Tag: Peplum

I Am a Barbarian™ is a sword and sandal novel by Edgar Rice Burroughs that was published posthumously in 1967. Due to its historic antiquity subject matter, the novel is an outlier when compared to Burroughs’ speculative fiction bibliography of Tarzan®, Barsoom® (John Carter of Mars), and Pellucidar® novels for which he is most famous. In the 2010s, Edgar Rice Burroughs, Inc. began posting a webcomic adaptation of I Am a Barbarian at their website, written by Tom Simmons with art by Mike Dubisch and lettering by L. Jamal Walton. In early summer of 2022, the entirety of I Am a Barbarian was published in an ornate, hardback collection. Simmons and Dubisch have graciously allowed an interview about the I Am a Barbarian project.

How do you get into Edgar Rice Burroughs? Do you have a particular fondness for I Am a Barbarian?

Mike Dubisch: I loved Tarzan and John Carter of Mars as a kid, and of course his works were a favorite subject among the classic fantasy illustrators who shaped me. Anything about hidden fantastic worlds and strange adventures fascinated me. While I knew and loved the original cover painting, I’m not sure I ever read I Am a Barbarian before the project.

What were some of those illustrators that shaped you?

MD: Oh, it’s the usual pantheon: Frank Frazetta, Richard Corben, Hal Foster, Michael Whelan, Burne Hogarth, Wally Wood, Alex Nino, Nestor Redondo, John Buscema, in terms of artists who worked on ERB or ERB-like products. Otherwise, fairy tale and book illustrators like Arthur Rackham, H. J. Ford, Edmund Dulac, and the Brothers Hildebrandt. Pulp illustrators like Hans Bok and Virgil Finlay. I love studying the wood engravings of Doré illustrations, and the engravings of Albrecht Durer. Other comic book artists, particularly Europeans like Moebius, Jordi Bernet, Jose Ortiz, Tanino Liberator, as well as Charles Burns, Robert Crumb, Dave Stevens, Jack Kirby, Bernie Wrightson, and Basil Woolverton. 

What was the genesis of the original I Am a Barbarian webcomic?

Tom Simmons: I wrote an email to Jim Sullos, President of ERB, Inc., in 2012 offering to write a gratis screenplay (I’m a self-taught screenwriter); the script I wanted to adapt was the original Tarzan at the Earth’s Core. Jim replied that the character was “taken” by a licensing agreement at the time, but he must have been impressed by my offer to do work for free because when the online strips launched in 2013-14 he suggested I toss my proverbial writing quill into the ring and put together a collaborative team to do one of them; he even provided the name of an artist who had contacted him about getting involved with the online strips project. I Am a Barbarian is actually the third online strip with which I’ve been involved, and still am in the case of one of the three: The Outlaw of Torn. I chose Barbarian because it was available to adapt as a strip; I thought it would be a challenge to adapt (it was), and I’ve always had an interest in ancient history (I have a Bachelor’s degree as well as Master’s work in history). 

How was the creative team formed?

TS: Regarding how our creative team was formed, the artist I originally worked with on The Monster Men™ strip (which was among the first ERB, Inc. placed online in 2014) referred me to letterist/graphic designer/artist Jamal Walton of Durham, NC (full name: Larry Jamal Walton but he goes by “L. Jamal” or simply “Jamal”). As it transpired, Jamal has been involved in all three of the ERB, Inc. strips I’ve adapted, and was also the letterist for my 2015 e-book Crispus Caesar, which, indeed, is yet another “Swords and Sandals” story, adapted by me from my 2010 screenplay of the same name. My collaboration with Mike Dubisch came about when Mike contacted another ERB online strip artist and asked how he could become involved with the online strips; that artist referred Mike to me and the rest, as the cliche goes, is history. 

MD: After a period of trying to focus only on my own work in the comic industry, I decided it was time to seek out professional commissions again to advance my career. ERB was one of the markets I approached right away and fortunately Tom was manning the lines of communication and snatched me right up for his project. I knew instantly that I Am a Barbarian was the right fit because it would be a comic with the word “barbarian” in the title!

