#Tarzan and the Lost Tribe

[chernobog13]

MGM’s feature film Tarzan the Ape Man (1931), and its sequel, Tarzan and His Mate (1934), both starring former Olympic swimmer Johnny Weissmuller, turned out to be huge successes for the studio.  They also cemented in the public’s mind the image of the monosyllabic, grunting ape man.

That iteration of the ape man was so popular that it was used in the non-MGM film serial Tarzan the Fearless (1933), starring another Olympic swimmer, Buster Crabbe.

Tarzan creator Edgar Rice Burroughs praised the films in public (they were making him money, after all), but privately hated their portrayal of his most prized creation.  So he partnered with a family friend, Ashton Dearholt, and produced the 12 chapter-serial The New Adventures of Tarzan (1935).

The serial starred yet another Olympian, Henry Brix, in the title role.  Ironically, Brix had been MGM’s first choice to play Tarzan in their films.   Brix, unfortunately, broke his shoulder while filming another movie.  MGM went with their second choice, Weissmuller, and the rest is history.

Frankly, just by physique alone I think Brix is the superior Tarzan.  Even in his early films Weissmuller always looked a little doughy to me.

Brix’s Tarzan was also extremely faithful to the character from Burroughs’ novels: the cultured, educated, literate Lord Greystroke who spoke several languages, yet was unmistakably a man of action.  This was the last time Tarzan would be depicted so until 1959′s Tarzan’s Greatest Adventure.

Once the troubled production was completed (and that story is practically a book in itself), movie theatres were offered two different was to exhibit the serial: as a stand-alone feature 70 minutes in length, entitled Tarzan and the Lost Tribe; or a feature-length (65 minutes) first episode, followed by the remaining 11 chapters.

Reviews of the film were generally poor in the US, and The New Adventures of Tarzan was the last Tarzan serial ever produced.  However, like most Tarzan films of the time, it was a great success overseas.  So much so, in fact, that in 1938 the last ten chapters of the serial were edited together to become the feature Tarzan and the Green Goddess.

Brix felt he was typecast after the serial was released, so he soon changed his name to Bruce Bennett.  That’s how he’s billed in the numerous films and television episodes he appeared throughout the 1940s and 50s.

Some trivia regarding The New Adventures of Tarzan:

- The film was set, and largely filmed, in Guatemala.

- Producer Ashton Dearholt, who was married, met his leading lady, Ula Holt, on a previous trip to Guatemala.  Dearholt was so smitten that he took Holt home to live with him.  That promptly led Dearholt’s wife, Florence Gilbert, to leave with their two children and divorce him.

- Dearholt also played Raglan, the villain of the story.  He claimed he had to step in to play the role when the actor hired for the part, Don Costello, got sick. This earns him the “George Santos Liar, Liar, Pants On Fire Award,” as there was no Don Costello.  It was just a story Dearholt made up because he always planned to act in the film.

- Edgar Rice Burroughs fell in love with Dearholt’s ex, Florence Gilbert, when he first met her in 1929.  During filming of the serial in 1935 Burroughs divorced his wife and married Gilbert, despite (or perhaps because) her being 30 years younger than him.

- Tarzan’s chimpanzee companion in the film was named Nkima, not Cheeta as in the MGM films.  Jiggs the chimp played both roles, and he was paid $2,000 for his work in the serial.

- Herman Brix was hired at the salary of $75 a week but, other than his travel and accommodations in Guatemala, never got paid for his work.

- There are stories that Brix was personally chosen by Burroughs to play Tarzan.  Brix himself stated that he only met Burroughs briefly after filming had wrapped.  The only actor Burroughs actually picked for the role was Jim Pierce, for 1927′s Tarzan and the Golden Lion.

[darkspellmaster]

Wish is just a normal Disney film just like all the rest.

Wish is actually a damn good movie, there I said it!

I'm going to start by saying this much, it's very odd to me that so many people are now screaming for a love story from Disney, when not even five or ten years ago there was shouting from the roof tops about Disney doing TOO MUCH romance. For the longest time it was "I wish Disney wouldn't do pairings" "Ugh another romance, can't the princess not." Etc. Now everyone wants one, even though Romance isn't really as big a Disney trope as people think.

Actually let's go through the animated catalogue and see how frequently the love story is centered as the main conflict and asperation to the character. In this case it's the key thing, not a 'Oh they happen to like each other in the end' situation, it's THE thing, the point of the movie is their romance. Then let's see how many have it as the secondary aspect, and let's see how many have it as not important at all. (And we're talking romantic love, not family love)

Romance (Total number: 15)

Snow White, Lady and the Tramp, The Aristocats, The Little Mermaid, Beauty and the Beast, Aladdin, Pocahontas, The Hunchback of Notre Dame (Secondary Characters hook up so this is a weird one), Doug's First Movie, Tarzan, Lizzie McGuire the Movie, Enchanted, The Princess and the Frog (Only from Naveen's POV), Tangled (could be seen as secondary too)

Secondary (Total Number: 25)

Fantasia, Bambi, Make Mine Music, Fun and Fancy Free , Melody Time, The Adventures of Ichabod and Mr. Toad, Cinderella Sleeping Beauty

One Hundred and One Dalmatians , Robin Hood, The Rescuers , The Fox and the Hound , Who Framed Roger Rabbit, The Rescuers Down under

The Nightmare before Christmas, The Lion King ,Hercules ,Mulan ,Fantasia 2000 , Dinosaur, Atlantis the Lost Empire , Meet the Robinsons , Frankenweenie ,Frozen, , Strange World

Not in it at all (Total Number: 42 -including Wish)

Pinocchio, The Reluctant Dragon, Dumbo, Saludos Amigos, Victory through Air power, Three Caballeros, Alice in Wonderland, Peter Pan

Sword in the Stone, The Jungle Book, The Many Adventures of Winnie the Pooh, The Black Cauldron, The Great Mouse Detective

Oliver and Company, Ducktales the Treasure of the lost lamp, A Goofy Movie, James and the Giant Peach, The Tigger Movie

The Emperor's new Groove, Recess School's out, Return to Neverland, Lilo and Stich, Treasure Planet, The Jungle Book 2

Piglet's big Movie, Brother Bear, Teacher's Pet, Home on the Range, Pooh's Heffalump Movie, Chicken Little, The Wild

Bolt, Winnie the Pooh, Wreck it Ralph, Big Hero 6, Zootopia, Moana, Wreck it Ralph 2, Frozen 2, Raya and the Last Dragon, Encanto, Wish

These are just the animated not live action, and not live action with animation movies. All in all it's more common to see a Disney film with NO romance in it at all then a romantic one.

