Tarzan and Carter: The First Superheroes

ERB Overview

  • Edgar Rice Burroughs was an American writer of adventure tales best known for creating one of the most popular and enduring fictional characters, Tarzan. Burroughs, who came from a privileged background and became frustrated in his business career, took to writing science fiction stories before coming up with the idea of a man raised by apes in the African jungle.
  • The essential premise of the Tarzan stories didn't make much sense. And Burroughs, as it happened, had never even seen a jungle. But the reading public didn't care. Tarzan became enormously popular, and Burroughs became wealthy as Tarzan's fame increased, thanks to his adventurous exploits being portrayed in silent films, talkies, radio serials, comic strips, and eventually, television programs.
  • Edgar Rice Burroughs was born September 1, 1875, in Chicago, Illinois. His father was a prosperous businessman, and Burroughs was educated in private schools as a child. After attending the Michigan Military Academy, he joined the U.S. Cavalry and served for a year in the American West. He didn't take to life in the military and used family connections to get out and return to civilian life.
  • Burroughs tried several businesses and settled down to a job working for the prominent retailer Sears, Roebuck, and Company. Frustrated at starting his own business, he took up writing in hopes of leaving the business world.
  • In 1911, when the public was fascinated by theories about what appeared to be canals on the surface of Mars, Burroughs was inspired to write a story based on the red plant. The tale first appeared in a magazine, and eventually was published as a book under the title A Prince of Mars.
  • The story features a character, John Carter, a Virginia gentleman who wakes up on Mars. Burroughs followed up the original book with others featuring John Carter.
  • While writing the books about an Earth man transplanted to Mars, Burroughs came up with another character placed in bizarre surroundings. His new creation, Tarzan, was the son of an English aristocrat whose family was marooned on the African coast. His mother died and his father was killed, and the boy, whose English name was John Clayton, was raised by a species of ape unknown to the outside world.
  • As written by Burroughs, Tarzan is a feral child who grows up untainted by the problems of civilization. Yet his aristocratic bearing also shines through at times and he can be comfortable in civilized society.
  • Another iconic character created by Burroughs was Tarzan's love interest (and eventual wife), Jane, the daughter of an American professor who becomes stranded in the jungle and crosses paths with Tarzan.
  • The first Tarzan novel, Tarzan of the Apes, was published in 1914. The book was popular enough to inspire Burroughs to write more books featuring the character. The character became so popular that silent movie versions of Tarzan stories began to appear, and Burroughs moved to California so he could supervise their production.
  • Some writers became wary of becoming too closely associated with a character. For instance, Arthur Conan Doyle, the creator of Sherlock Holmes, stopped writing about the fictional detective for a time, until protests encouraged him to resume. Edgar Rice Burroughs had no such concerns about Tarzan. He kept producing more Tarzan novels, encouraged the making of movies about him, and in 1929 helped launch a Tarzan comic strip, which ran in newspapers for decades.
  • In the 1930s, former Olympic swimmer Johnny Weissmuller began playing Tarzan in the film versions. Weissmuller perfected the "Tarzan yell," and his portrayal of the character became a sensation. The plots of the Tarzan films were geared to an audience of children, and generations of young viewers have watched them on television over the decades.
  • Besides film versions, in the heyday of radio dramas, there was a Tarzan serial that entertained millions. And at least three television series have been produced showcasing Tarzan and his adventures.
  • Edgar Rice Burroughs made a fortune from Tarzan, but some bad business decisions, including gambling on the stock market just before the Great Depression began, endangered his wealth. He bought a ranch in California he named Tarzana, which generally operated at a loss. (When the nearby community incorporated, they used Tarzana as the name of the town.)
  • Always feeling pressed for money, he wrote Tarzan novels at a ferocious pace. He also returned to science fiction, publishing several novels set on the planet Venus. Utilizing his experience living in the West in his youth, he wrote four western novels.
  • During World War II, Burroughs worked as a war correspondent in the South Pacific. Following the war he struggled with illness, and died of a heart attack on March 19, 1950.
  • The novels of Edgar Rice Burroughs made money, but they were never considered serious literature. Most critics dismissed them as pulp adventures. He has also been criticized in recent decades for racist themes that appear in his writings. In his stories the white characters are typically superior to the native peoples in Africa. Tarzan, a white Englishman, typically comes to dominate or easily outsmart the Africans he encounters.
  • Despite these faults, the characters created by Burroughs continue to entertain. Every decade seems to bring a new version of Tarzan to movie screens, and the boy raised by apes remains one of the most recognizable characters in the world.
  • Sources:
  • "Edgar Rice Burroughs." Encyclopedia of World Biography, 2nd ed., vol. 18, Gale, 2004, pp. 66-68. Gale Virtual Reference Library.
  • Holtsmark, Erling B. "Edgar Rice Burroughs." Edgar Rice Burroughs, Twayne Publishers, 1986, pp. 1-15. Twayne's United States Authors Series 499. Gale Virtual Reference Library.
  • "Burroughs, Edgar Rice." Gale Contextual Encyclopedia of American Literature, vol. 1, Gale, 2009, pp. 232-235. Gale Virtual Reference Library.

Suggested Media

Without Tarzan, there would be no Batman; without John Carter, there would be no Mark Watney (The Martian)

The Importance of Superheroes

Superheroes have played a role in times of war and civil crisis since their creation. Timely Comics’ introduction of Captain America during World War II would illustrate how quickly a hero could rise in popularity in times of terror (and, unfortunately, how quickly they could fall after). We’ve seen these stories both used for American propaganda and censored when the content covered issues a little too close to the war, but their practical application isn’t why we need these stories. Though some may find their messages trite, superheroes are the quintessential stories of hope. This is exceptionally true of heroes like Superman and the aforementioned Captain America, but it hits the mark for the grimmer heroes as well. The sun might not shine in Gotham as often as it does in Metropolis, but that can make Batman’s victories all the more sweet. There’s an inherent need for certain types of escapism when cultural and political climates get too rough. It’s important to be involved and take action, but it’s also critical to take a breath and take care of yourself from time to time. Powered heroes help offer that escape, often representing both a literal and metaphorical savior-type that will swoop in and win the day when it’s needed most. Meanwhile, the men and women who don their capes and cowls without a single superpower help remind us that we don’t have to be from the planet Krypton to make a difference. While the superhero genre offers both inspiration to help others and provide a much-needed escape, it still uses that escapism for a good cause. We all want to get lost in worlds that aren’t our own from time to time, but seeing our beloved heroes tackle real-world issues offers not only the knowledge that the challenge can be conquered, but a sense of kinship. “Representation matters” might be viewed as a buzzword to some, but it’s hard to argue its effects when little girls see themselves in Wonder Woman, and people of color finally see heroes like Black Panther take to the big screen, or Kamala Khan flying across comic pages. Representation, in this case, can also extend to the representation of real world issues. A viewer (or reader) seeing issues that are close to their hearts acknowledged and fought by their favorite hero helps validate whatever rage or fear they may be feeling while still showing that the day can be won. Emotions are complicated and messy, and fear can lead to a whole host of terrible and extreme reactions from even the most level-headed person. But humans can do funny things when they feel like their emotions are validated. If Kara Danvers, Girl of Steel, is having an emotional moment because the world is ending while her job is falling apart and her personal life is in shambles, maybe it’s okay to take a few deep breaths yourself. And, at the end of the day, she might have used her super powers to figure out the solution, but the basic tools to conquer the problem are there. No one’s going to get struck by lightning or fall into a vat of chemicals and come out super, but when we see characters who inspire us learn new ways to take on complicated issues, it can drive us to do the same. Nick Fury once said: “Until such time as the world ends, we will act as though it intends to spin on.” It seems as if every day we wake up to a new headline telling us that things have gotten worse. It’s suffocating, demoralizing, and terrifying, but underneath it all there is hope. There are real life superheroes who remember that the world still needs them, just as it needs the fantastic stories of their fictional counterparts. The world hasn’t ended yet. Whether they’re a superhero, a character from a film, the well-written protagonist of a novel, or not fictional at all, remember to take time to breathe, and to be inspired. The fight will still be there later, and you’ll be able to fight it a hell of a lot better if you’ve taken care of yourself. Even heroes need sleep.