What were some of the challenges encountered when adapting the original novel into a webcomic format?

TS: The writing challenge for any adaptation to strip format (or any other, for that matter) is about scale/scope: we didn’t want the strip to continue indefinitely, set an end goal of roughly 225-245 weekly episodes (about five years of the strip being presented online), and worked toward that end. The second phase of the project after the online adaptation was complete was always to produce a printed graphic novel encompassing the entire online strip, and we achieved that goal. Apart from considerations of scale/scope, I did a thorough re-examination of Caligula, aided by a recent biography by Anthony Barrett. While there is little doubt Caligula was very likely a mentally unbalanced individual prone to cruelty and outright bloodthirstiness, the sources ERB used (historians Suetonius and Dio) also had a vested interest in painting an “over the top” picture of the assassinated ruler; I’d compare their accounts (and neither was an actual eyewitness to events) to Shakespeare’s lambasting of the Yorkists. Lastly, for me Barbarian is a love story wrapped around a tragedy; to dwell on Caligula’s misdeeds would not only have been a gratuitous waste of time but it would have obscured Brit and Attica’s character arcs. That said, I still included plenty of outrageous and bloodthirsty Caligulan behavior!

MD: For me the adaptation is from Tom’s script into the art for the strip, and so the re-imagining the scene from the book as comic pages has already been established when I start in. My biggest challenge is remembering to refer back to my historical architectural and costume references.

What would you say you each brought that is distinctively “you” to the comic?

TS: Mike and I formed a natural collaborative team, in my opinion. I did most of the historical research and (of course) writing the actual adaptation, but largely relied on Mike to place his own unique artistic stamping on the panels themselves. I know Mike will be speaking to his many projects currently underway, but for me he stepped up and out of his mostly Lovecraftian/horror mold to draw the history-based I Am a Barbarian, although those influences can be seen in many panels, in particular the scenes involving dungeons, prophecies and strange people. 

MD: I have a bad habit of only looking at reference when I don’t know how to draw something, and I know how to draw just about everything, and if I don’t, well then I usually know how to draw something after referencing it only once or twice. So, what you see with my work is devised almost entirely from my imagination, and that is why everything I do has a distinct style. Additionally, I tend to use a lot of black on the pages, using bold core shadows on figures and props, creating a feeling of dynamic lighting and adding volume, and bringing weight to the page.

Setting aside (since it is not a John Carter or Tarzan story), what do you feel is unique about I Am a Barbarianwhen compared to Burroughs’ other work?

TS: As far as I’m aware, Barbarian is the only ERB story in which the female protagonist dies. Overall, it’s a “darker” story than most of ERB’s work, and is likely a reflection of the dark period the writer was experiencing in his own life when he wrote the story in the spring/summer of 1941: his second marriage was on the rocks, he was drinking too much, and he was in and out of the hospital with health issues that year. 

MD: For me it’s the danger and trauma of Brit’s life; he loses everything and lives under the threat of torture and death his whole life. This seems a far cry from ERB’s superhuman heroes who rule their secret worlds.

TS: Good observation about Brit’s travails, Mike. If you want to test (and grow) your protagonist’s character arc, toss said protagonist under as many proverbial buses as possible.

I Am a Barbarian has just been released in a luxurious, oversized, hardback edition in a slipcase. This is a stark contrast to how comics are normally collected in a trade paperback release. What were the reasons for going the “Roman Decadent” route for the comic?

TS: I wanted the IAAB graphic novel to be an instantly recognizable, collectible classic and used this approach when we designed and produced the book over a 10-month period starting in June, 2021. For me, we achieved that goal. It’s a “pandemic book,” however, and as such it ended up costing considerably more to produce. I had no choice but to increase the price commensurately, and it turns out we’re working with little or no margin. As often is the case with these projects, IAAB is a true labor of love, not money. 

ERB stories have seen many comic adaptations across many decades by a plethora of publishers: Marvel, