From A-Kor, the keeper of the Towers of Jetan in Manator, through Zytheb, one of the priests of Brulor in Ashair, this is a comprehensive reference to the fantastic worlds of Burroughs. 

Each entry provides a complete definition, along with a reference to the book in which the entry appeared. 

For terms, the language, either actual (e.g., Latin and French) or Burroughs-created (e.g., The Tongue of the Great Ape or Pal-ul-don), from which it was derived is given.

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I'm a fan of both of these characters although I must admit I've absorbed much more material featuring Tarzan (movies, books, comics) during my life than I have Carson of Venus. I read one of the original ERB novels years ago and I've got all of the books in the series on my bookcase shelf but the character hasn't had nearly as much exposure as Tarzan or John Carter of Mars. There was a short lived Carson of Venus comic book series back in the 1970s. It ran as a back up in issues of DC Comics' KORAK, SON OF TARZAN series. The stories were beautifully illustrated by Mike Kaluta (who also did superlative work on DC's THE SHADOW series from the same era).

The Dark Horse series finds Tarzan transported to Venus (in much the same way John Carter traveled to Mars and back). There, he meets Carson and they have a rip-roaring adventure. It's pretty standard stuff and you either dig this type of pulp interplanetary adventure yarn or you don't. Me? I loved it.

The script is by Darko Macan and the artwork is by Igor Kordey. Kordey's work is an amalgamation of Kaluta's art deco style and the work of underground comic book legend Rich Corben (especially on characters' faces). I know. Sounds weird. But it works.

I enjoyed TARZAN/CARSON OF VENUS. If you're a fan of either character or the works of ERB in general, check it out. You won't be disappointed.

What does all of this hugger mugger at the beginning of the film have to do with anything? Not much as it turns out but that's pretty par for the course in this low budget B movie that tried to reinvent Tarzan as a Bond-style, globe trotting adventurer. Both the screenplay (Clair Huffaker) and direction (Robert Day) are slap dash although Mike Henry does make a fairly good Tarzan. He's tall, dark, handsome and magnificently muscled, all of which are prerequisites for playing the Lord of the Jungle.

I recall seeing TARZAN AND THE VALLEY OF GOLD when it was first released in the summer of 1966. It played a double bill (anybody remember those?) with the Japanese giant-monster epic FRANKENSTEIN CONQUERS THE WORLD. I loved the way cool one-sheet pictured above. I loved both movies. I was ten-years-old. It was my Golden Age. I watched TARZAN AND THE VALLEY OF GOLD for the first time since 1966 yesterday. It wasn't near as good as I remember it but I still dig the one-sheet, which is another sterling example of selling the sizzle not the steak. The story brings Tarzan to Mexico in an effort to find the fabled lost valley of gold and protect it from the rapacious Augustus Vinero (David Opatoshu) and his deadly line of explosive jewelry.

The lovely Nancy (JASON AND THE ARGONAUTS)  Kovack is along for the ride for no discernible reason other than that an attractive woman of some kind is needed since Tarzan's mate, Jane, is not in the film (or ever mentioned). Kovack was a last minute replacement for Sharon Tate (who appeared with Henry in several pre-production publicity stills). But there's no spark, no chemistry between Kovack and Henry. Sure, a romance would have slowed things down in what is essentially a kids' action/adventure film but there is a distinct lack of attraction between the two.

Vinero's hulking right-hand man is played by the ginormous Don Megowan, who memorably played the "Gill Man" in THE CREATURE WALKS AMONG US (1956), the third and final film in Universal's CREATURE FROM THE BLACK LAGOON series. He's a big, bald brute and if a Thor movie had been made in the 1960s, he would have made a perfect Absorbing Man (or Executioner). Megowan and Henry square off in a short and clumsily staged fight scene at the climax of the film. It's a pity and a waste of two impressive physical specimens. A bigger budget, a better script and a more imaginative director could have delivered a knock-down, slob-knocker of a fight between these men.

Filmed entirely on location in Mexico, TARZAN AND THE VALLEY OF GOLD cannot rise above some severe limitations behind the camera. Cheapskate producer Sy Weintraub took over the Tarzan film franchise in 1958 and delivered his first Tarzan film, TARZAN'S GREATEST ADVENTURE in 1959. He hired Henry (whose NFL career lasted from 1958 to 1964, with first the Pittsburgh Steelers and then the Los Angeles Rams) to star in three Tarzan films: TARZAN AND THE GREAT RIVER, TARZAN AND THE JUNGLE BOY and VALLEY OF GOLD. With the film series at an end, Weintraub decided to turn Tarzan into a weekly television series that would utilize the Mexican locations and production crew from VALLEY. Henry was offered the part but he declined. The role went to Ron Ely and the series lasted two seasons (1966-1968) on NBC TV. Ely's co-star on the series was young Manuel Padilla Jr. (from VALLEY) as Jai. Makes you wonder. Who the hell was Manuel Padilla, Sr.?

Mike Henry went on to co-star with Burt Reynolds, Sally Field and Jackie Gleason in the enormously popular SMOKEY AND THE BANDIT films. He wasn't a great actor by any means but I thought he made a serviceable Tarzan. There was a novelization of the film released, written by science fiction/fantasy/horror author Fritz Leiber. It was the first authorized Tarzan novel by anyone other than Tarzan's creator, Edgar Rice Burroughs.