Why We Worship Superheroes

© Jake Kraska Art & Popular Culture, Issue 1 (August 3, 2015) http://www.lateralmag.com/articles/issue-1/i-need-a-hero-why-were-wired-to-worship-superheroes
Comic books have been around for decades – but how have they affected those who read them? Who is your favourite superhero? Who would win in a fight between Batman and Superman? What about the Avengers and the X-Men? The interest in superheroes and comic books is increasing, with the 2012 film The Avengers raking in a worldwide box office income of over USD$1.5bn. But what makes superheroes and their villains so popular with children and adults alike, and just how much does this idolisation affect us? Is Iron Man an appropriate role model? We can’t take a look at the psychological influence of comics and their superhero tales without also looking at where they came from, and why they hold so much of an impact on society. The Glasgow Looking Glass, first published in 1825, is stated to be the first mass-produced illustration. Soon to be known as the first “comic strip”, the publication focused on current news and affairs in Glasgow, Scotland. It wasn’t until almost a century later that the term “superhero” was first used in 1917 and featured heavily in the “Golden Age of Comic Books” during the 1930s. It is acknowledged that the current Modern Age of comics is represented by a set of comparatively darker and more psychologically complex characters, an increase in the popularity of comics and the commercialisation of the industry. Some argue that superheroes are integral to American society. This claim comes from the reflection of American social change in many superhero comics since 1938, also assisting in the increased popularity and renown of comics and superheroes. World War II prompted Marvel’s famous Hitler-punching Captain America, and with the coming of The War on Terror following September 11, Captain America dealt with government oversight, akin to current issues of government surveillance or US foreign policy. DC’s Superman educated children about unaccounted landmines in former Yugoslavia, and technological changes in the 21st century manifested most noticeably in the current development of Marvel Cinematic Universe movies and TV series. Comics have also addressed societal issues, with the revelation in 1992 that Marvel’s Northstar was homosexual reflecting changing views on homosexuality. However this has not always been carried out in what would be called an ethical manner, with some publishers and authors appealing to the masses, for example, by introducing Batwoman in 2006 as a “lipstick lesbian”. So, comics and the evolution of superheroes have reflected historical trends and addressed societal problems, but what about the narrower relationship to the individual, rather than the wider community? Importantly, the relationship between comics and societal factors is not unidirectional, with a strong direct impact on individuals. When we read comics or try to understand superheroes, particularly as children, we develop our emotions, reading ability, and morals. Just as we idolise celebrities, we idolise superheroes. This is best mirrored by Tony Stark – he is a celebrity, and one who seems to bask in the glow of his self-made fame. The comics, however, also reveal him to be particularly fond of drowning his insecurities and fears in alcohol, while suffering from anxiety, panic attacks, and bouts of paranoia: effects that are not uncommon in celebrities. Furthermore, based on theories of social psychology, comics likely impact our levels of aggression, prosocial behaviour, leadership ability and attitudes. It is not an unusual sight to see a child running through the yard with a Batman or Superman cape, battling imaginary supervillains and saving the world, one treehouse at a time. Pretend play is an important part of a child's development between ages two and seven and is often greatly impacted by the concept of superheroes. Pretend play helps children learn language and develop an understanding of theory of mind (that others may have a different perspective to themselves), and allows the expression of emotions, both negative and positive. Children can use superheroes and villains to take various perspectives on a situation and test the consequences of actions, while reading comics can assist with developing their emotional vocabulary. Comics provide the exaggerated opportunity to play out moralistic and ethical dilemmas for both children (in an effort to increase their understanding of the world around them) and adults (to critique and analyse the status quo). In fact, superheroes likely feed straight into boys’ tendency to create imaginary friends that are supercompetent in an effort to control or “master” the world. In 1977 Albert Bandura developed the theory of social learning, proposing the idea that learning occurs within a social context through observation and direct instruction. Developmental psychologists have argued that social learning theory has applications for the way in which children develop an understanding of morals. Most famously, Bandura tested his theory using the Bobo Doll experiment, in which adults modelled violent behaviour towards a doll and were then punished, rewarded or provided no consequence. Children were then observed to determine if they would replicate this behaviour. It is quite common for superheroes to be presented with the option of whether to fight or not to fight – to use their moral compass, so to speak, before making big decisions. Importantly, these moral dilemmas occur so frequently within comics they give children the opportunity to observe how their favourite role model problem-solves through ethically sticky situations. Past research indicates that adolescence is the stage in which social comparisons are most common, often based on moral values and feedback from others. Teenagers use villains as avoidance role models, in that they shape their attitudes, values and behaviours in ways they consider to be different from their personal villains. Comic villains such as the Joker and Lex Luthor are perhaps most appreciated among fans because they are creative, complex and arguably have better motivations than their heroic nemeses. Batman is at times even considered insensitive to the mental health of his “rogues gallery”. This may also explain the rise in popularity of anti-heroes, which are argued to be flawed, complex and strong, with admirable intentions. Superheroes display prosocial behaviour, leadership and a variety of positive attitudes – all of which have an impact on readers. Leadership is transactional – that is, “leaders do something for the group and the group in return does something for the leader” and “followers look to their leaders to mould, transform and express who they are”. This dynamic is best shown by superheroes and their sidekicks (think of Batman and Robin) or between superheroes and the cities they protect (like Superman and Metropolis). Comics and superhero stories also address several areas of study within prosocial behaviour, such as a superhero’s unwillingness to be a bystander. Comics strongly display the empathetic and personal costs of not helping, and as discussed above, social learning theory argues that human social behaviour is learned from appropriate models – it is possible that learning to help others occurs through the models of superheroes. There is a strong relationship between comic books and superheroes, and the field of psychology. The former have a long history of reflecting societal change: they are often progressive and this challenges both children’s and adults’ moral development, while the characters are so exaggerated that they give people the opportunity to compare and contrast individual traits. They are based on us, and we feed off their images, integrating their characteristics into our personalities, ethics and morals.