So why is it that people keep saying, but we're missing the romance, it's because of the fact that most of the time the Parks and other media pair the characters together. Take Peter pan, in the movie, the boy is utterly oblivious to Wendy's affections, to the point of pissing her off enough that she leaves the party that the tribe is hosting. In the parks, and other media (the plays, other movies) the romance is in your face, because people want them to be a couple, but in the movie itself you never see it.

Star, based on the making of book, was supposed to be a younger version of Asha's grandfather, which fits the theming of the movie. However, from what I understand, one of the reasons why they went against is was because it was hitting to close to Genie in the shape shifting. On top of that, the character of Star, seems heavily inspired by the art work of William Joyce, who created Night Light.

This is him and Katherine (Future Mother Goose) who is basically Star in a lot of ways. He lights the night to keep the nightmares away. These two eventually grow up (He remembers He's jack frost) and they end up as a couple.

It would be apping off of that story, and sadly people didn't give the William Joyce movie Meet the Robinsons a chance (don't sleep on that folks please! It is a good story.)

Also straight up give more love to the Guardian's of Childhood, you'll be happy while you read it.

I'm not saying don't ship it, what I am saying is that please don't go saying this was planned when it really wasn't. That was supposed to be her grandfather there.

And I'm not against the art work, I find it very cute and sweet and lover the designs. But I do think that the whole, "WE WERE ROBBED!" thing isn't being at all fair to the creative team behind this story, as again, *points up* they were following the tradition of a story that doesn't have a love interest, which is the vast majority of the stories that they tell.

Wish perfectly falls in line also with Disney's normal length of animated movies.

Wish was 1 hours and 35 minutes

The movie that came out before it clocked in at

Strange World = 1 hours and 42 minutes

Moana = 1 hours and 47 minutes

Frozen = 1 hours and 42 minutes

This Hour long movie thing started really with Atlantis the Lost Empire = 1 hours and 36 minutes

While Little Mermaid, Beauty and the Beast, Aladdin, Mulan, Lilo and Stitch all clock in around =1 hour and 30 at most, some are even less than that. Wish's run time is equal to that of Atlantis, or Aladdin, or Treasure planet. So I'm a bit perplexed on the "It's too short" thing. Maybe growing up just before and during the days of Little Mermaid and Aladdin made me like the shorter tales.

Which is another point. With a shorter movie, you never get complete backstory. It's a fairy tale! I mean, look at Little Mermaid. Seriously can you Name any of her sisters from the opening song.

Like seriously, I don't really know a lot of people who can tell me anything about Aquatica, for example. Unless you actually read the books or watched the TV show. And before then we had nothing. Nothing on her mom, nothing on her sisters.

Then there's the town Belle comes from, what do we know about it? Not much, not even who governs the damn thing. Howe about Aladdin before the TV series and King of thieves cleared up everything. We didn't know who his parents were, nor Jasmine's mom. Hell we still don't know anything about Cinderella's father from the animated movie.

Point being, a lot of information, much like Wish, got cut for time. In Snow white we were supposed to be given a longer back story for her father and mother, that was cut due to it being to long, it's in the golden book though. Prince Florian (Yes that is his name) was supposed to have Prince Phillips escape, but it was deemed to hard to animate at the time.

Also there was one that was dancing on the clouds, with STARS, around them that looks very much like you know, our Star.

So basically, he's a nod to what could have been for Snow White all those years ago. Cut for time.

Aladdin had a whole cut song because they chopped his mother out as she was supposed to play a part in the movie and help her son with the Genie.

Zena is her name and she was cut to streamline the film.

Maid Marian in the original Robin Hood was supposed to protect him after his plunge into the water, and protect him from King John while he's threatening her. King Richard appears in the end and scares him into stopping but she's willing to take a dagger to the chest to protect Robin.

This is when Richard meets Robin with Marian telling him all about what happened.

All Disney movies change. Isabel in Encanto was supposed to have a nerdy boyfriend that the family disapproved of.

Hell, Frozen was at one point going to be the Bad guy wins the guy, the hero (Gerta) that we followed all the way to the end rooting for her, was supposed to be a gold digger, and Kai was supposed to say "Nah, I'm gonna stick with the Snow Queen" because she's sad and your a bitch. (Thanks Eisner, I hate it!)

So yeah, there's probably A whole lot of cut content that was supposed to go in, but to streamline it to 95 minutes, you have to cut! At least it's not what happened to the Black Cauldron. No I will never forgive Katzenburg for that travesty!

Disney always used Popular Music over Broadway

Honestly this is the one complaint that I hear that kills me the most about this movie, that the studio went with a pop music team. As if this is not a common thing for Disney movies!

Fun fact, the team behind most of the musical scores up until the 1960s were all composers and musicians that wrote songs for the radio. Or song writers that did radio music. If I listed every single one we'd be here for ages.

The Sherman brothers actually wrote pop tunes for the Teen sweetheart Annette Funicello and several other well known singers and actors of movies.

The first major Broadway group was Ashman and Menken, Followed by Miranda, and the Lopez's. Most, if not all of the biggest Disney songs were written by pop songwriters, whos goal it was to get that song played on the radio.

Hell The Lion King, Tarzan, The Emperors New Groove, and Treasure planet to name a few were all done by Pop musicians. I didn't hear complaining about it back then! What's the difference now? Because the team is not Elton freaking John, or Sting?

All of Oliver and Company was pop songs. Several movies didn't have songs, or only had one.

If we're going to celebrate a studio that helped bring an artform out of it's infancy and show that you could do a full movie of animated pictures where you get emotions out of it, we need to celebrate all aspects, and that includes things we may not realize are kind of unique.

When Hercules and Hunchback came out, people complained about them not being "Traditional" Disney. It was Gospel, it was too dark, or in the case of Tarzan, why are we following a boy, or Treasure planet, "Yuck a space story". Now people adore these movies. People who grew up with them want to celebrate them, and sometimes they don't realize that they were once derided as hard or harder than Wish is being right now.

I just wish that people would give these movies a chance rather than not let the creatives tell their story. We had a whole damn section of 2D animation in Strange World! No one talked about it! No one went "More of this please". Give me these stories, let me enjoy a original fairy tale, because if we keep rehashing things, there's going to be little to celebrate when the next 10 or 20 years rolls around.

Sorry for the kinda rant. This has just been on my nerves for a while.

[fruitypixel]

Tsua Jungle AU (No Quirks)

Visitors of the Jungle Cast

Midoriya's Group consists of the following people:

Archeologist! Izuku: A young intern training under All Might. Think of a mini Indiana Jones. A total sweetheart who will whip a bitch for stealing from ancient temples. Arrived in this jungle to explore lost cities.

Bionist! Ochako: Girlfriend of Izuku and botanist! She's the one who's in charge of driving vehicles ("Uraraka start the engine!" <<Midoya running for his life) and identifying edible foods they can eat. She came along because she wants to keep her bf safe, and explore the unknown!

Photographer! Shoto: A run away rich boy. Daddy disapproved of his choice in career, that among the obvious, Todoroki struck out on his own. Came to the jungle so he can make an online calendar.

Herpetologist! Tsuyu: The guide who owns her own nature blog. She keeps everyone calm under the most dangerous circumstances. She's also the main cook of the group. Is the one that suggested they come to the jungle for research.

Koda's Group has the following people:

Zoologist! Koji: A mute, sweet zoologist who loves animals. Prefers to study rather than go on adventures like Izuku's group does. Suggested they go to the jungle to study animals.

Writer! Momo: A rich girl who has a taste for the thrill. Got bored at home and decided to leave to get her groove back. Came to the jungle to get some inspiration for her next book.

Translator! Menzo: A translator that graduated from college a month ago. Like Tsu, he’s calm even in the most dangerous circumstances. He arrived with the group so he could build his resume.

Guide! Fumikage: The Survivor of the group after his plane crash landed months ago. Tells dark poetry and tells stories of tales of the jungle. Joins the group so he can not only get back to civilization, but test himself in the dark.

Ojiro's group consists of the following people:

Explorer! Hagakure: A senior Explorer who knows what she's doing. Brave as all hell and is a good spy for the group. Came to the jungle to help Hoshi get his explorer badge.

Researcher! Mashirao: A budding researcher. Knows his stuff and keeps his cool unless it's too out of control. He wanted to go to the jungle so he could find the king of the jungle.

Inhabitants of the Jungle

Tarzan! Tenya: The Prince of the Jungle. A serious individual, but very curious of other people like him. Just as, even if not more feral than Tensei. Lives with his brother Tensei.

Tarzan! Tensei: The King of the Jungle. Mute due to his trauma, yet a very ferocious man who will stop at nothing to protect his home and his baby brother. Lives in a treehouse with Tenya.

Explorer! Aizawa: A grumpy ass explorer. Aizawa dislikes his job of discovering why he's still doing this is unclear. Lives in the jungle with Shinso so he can make a map of the place.

Explorer! Shinso: Another grumpy, yet much more curious Explorer. Often hides in his tent, but will go out if he has to. Lives in the jungle with Aizawa so he too gets his badge.

The Amazons tribe: An all women tribe deep in the jungle. This tribe is well known as discoverers and hunters, always out looking for the unknown. The tribe is ruled by Midnight.

Vlad King Tribe: A more welcoming, if not slightly territorial tribe. Just simple dwellers trying to live their lives in peace. Though sometimes it's not always simple. The tribe is led by Vlad King.

Bakugou's Tribe: A hostile and barbaric tribe. Only the strong will survive in this tribe filled with treasure hoarders and very territorial people. They will kill and/or capture intruders on sight. Ruled by Bakugou and Bakugou alone.

[wildtige429]

Transformers Dimension

Since Transformers: Animated would make its appearance in the KNS verse, I would like to point out some things in the story.

Septron is a planet next to Cybertron and Velocitron where ten tribes of Transformers live harmoniously alongside the elements, abundantely robotic planet where nature and machine live harmoniously as equals. When the war happened, sure many of the Septronians joined the factions but there is one group of Septronians who formed a mismatched group led by a mysterious Stygian named Rogue, but for the space humans, Autobots and Decepticons, he was nicknamed The Phantom due to his tribe being associated with the supernatural.

His group compose of Autobots, Neutrals and even Decepticons who chose to become renegades when they see the wrongs of their factions. Because of their members, they were crudely called The Strays.

They were 'exiled' to Earth and for the past fifty years, they've learned everything from the culture and language of the humans. Also, they planned to end the war when the AllSpark finds itself on the planet and that long-lost enemies thought to be dead are felt lurking on Earth.

Anyway, here are the Septronian Tribes:-

Stygians - The Stygians of Styx are a very mysterious tribe that kept themselves secretive in the shadows. Their led by a Shadowlord and worship the Forger (robot god) of Death, Doomscythe alongside their cousin tribe, the Vulpians and the Soulwalkers. Their logo is a sickle forming a question mark.

Kemonoids - Descendants of the fierce Predacona that take the form of animals with some being triple changers. They are led by a Beastlord that was Hellburst and worship the Forger of Animals, Lionheart Lux, alongside the Thunderians and Tepesites. Their logo is a roaring beast head.

Aquarians - An all-female tribe of water dwellers who were nearly wiped out by Transformer Hunters, leaving a few survivors scattered across the tribes, later led by Sealord Razortooth. They worship the Forger of Water, Otohime Lux. Their logo is a shark.

Arborians - A tree-dwelling tribe that dwells in the jungles of Arbora. They are equipped with very long retractable tails and great swiftness of monkeys. They, alongside the elusive Cloakers, worship the Jungle Forger, Tarzan Lux, and are led by a Treelord. Their logo is a tree.

Florians - An all-male tribe of plant-bending bots that live in the swamplands of Arbora and are said to deal in Dark Arcane (black magic in Cybertronian term). They worship the Swamp Forger, Mossblight, and are led by a Swamplord, formerly Quickstrike. Their logo is a leaf.

