dixon is the credited writer, but the storytelling here is all Kubert. A unique page with eight small panels and that superbly dramatic half-splash close-up. (A perfect callback to the first panel.)
Kubert was in his sixth decade of professional work when this story appeared; and he was still drawing for more than another 20 years before he passed away at 85 in 2012.
2022 is the 110th anniversary of Edgar Rice Burroughs’ jungle icon, Tarzan.
This year has at least two-other important Tarzan-related anniversaries:
The first is 1932, the release year of the first Johnny Weissmuller Tarzan feature film. Tarzan existed on screen prior to the Weissmuller film, of course, but his 12 features likely did more to enshrine the character in the popular imagination than any other media representation.
The second is 1972, the year DC took over the comic book license from Gold Key and re-established Tarzan as a savage lord of the Jungle. Joe Kubert’s comic art work on the character was the first that took the sheen of the character and returned him to his literary roots.
Long before “reboot” became part of the pop culture vocabulary, Kubert’s Tarzan was a stunning new look for comic book readers.
DC, as part its licensing deal, had to provide all the original art to the Burroughs estate. It’s still there in the archives, in excellent condition, and we used it to create three beautiful Artist’s Editions volume at IDW.
Ultimately, thought, this means that Kubert Tarzan pages are among the rarest of the last 50 years. With the exception of a handful, none of them have ever been offered on the open market.
Joe originally gifted this splash, part of a DPS, to a friend.
I happened to see it the day it the day it came up for sale, and despite a lofty price, I acquired it then and there.
I knew I wouldn’t likely see another one.
Typically, Kubert’s full double-page spreads from this period could be broken up without ruining the art.
Three different Tarzan anniversaries in 2022: DC’s Tarzan celebrates its 50th, Weissmuller’s film series celebrates its 90th, and the character himself celebrates his 110th.
The final issue of Gold Key’s Tarzan series is almost as far from Kubert’s interpretation as The Batman 1966 TV series is from Christopher Nolan’s. Coincidentally, that issue also featured an adaptation of “Tarzan and the lion man.”
When I acquired this great looking page years back, I remarked (to no one in particular): “Gee, who knew Dick Ayers could draw like Joe Kubert?”
Duh. Thanks to the amazing Grand Comics Database (GCD), and an interview with inker Ron Randall, I find out that there’s an excellent reason for the look and feel of the draftsmanship: Kubert drew some of the art as well. (And Ron is a graduate of the Kubert School.)
Official credits in the printed issue belong Ayers and Randall, inker, but given the many retouches and corrections on the page (and likely throughout the entire story) it should have been a bit more obvious to me that Joe had a hand in the art. From the Randall interview:
“My first comics work was a few short stories in the back of the old Sgt. Rock. Many, many years ago. What I most remember was the rare and priceless opportunity to work one-on-one with Joe Kubert himself as he took me through the steps of layouts, pencils and inks on these short tales. It was getting personal attention from a master. And the lessons I learned from those jobs have shaped my views on comics and storytelling to this day.” — Ron Randall
I’ve seen Ron at quite a few conventions over the years, so when cons come back, I can potentially put the rest of the puzzle pieces of this particular story together. (Like how Dick Ayers actually fits into this.) If Ron remembers, that is.
(I know I seem remember things from 40 years ago. I just can’t remember what I had for lunch yesterday.)
Ayers was a mainstay on Marvel’s war titles, including a 10-year run on Sgt.Fury.
The legendary Joe Kubert “borrows” from himself to create an iconic cover image; one of the very few to feature both Sgt. Rock and Enemy Ace together.
It’s a beautifully rendered cover, and one my personal favorites.
Kubert’s covers graced so many DC war comics from the 60s through the 90s that occasionally seeing one from another artist is just… incongruous.
And as artist, editor and Publications Director, Kubert’s storytelling insight and eye for talent ensured that many of the interiors were terrific as well.
Ahead of Memorial Day later this month, we’re featuring a number of great pieces of art from DC’s war genre by some truly talented creators.
Stay tuned.
Revisiting an iconic image to craft a new one, more than 20 years later.Check the eyes on both the original cover and the homage.
Sgt. Rock and Enemy Ace make their first appearances years apart in The Silver Age, and DC and IDW create two beautiful original art collections 50 years later.
DC’s war comic books, taking inspiration from EC’s titles years prior, featured some of the best stories published in any genre. They often dealt directly with the human toll and sacrifice of war, and rarely emphasized a false “glory of battle.” In the 1970s, Editor Joe Kubert quietly added in the widget “Make War No More” at the end of many of those stories. (Seen in the published page below as the paste-up in the original is missing.)
The brilliant John Severin (1922-2012), who drew some of the best of those original EC masterpieces, returns here to illustrate Robert Kanigher’s haunting Sgt. Rock tale “The Bloody Flag.” Rock’s dialogue, and his expression in panel three, sum up much more than just the story itself.
Today we honor John, and millions of other veterans of the armed forces, past and present. Thank you for your service!