Who's Played Tarzan?

Elmo Lincoln Tarzan of the Apes (silent) 1918 Gordon Griffith (Tarzan as a boy) Tarzan of the Apes (silent) 1918 P. Dempsey Tebler Son of Tarzan (15 chapter movie serial) 1920-21 Kamuela Cooper Searle (young Tarzan) Son of Tarzan 1920-21 Gene Polar Revenge of Tarzan 1920 James Pierce Tarzan and the Golden Lion 1927 Frank Merrill Tarzan the Mighty and Tarzan the Tiger 1928 and 1929 Johnny Weissmuller Tarzan the Ape Man and 11 other Tarzan films 1932-1948 Buster Crabbe The Fearless 1933 Herman Brix The New Adventures of Tarzan 1935 Glenn Morris Tarzan's Revenge 1938 Lex Barker Tarzan's Magic Fountain 1949 Gordon Scott Tarzan's Hidden Jungle 1955 Denny Miller Tarzan the Ape Man 1959 Jock Mahoney Tarzan Goes to India 1962 Mike Henry Tarzan and the Valley of Gold 1966 Ron Ely Tarzan (TV) 1966-68 Miles O'Keefe Tarzan the Ape Man 1981 Christopher Lambert Greystoke: The Legend of Tarzan, Lord of the Apes 1984 Joe Lara Tarzan in Manhattan (TV movie) and Tarzan: The Epic Adventures 1984 and 1996 Wolf Larson Tarzan (TV) 1991-94 Casper Van Dien Tarzan and the Lost City 1998 Travis Fimmel Tarzan (TV) 2003 Alexander Skarsgard The Legend of Tarzan 2016

Web Resources: Print

ERB BIOGRAPHY: https://www.edgarriceburroughs.com/erb-biography/ ERB BIOGRAPHY: https://en.wikipedia.org/wiki/Edgar_Rice_Burroughs TARZAN AS SUPERHERO: https://www.saturdayeveningpost.com/2015/08/how-tarzans-author-did-it-all-wrong-and-got-it-right/ TARZAN AS SUPERHERO: https://www.theguardian.com/books/booksblog/2012/jun/08/tarzan-100-lord-superheroes-burroughs THE IMPORTANCE OF SUPERHEROES: https://www.nytimes.com/2020/09/21/parenting/kids-superheroes.html THE IMPORTANCE OF SUPERHEROES: https://www.smithsonianmag.com/arts-culture/the-psychology-behind-superhero-origin-stories-4015776/ THE IMPORTANCE OF SUPERHEROES: http://www.lateralmag.com/articles/issue-1/i-need-a-hero-why-were-wired-to-worship-superheroes THE IMPORTANCE OF SUPERHEROES: https://www.theatlantic.com/health/archive/2019/10/superhero-therapy-im-batman/600475/ SUPERHEROES OVERVIEW: http://www.inquiriesjournal.com/articles/312/superheroes-superpowers-and-sexuality JOHN CARTER OVERVIEW: https://kitbashed.com/blog/john-carter-of-mars JOHN CARTER OVERVIEW: https://en.wikipedia.org/wiki/John_Carter_of_Mars BURROUGHS, CARTER, SCIENCE FICTION: https://www.tor.com/2019/05/23/john-carter-and-the-origins-of-science-fiction-adventure-a-princess-of-mars-by-edgar-rice-burroughs/ INFLUENCE OF TARZAN: https://www.saturdayeveningpost.com/2015/08/how-tarzans-author-did-it-all-wrong-and-got-it-right/ INFLUENCE OF TARZAN: https://www.cbr.com/super-heroes-predate-superman-before/ INFLENCE OF TARZAN: https://www.theguardian.com/books/booksblog/2012/jun/08/tarzan-100-lord-superheroes-burroughs INFLEUNCE OF JOHN CARTER: https://www.cbr.com/characters-who-inspired-superman/ INFLUENCE OF JOHN CARTER: https://www.invaluable.com/blog/comic-book-characters/

Web Resources: Video