Scraplanders - Scraplanders are a barbarian tribe, living with the berserkers, the Ravagers and the underground-dwelling Subterrans. They have a post-apocalyptic appearance and lifestyle as well as making anything out of scraps and are led by Scraplord Onehand. They, with the Ravagers and Subterrans, worship the Forger of Deserts, Rampage. Their logo is a cross arms of a wrench and sword.

Septronian Seekers - Living on the floating continent of Stormasphere with the Stormites, what makes them different from Cybertronian Seekers is that they are led by a Skylord and some are said to have acidic venom in their claws, weapons and fangs. They worship the Serpent Forger, Ophiuca Lux, and their logo is a winged snake.

Stormites - Airbending robots who enjoy most of their time flying. Despite their aerial abilities, their alt modes are practically land vehicles or land animals mostly. They worship the Forger of Storms, Typhoonus, and are led by a Stormlord. Their logo is a tornado.

Pyronians - A tribe of very fiery, firebending and fire-powered robots that live on the volcanic land of Pyron. They are led by Flamelord Infernus, worship the Forger of Fire, Agni Lux, and their logo is a fire.

Arcticans - A tribe of snowy white robots with icy powers and immunity to the harsh cold temperatures of Arctica. They, with the therianthropic Robotropes, worship the Wolf Forger, Howlback, and are led by Blizzardlord Blizzardbane. Their logo is a snowflake.

Robotropes - Robots that can turn into werebeasts under a full moon or at will. Their bite, just like the Tepesites, can turn any bot, including an organic being, into a were-bot. They are led by a Werelord and their logo is a howling beast.

Tepesites - Vampiric robots with some of their alt modes being vampire bats and a bite from them can turn any bot, including an organic, into a vamp-bot. They are led by a Bloodlord and their logo is an evil eye.

Thunderians - An electricfying tribe of lightning-powered and lightning-bending bots led by Thunderlord Lightningrod and his mate, Sparkrod. Their logo is a thunderbolt.

Vulpians - Evolved turbofoxes whose alt modes are foxes and like the mythical kitsunes, they have supernatural powers. They are led by Foxlord Tailflame and their logo is a fox.

Subterrans - A tribe of eartbending, underground dwelling robots who enjoy digging their way through the ground the fighting. They are led by Stonelord Blindspot and her mate, Sonicrock. Their logo is a rock.

Ravagers - A tribe of berserkers who are said to wear the armor plates and even organic bones of their enemies as armor, weapons and trophies. They are led by a Desertlord namely called the Ravager King, who wore the skulls of every Transformer Hunters and armor plates of a fleet of Decepticons.

Cloakers - Transformers who can blend into their surroundings and turn invisible like chameleons. They are led by Mirrorlord Discordia and their logo are lights.

Arcanians - Transformers who are experts in casting arcane (Cybertronian term for magic) and are said to have strange anomalies. They are led by Magiclord Mephisto and his mate, Lilith, and their logo is a pentagram.

Soulwalkers - A very elusive tribe of ghostly-looking robots that can teleport in a wink of an eye. It is said that when they sleep, they turn into organic beings based on the planet they are on. It is believed that Soulstone mastered their soulwalking to trick his way into organic civilizations before roboticizing the entire planet into an Energon-mining planet like what he did to the other 80 planets, that are not overrun by zombots (robot zombies). They are led by a Ghostlord and their logo is a spirit.

[comicsart3]

Cave Girl makes another appearance in this blog, this time located very firmly in post World War II British colonial East Africa. Her earlier incarnation had taken place in a Tarzan or early Camilla Queen of the Lost Empire- style mythological world, but in the story featured here she takes the role of traditional jungle girl law and order supporting, native-bashing action heroine that does read a little awkwardly now. Bob Powell’s art is as dynamic and sexy as ever and Gardner Fox’s story, if cliched, is exciting enough.

In the story, titled The Doom Boat, Cave Girl saves a river boat, The Congo Queen launched by the colonial authorities as a new passenger service from an attack by the S’kubulu tribe and their vengeance seeking chief, Kubulu. The African leader had been imprisoned by the government once before and saw sinking the boat as a suitable act of revenge. Unfortunately for him, Cave Girl spots the gathering tribesmen and after escaping an attempt by the S’kubulu to capture her, is able to intercept the Congo Queen and warn its crew of the danger. Faced with an iron chain across the river and assailed by Kubulu’s warriors, the boat seems doomed, but our jungle heroine leaps into action, attacking the canoe of the chief himself and dragging him underwater. Fearing drowning, Kubulu surrenders to Cave Girl, and is dragged aboard the boat by her. Then, sodden and defeated, he is bent over the rail in front of his people, while held in a humiliating double hammerlock by the jungle woman and forced to order them to retreat. The Congo Queen continues its journey and Cave Girl then hands her captive, whom she has bound, over to the authorities, satisfied that peace has once again been restored to her domain.

This story appeared in Africa: Thrilling Land of Mystery #1 (1955). It was illustrated by Bob Powell and written by Gardner Fox.

Source: Bob Powell’s Complete Cave Girl Vol 2, available on ReadComicsOnLine

[pandaimitator]

Tarzan and the Leopard man is an overall uninspired mix of every one of Burroughs' tropes: you have your hopeless lost white people trying (and failing) to navigate the Jungle, there's amnesia, there's mistaken identities, there's corrupt witch doctors, there's Tarzan being bound hand and foot needing to be rescued by the Mangani, there's multiple kidnappnings of the female lead, and unfortunately there's the return of the incel who first intends to rape the female lead, but who somehow is redeemed by falling in love with her instead -unfortunate because unlike his predecessor in son of Tarzan who died, this guy actually ends up getting the girl of his base desire.

The only thing it doesn't have is some ancient lost civilisation of whites; in its stead there is the mysterious Cannibal cult of the Leopard Men. Generally I feel that including cannibals is simply a boring and outdated form of othering, as cannibal tribes are basically unheard of in actual history, and are rather used as a piece of propaganda by the white man. It could perhaps be argued that the cult of leopard men actually arose as a response to said propaganda, but someone else will have to do that arguing while I cross my fingers that the next Tarzan novel will be a little more inspired.

At least it promises the return of Jane (and for half a page Hazel Tennington), who has been forgotten by the Lord of the Jungle for many a moons. I wonder what he will tell her about Queen Nemone...(Obviously absolutely nothing, but wouldn't I like to be a fly on the wall when he divulged his many years of adventure around Abyssinia).

[summer-solo-day]

107/?? Childhood TV Shows You Should Watch

Title: Jana of the Jungle

Episodes: 13

Run Time: 30 Mins

Original Air Date: September 9 - December 2, 1978

Synopsis:

Jana is essentially a female version of Tarzan who traveled to the rain forests of South America in search of her lost father (whom she never finds). Her father vanished in a boating accident when she was still a child, but the introduction shows that he survived. She is very beautiful, has long blonde hair, wears a dress made of unspecified animal skin and a necklace that doubles as a throwable weapon and makes a high-pitched resonating sound when thrown (somewhat similar to the chakram that would be the weapon of choice for the later, live-action Xena, Warrior Princess) given to her by her father before the boating accident. She also has a yell that is a slightly altered version of Tarzan’s which she uses to call many types of animals.

Besides her animal friends, Jana has two human friends: Dr. Ben Cooper, a young wildlife biologist who maintained the preserve started by Jana's father and helped in her continuing search for her father; and Montaro, a descendant of a lost warrior tribe armed with a supernatural weapon known as the Staff of Power that can cause earthquake shockwaves when it strikes the ground. Montaro rescued Jana from the boating accident in which her father disappeared.

My Rating: 5/10

My Reasoning: To be honest, I very vaguely remember this. I probably have only seen like 1 episode maybe 2. I think there is a reason that it is a very deep cut show and not remembered. However, I'm sure some people love it. I also think it's important for you check it out for yourself and see if you like it.

[rendszworld1]

Substitute

Substitute She was nothing to him. Why should he care? It was because of their stupidity .. those inept tourists lost in the jungle without their guides .. that was why Tarzan had landed in this mess. But he fallen foul of this tribe before because of these same practices .. he’d thought he’d got it sorted ….. As much as sorting it out for the girl .. this was about settling old scores. They’d…

[vintagegeekculture]

You have Tarzan content! *bursts into happy tears* I've felt so alone

I am proud to be the biggest Tarzan and Edgar Rice Burroughs fan ever. Tarzan is the greatest of all adventure characters. If you are really hungry for a new Tarzan novel, I can't recommend enough the recent Will Murray "New Adventures of Tarzan" novel, "Return to Pal-ul-Don." Set in the finest of ERB's lost cities and lost regions, Pal-ul-Don, the region of tailed men, we have Tarzan as a pilot in World War II returning to his greatest lost world. Bertha Kirschner, maybe the best and most memorable of Tarzan's supporting cast, a seductive Mata Hari-type German spy who is actually a double agent (attractive people can never really all that evil in these stories) shows up, which is long, long overdue, and we get a new development of a corner in that world. My favorite is the region of the river tribe who ride on the backs of Archelon-like giant turtles, and wear tribal turtle armor. It scratches a fan itch, and like Timothy Zahn's Star Wars novels, it has incredible authenticity because it nails down something as elusive as voice. Will Murray can write like Burroughs does.

[ixchel-sketch]

So I wanted to join the bandwagon and list my favorite Ice Planet Barbarians books since I used my KU trial to read like...most of them tbh lol And Ive noticed my faves are different than the popular choices

1) LILA & ROKAN

A disabled character who isn't magically fixed by the khui? Sign me tf up. Because of this she notices things about the local wildlife that ends up saving their asses and also fuck Hassen for being Big Dumb and thinking she cries too much. I would cry for days if someone kidnapped me from my sibling on an alien planet too. Rokan's "knowing" sense is super fun too. Also that none of the humans seems to believe it's a thing (until later). You're gonna tell me that the khui can give someone healing powers but not a little foresight? Lol okay then. But yeah I loved these two so much.

2) ARIANA & ZOLAYA

I didn't expect to like this one as much as I did. But dealing with anxiety and panic attacks on an alien planet would definitely suck ass. And everyone seems to judge her for dealing with trauma with crying and being emotional. Except Zolaya, who can tell that she's upset even when she pretends to be ok and is determined to help her cope. Like. I love him, best guy. He even distracts the others when she has a panic attack so they won't notice. Their story is super cute, I didn't even mind it was told in flashback style.

3) ASHA & HEMALO

OMG hit me with that angst. I love it, I want it. And nothing gets those feels going quite like a second chance romance after a lost child. Neither of them had time to learn to communicate with each other (except maybe like those two years while Asha was pregnant? I guess they were happy?) so their relationship fell apart in the mourning process. But bonding over a lil metlak baby? So cute. This story had just enough feels that it stuck out as one of my top 3, which also surprised me.

4) HARLOW & RUKH

OH GOD HE'S NAKED.

I have some qualms with how Rukh and Harlow met, like any occasionally sane modern woman. The caveman bonk & drag is not sexy, the whole point of the euphemism is that it's not an okay way to act. But damn did I love this book. I didn't know taming a wild man was THAT high on my list of fantasies but damn did Ruby Dixon lock onto my problematic tarzan dreams and target this story at me. I wasn't a HUGE fan of the time skip in the book but I get it, especially when they were alone together for over a season as opposed to the few weeks that the others had spent alone. In any setting other than not hoth or like, 10,000 BCE I would say nopppe, but in this series Harlow & Rukh are one of my faves.

5) STACY & PASHOV

AGAIN

Give me the angst!

Pashov survives a terrible injury but can't remember his mate and baby? Sign.me.up. I also like that his memory issue isn't magically healed completely by the end of the book. There's no big rush of complete memories that fixes everything. They have to emotionally recover from those lost years and find a new way to move forward which kills me in the best way. Also I kinda love how Stacy is happy cooking for the tribe and fell into sa-khui mated life kinda easily, which makes it just that much more sad when their life gets turned upside down. Last place on the list because their baby's name is Pacey. Like. C'mon Ruby. Apparently the Not-Hoth couples have the shared braincell of Stephanie Myers when it comes to naming the next generation but whatever. We all have faults.

[chernobog13]

Frank Frazetta's splash page for the first issue of Thun'da, King of the Congo (1952).

Thun'da started off with a great, if not quite completely original premise: a modern man (Roger Drum)finds himself trapped in a lost land populated by prehistoric beasts and strange races of men. In the course of the first issue, Drum learns not only how to survive, but becomes the mightiest warrior in the land, the warrior known as Thun'da!