Lois Weber was an American silent film actress, screenwriter, producer, and director, who is considered "the most important female director the American film industry has known", and "one of the most important and prolific film directors in the era of silent films".

Producer "Smiling Bill" Parsons initially hired newspaperman William E. Wing to script Tarzan of the Apes (1918 film) the first Tarzan film, starring Elmo Lincoln and Enid Markey as Tarzan and Jane. Tarzan author Edgar Rice Burroughs met with Wing, and disagreed vehemently with Wing's philosophy on screen adaptations, believing Wing took to many liberties with his character. 

When the film was released, the script was credited to Fred Miller and pioneering filmmaker Lois Weber; I haven't found any evidence whether Parsons made the change at Burroughs' behest, or was himself dissatisfied with Wing's work. 

Wing was later hired to script Tarzan and the Golden Lion (film) for FBO pictures, for which he received screen credit. 

Tarzan of the Apes (1918) Tarzan is often mentioned as one of the most iconic literary characters of the 20th century, after Sherlock Holmes and maybe Dracula. But Holmes and Dracula were both created in the 19th century, so perhaps Tarzan is the most iconic literary character to emerge during the 20th, disregarding comic characters such as Superman.

Today, when you think about Tarzan on the white screen, you probably think first about Johnny Weissmuller, who played the ape man through most of the 30s and 40s. Starting with his films, and continuing for decades thereafter, the movies were not based on any of the books written by Edgar Rice Burroughs. Indeed, even the characters barely resembled those in the books (Boy and Cheeta were never in the books at all).
 

The first Tarzan movie Tarzan of the Apes, on the other hand, is very faithful to the original story. Perhaps too faithful, which may have been the reason why it was cut heavily, apparently from three hours originally, and even then they only did half the book. (The rest was adapted into a second film, The Romance of Tarzan (1918), which was thought lost until a partial print was discovered recently.)

But the existing film of only an hour is too short. You can feel the incoherence caused by the heavy cutting. Some films really deserve to be restored to their best possible versions. But restoration is expensive and time consuming, so for now we will have to settle with the butchered version.

The one-hour version at the Internet Archive is the longest extant version known to me (there are commercial releases with better music and image quality, but the same content). Yet, it can be assumed that other surviving versions contain material not used in this one. The best example is a 1937 cut of the first half of the film (Tarzan’s childhood) titled Tarzan the Boy, which was up for sale a while ago on eBay. Then there are rumours about a 73-minute version, and there are probably others. Even though a complete version may never be found, it should be possible to do considerably better than what exists at present.

The casting in the film is not exactly great. Even Edgar Rice Burroughs himself was said to be dissatisfied with Enid Markey as the young and beautiful Jane, and while Elmo Lincoln is certainly muscular enough, he does not exactly look like he could suddenly jump into a tree and start swingning away. Rather, he is lumbering around the jungle. In fact, another actor, the Swede Stellan Windrow, was originally cast for the role, but he was drafted when shooting had only just begun. It is him we can see in some of the scenes where Tarzan swings through the trees.

The film was shot in the swamp jungles of Louisiana. A documentary was recently made about the filming. I have not seen it, but it is said to be very good.

This film is best enjoyed if you are unfamiliar with the original. It really is a great story, and this first filming tells it better than most later ones even though some liberties have been taken.

José Ortiz Moya (September 1, 1932 – December 23, 2013) was a Spanish comics artist, best known for several collaborations with Antonio Segura, such as the series Hombre.

Ortiz joined Warren Publishing in 1974 due to his connections with the Valencia studio of Selecciones Illustrada. He would remain with Warren until 1983 and drew more stories for that company (approximately 120) than any other artist. His work included the series Apocalypse, Night of the Jackass and Coffin in Eerie, as well as Pantha in Vampirella and numerous stand alone stories. Ortiz would also draw Vampirella herself in issues 35 and 36 that title. He won the award for 'Best All Around Artist' at Warren in 1974.

Following this period in the U.S. comics industry making horror comics, he returned to Spain and formed a lasting and fertile working partnership with Antonio Segura in 1981, initiated by the serial publication of Hombre, a post-apocalyptic saga, in the magazine Cimoc.

Grand Comics Database

  A bit of fun from John "Bridge" Martin

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None of us are sucker enough to fall for these Nigerian scams, or from whatever country they originate.
  If these crooks really wanted to clean us out, they'd be more clever and write something like this.

  Dear Sir
  I have a huge collection of first edition Nigerian ERB books. Not only that, but I have ERB books from many other countries, including first edition McClurgs, Metropolitans, Macauleys, ERB Inc., and Volland, all with jacket.
  Rounding out the collection are Tarzan-related toys, mint in box, from many nations of the world. There are also some gently played-with toys.
  Unfortunately, I am being hounded by rebels in my country and there is no Tarzan to rescue me. Thus, I have to ship all of my collection to the U.S. and then follow myself on a tramp steamer.
  I need a friend in the U.S. who will receive my collection. In return, I will give that friend first choice of two-thirds of the items in my collection.
  As a sign of good faith that you are that friend, I will first need you to ship me all of your first edition ERB books. This will establish a relationship of trust between us and, of course, your books will be returned to you when I come to the states and won't count against the two-thirds of my collection to which you will be entitled.
  Just email me at yurnext@kleenout.com and we'll get the ball rollling.

Sincerely,
Mr. Nyamwegi