Thun'da becomes ruler of the land, gains a shapely girl friend named Pha, and even gets a pet saber-toothed tiger named.....(wait for it)....Sabre. But also in the course of that first issue the three of them get stranded outside the lost land when earthquakes seal it off. They take up residence in the Congo region of Africa, where Thun'da just becomes another Tarzan-wannabe, albeit with a pet saber-toothed tiger.

Sadly, Frazetta only provided the artwork for the first issue. The remaining five in the series had artwork by Bob Powell who, let's face it, was no Frazetta.

And the stories became generic yarns that you could find in any jungle-themed comic book on the stands. Instead of battling dinosaurs, beast men, giant snakes, and ape-men riding mammoths, Thun'da battled Russian spies, hostile tribes, slavers, hostile Arabs, ivory thieves, and a bunch of garden variety crooks.

On the other hand, the comic was the basis for the 1952 movie serial King of the Congo, starring Buster Crabbe as Thun'da (spelled Thunda). It had the distinction of being Crabbe's last serial role, as well as the last Tarzan-like serial made.

[dwellordream]

American Culture of the 1910s: Edgar Rice Burroughs, Tarzan of the Apes (1914)

“In 1914 The Nation sniffed that ‘Only persons who like a story in which a maximum of preposterous incident is served up with a minimum of compunction can enjoy these casual pages.’ Yet, as it turned out, this applied to millions. First appearing as a serial in the pulp All Story in 1912, and as Tarzan of the Apes two years later, Tarzan became a minor industry over the course of the next thirty years. 

Burroughs’s creation accounts for between thirty and sixty million book sales of this and the twenty- three sequels; there were nine silent films, the first appearing in 1918, and many subsequent ones with sound – including six Johnny Weissmuller- Maureen O’Sullivan outings in the 1930s and 1940s, and the Disney treatment in 1999. Tarzan licences were sold for comic strips, radio shows and a huge range of merchandise, including bubble gum and sweatshirts.

Burroughs even bought a 540-acre ranch named Tarzana in 1919 with his proceeds, which formed the basis for today’s Tarzana – home to 30,000 people. A global icon, and one who taps into numerous long- standing national myths and legends of feral children and noble savages, Tarzan nonetheless mediates a host of commercial, sexual and racial issues informing the 1910s. As Burroughs suggested, ‘perhaps the fact that I lived in Chicago and yet hated cities and crowds of people made me write my first Tarzan story.’

He was also a failed businessman, having watched a series of small ventures collapse; he had been denied a place in Theodore Roosevelt’s famous Rough Riders regiment in the Spanish–American War; and, after a childhood in middle- class comfort, he had experienced the sharp end of American social mobility. As Gail Bederman notes, ‘he was, in short, precisely the sort of middle-class man who had most reason to crave potent new ways to remake ideologies of powerful manhood.’ 

He did so by yoking together a series of contradictions: a hero who is both primal and civilised, capable of murderous and wanton violence yet also capable of chivalrous restraint, the acme of racial perfection who reveals the degeneration of that very same racial stock, and a paper-thin fantasy of white male dominance whose popularity revealed the prevalent feelings of disempowerment among its many male readers. 

 The story begins as John Clayton, Lord Greystoke, and his wife Alice are on a diplomatic mission to West Africa. Greystoke is presented as the epitome of Anglo- Saxon racial supremacy, ‘the type of Englishman that one likes best to associate with the noblest monuments of historic achievement upon a thousand victorious battlefields – a strong, virile man – mentally, morally, and physically’.

Abandoned in Africa by their ship’s mutinous crew, they fall foul of a race of anthropoid apes, but their young son is adopted by a female ape who has just lost her own child. This ape, Kala, raises Tarzan (which means ‘white skin’ in the ape language) as her own. As he grows, his intelligence and skill with a knife he found at his father’s cabin gives him a supremacy over the tribe of apes and the other beasts of the jungle; he also teaches himself to read from primers left in the cabin. 

He terrorises the nearby village of black cannibalistic Africans, and frequently kills their men by hanging them with a noose made of vines – a method replete with the overtones of lynching which the text does little to dispel. When Tarzan is twenty, the beautiful Baltimorean Jane Porter, her father, and Tarzan’s cousin, Cecil Clayton, are similarly cast adrift. This sets in motion a plot which covers Tarzan’s rescue of Jane from a rapacious ape, their developing love for each other, Tarzan’s learning of his ancestral heritage, his travel to France and the United States and Jane’s eventual marriage to Cecil. 

Tarzan’s plot twists through some unlikely avenues, but it invariably engages a discussion of the problems and potential of American ‘civilization’. Tarzan is presented as effortlessly superior to Cecil in his ability to navigate the jungle and defend the castaways from its dangers, and his physique is lingered over in exactly the sort of ambivalent homoerotic terms which characterised the Popular Culture movement of the time, with its lavish photographic magazines of semi- naked men in bodybuilding poses. 

Such a representation mediates the common contemporary fear that American men were becoming ‘over civilised’ and effeminate, disconnected from what Theodore Roosevelt had earlier defined as the ‘strenuous life’ of toil, ennobling hardship and willingness to engage in righteous violence. Yet, Tarzan cannot be too uncivilised and still retain his heroic status. When he encounters the moral choices that undergird modern Western culture, Tarzan instinctively behaves ‘correctly’: he avoids eating the flesh of the black men he has killed, and he chooses not to rape Jane when he has the opportunity, in both cases because ‘heredity spoke louder than training’.

At the close of the novel, Tarzan arrives in Wisconsin, driving a car and having learned to speak French, to save Jane from a forest fire: yet she decides to marry his cousin instead, because, as Tarzan is now an urbane Frenchman, he no longer appeals to ‘the primal woman in her, as had the stalwart forest god’. Once he is civilised, he loses his sexual appeal; if he remained uncivilised, a life in America would be impossible. 

Tarzan ultimately founders on how contemporary American life could effectively reintegrate this version of masculinity – a masculinity of violent self-assertion which was frequently so longed for. This irresolution, however, was not what the public wanted. Tarzan’s early readers hated the ending which saw Jane and Tarzan fail to be married, and complained loudly enough that, within months, Burroughs was plotting a sequel in which they are reunited in Africa. Like other important texts of popular culture in the decade – The Birth of a Nation, in particular – the book is an articulation of Anglo-Saxon and male supremacy, a supremacy which Burroughs represents as justifi ably global and imperial in its character and methods. 

In suggesting that ‘re-masculinization’ might be difficult at home but is possible in adventures abroad, Tarzan thus plays a part in a broader cultural turn of normalising and legitimating American imperialism; it is worth noting that the United States invaded the sovereign nation of Haiti just a year after Tarzan was published, and remained there until 1934; and that, in the 1910s, US troops were still engaged in hostilities with ‘rebels’ in the Philippines, which had been transferred to American control in 1902.”

- Mark Whalan, “Fiction and Poetry.” in American Culture in the 1910s

[wildernessuntothemselves]

Ever thought of writing a Tarzan!AU where soobin (or really anyone from txt) is Tarzan? He can’t speak English but he has his own language (maybe Korean idk, but in this AU Korean doesn’t exist 🤭)

A couple scenarios would be:

1. Readers father is a explorer/researcher, and he’s currently researching a tribe. They go out to the forest together because y/n wants to see what her father does for work. She gets lost and finds “Tarzan”. They spend a few days together and stuff gets spicy. He’s never really had any sexual experiences before, but when he’s with her, he starts to, and he doesn’t know what it is but he likes it

2. ( this one is kinda connected to the first one ) Y/N is an explorer. After her father dies, her mission is to go off and also research this tribe because he didn’t get to, and maybe “Tarzan” sees her alone and is intrigued by her. (Same seggsy stuff as 1)

Anyways. I’ve read a fic about a Tarzan AU before, but ever since the idea has been glued to my brain, and no one else, it seems, has ever written something related to Tarzan like this. Anyways!

Idk if you do anons with emojis, but if so can I be 🔱

Also in the Tarzan AU he’s very like animalistic, because he doesn’t come into contact with other humans beside his tribe??? Idk maybe 🔱

this is a really interesting idea but i gotta admit i never considered it before. you know i LOVE the animalistic sexy times and inexperienced men but i need more time to digest this lol

[maxwell-grant]

Thoughts on Tom Strong?

Incredible. I’m still making my way through the series but so far, I am very, very impressed. I knew it was great from hearsay, I’d heard before about how it was one of the times Alan Moore delivered very good, straightforward takes on superheroes, and how the character has sort of stuck around with a cult following. What I didn’t expect was for it to be easily not just the best take on the Doc Savage archetype I’ve ever seen, but easily among the best stories ever based around a character who crossbreeds pulp heroes and superheroes. My tastes regarding pulp heroes usually pend much more towards the more monstrous or darker archetypes, and if my tastes were a little more skewed towards the kind of character Tom is I’d probably consider him the best period, but the sheer quality at display here is undeniable.

I’ve talked before how I’m really, really not a fan of Doc Savage, and how the “science hero” character type usually doesn’t do much for me, usually the science heroes I’m enthusiastic about belong to radically different archetypes, like Spock and Doc Brown. And it’s interesting how Tom’s backstory is framed exactly like Doc’s, right until the moment a tragic superhero backstory moment kicks in and he loses his parents, and ends up growing up amidst a lost tribe that raises him as their own (and yeah, it’s got some white savior hokeyness to it that can’t be helped, which again, is usually a major turn-off for me). 

Like The Phantom and a lot of the public domain superheroes of the late 30s/early 40s (one of which was the direct inspiration for Tom), he is right at the middleground between pulp heroes and superheroes, with more in common with the former but inhabiting the same medium and types of adventures as the latter. He ends up becoming a sort of Doc Super Tarzan, an amalgam of the three in design, personality and capabilities, but he never feels derivative of any of them. I almost thought Alan Moore was going to milk the Doc backstory for drama and I’m glad he didn’t, even if inevitably some of the weirdness inherent to the pulp science heroes pops up on occasion. 

I like that he’s often unemotional in expression but not because he doesn’t feel, but because he’s always had such a control over his emotions since 8 that he was expressionless even as he cried over the death of his parents, and he has to keep it cool to deal with the things he does (the “Blue Triangle” mantra comes to mind). I like that he’s a father and a husband and has a loving, stable family life, and both his wife and daughter are incredible badasses, the latter often taking center stage in adventures of her own. I like that much of his dealings with his enemies result in him finding alternatives for them to co-exist peacefully with humanity, lending his spaceships to supercomputer hiveminds and getting jobs to former supervillains. It’s got a “retro” element to it that I usually despise but done very well, and it’s very much not a nostalgia-driven series. This character really was created to go on forever.

I like that by the first issue, he already comes out fully formed, right out of the gate, with a rich world and inner history and even fictional franchise history expressed both in the series as well as text. That first issue may be genuinely the strongest proof of concept for a comic I’ve ever seen, in the sense that, not only is it a great comic that sells on you a great character with an interesting world and supporting cast, even if you scrapped away the entirety of the series, you could still rebuild it just out of everything you get in the first issue. It’s maybe the strongest one-issue pitch I’ve ever seen and it’s a gold standard I will definitely keep in mind for my own projects. 

I’m definitely eager to keep reading, I really should have started following this character much sooner. 

[ao3feed-batb2017]

Send Me On My Way

read it on the AO3 at https://ift.tt/3A6uuXo

by BluD3vil_Fire2000

After saving a human toddler from a doomed fate, an unlikely group of friends—consisting of Migo, a no-nonsense, lone Yeti; Rodney, an inventor with a heart of gold; Alex, a Lieutenant of an enemy gang; and Blue, an exiled Princess with a unique power—band together to return the child to her family. In order to reunite the baby with her tribe, the four will have to take on many dangers along the journey while having to work together as a herd.

Words: 7501, Chapters: 5/?, Language: English

Series: Part 1 of Ice Age/Multifandom AU

Fandoms: Original Work, Ice Age (Movies), Disney - All Media Types, Smallfoot (2018), Robots (2005), Madagascar (Movies), Wreck-It Ralph (Movies), Book of Life (2014), Rise of the Teenage Mutant Ninja Turtles (Cartoon 2018), Wild Kratts, Voltron: Legendary Defender, Van Helsing (2004), Guardians of the Galaxy (Movies), The Road to El Dorado (2000), Sinbad: Legend of the Seven Seas (2003), Spirit: Stallion of the Cimarron (2002), The Prince of Egypt (1998), How to Train Your Dragon (Movies), Shrek (Movies), Monsters vs Aliens (2009), Shark Tale (2004), Antz (1998), Chicken Run (2000), Wallace & Gromit, Over the Hedge (2006), Flushed Away (2006), Bee Movie (2007), Kung Fu Panda (Movies), Megamind (2010), Rise of the Guardians (2012), The Croods (Movies), Turbo (2013), Mr. Peabody & Sherman (2014), Home (2015), Trolls (Movies 2016 2020), Abominable (2019), Horton Hears a Who! - Dr. Seuss, Rio (Movies - Saldanha), Epic (2013), Ferdinand (2017), Spies In Disguise (2019), FernGully (Movies), Anastasia (1997), Cloverfield (2008), 10 Cloverfield Lane (2016), The Cloverfield Paradox (2018), Indiana Jones Series, Open Season (Movies), Cloudy with a Chance of Meatballs (Movies), Hotel Transylvania (Movies), Quest for Camelot (1998), Cats Don't Dance (1997), Osmosis Jones (2001), Iron Giant (1999), The LEGO Movie (2014), Storks (2016), Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Fantasia (1940), Fantasia 2000 (1999), Dumbo (1941), Bambi (1942), Cinderella (2015), Alice in Wonderland (1951), Peter Pan (2003), Lady and the Tramp (1955), Sleeping Beauty (1959), 101 Dalmatians (1961), The Sword in the Stone (1963), The Jungle Book - All Media Types, Robin Hood (1973), The Rescuers (Movies), The Great Mouse Detective (1986), Oliver & Company (1988), The Little Mermaid (1989), Beauty and the Beast (1991), Beauty and the Beast (2017), Aladdin (1992), Aladdin (2019), The Lion King (1994), The Lion King (2019), Pocahontas (Disney 1995), Toy Story (Movies), The Hunchback of Notre Dame (1996), Hercules (1997), Mulan (1998), Mulan (2020), A Bug's Life (1998), Tarzan (1999), Dinosaur (2000), Emperor's New Groove (2000), Atlantis: The Lost Empire (2001), Monsters Inc. (Movies), Lilo & Stitch (2002), Treasure Planet (2002), Finding Nemo (Movies), Brother Bear (2003), Home on the Range (2004), Incredibles (Pixar Movies), Chicken Little (2005), The Wild (2006), Cars (Pixar Movies), Meet the Robinsons (2007), Ratatouille (2007), Enchanted (2007), WALL-E (2008), Up (2009), The Princess and the Frog (2009), Tangled (2010), Rapunzel's Tangled Adventure (Cartoon), Gnomeo and Juliet (2011), Brave (2012), Frozen (Disney Movies), Big Hero 6 (2014), Inside Out (2015), The Good Dinosaur (2015), Zootopia (2016), Moana (2016), Coco (2017), Onward (2020), Raya and the Last Dragon (2021), Balto (Movies), Despicable Me (Movies), Minions (2015), Missing Link (2019), Coraline (2009), Kubo and the Two Strings (2016), The Boxtrolls (2014), ParaNorman (2012), Rock-a-Doodle (1991), The Secret of NIMH (1982), Cool World (1992), The Meg (2018), Rampage (2018), Aquaman (2018), Geostorm (2017), Brightburn (2019), Godzilla (2014), Godzilla: King of The Monsters (2019), Godzilla (1998), Godzilla: The Series, Sonic the Hedgehog - All Media Types, Sonic Boom (Cartoon), Sonic the Hedgehog (2020), Star Wars Prequel Trilogy, Star Wars Sequel Trilogy, Star Wars Original Trilogy, Star Wars - All Media Types, Jurassic World Trilogy (Movies), Jurassic Park Original Trilogy (Movies), King Kong (2005), Kong: Skull Island (2017), Alien Series, Spiders (2013), Venom (Movie 2018), Ratchet & Clank, Crash Bandicoot (Video Games), Spyro the Dragon (Video Games), Rayman (Video Games), Gex (Video Games), Klonoa (Games), Croc (Video Games), PaRappa the Rapper, Oddworld, MediEvil (Video Games)

Rating: Mature

Warnings: Graphic Depictions Of Violence, Major Character Death

Categories: F/F, F/M, Gen, M/M, Multi

Additional Tags: Ice Age AU, everyone's gonna be in it, I just felt like it's too much, Alternate Universe, Alternate Universe - Human, Alternate Universe - Canon, Self-Insert, My OCs are in there as well, this is the first time I've done an AU like this, Inspired by Heroboy005 from fanfiction.net, if you see paragraphs that are familiar to the stories, Blood and Violence, Aftermath of Violence, Explicit Language, It does have some, Fluff and Humor, Family Fluff, Fluff and Hurt/Comfort, That's all I can say

read it on the AO3 at https://ift.tt/3A6uuXo

[elcinelateleymickyandonie]

JOHNNY WEISSMÜLLER.

Filmography

1929 Glorifying the American Girl

1929 Water Bugs

1932 Tarzan of the Apes

1934 Tarzan and his companion

1936 The Escape of Tarzan

1939 Tarzan and his son

1941 Tarzan's Treasure

1942 Tarzan in New York

1943 The Triumph of Tarzan

1943 Tarzan the Daredevil

1943 Three days of love and faith

1945 Tarzan and the intrepid Amazons

1946 Swamp Fire

1946 Tarzan and the Leopard Woman

1947 Tarzan and the Huntress

1948 Tarzan and the Mermaid

1948 Jungle Jim

1949 The Lost Tribe

1950 Mark of the Gorilla

1950 Captive Girl

1950 Pypmy Island

1951 Fury of the Congo

1951 Jungle Manhunt

1952 Jungle Jim in the Forbidden Land

1952 Voodoo Tiger

1953 Savage Mutiny

1953 Valley of the Cannibals

1953 Killer Ape

1954 Jungle Man-Eaters

1954 Cannibal Attack

1955 Jungle Moon Men

1955 Devil Goddess

1970 The Phynx.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Johnny_Weissm%C3%BCller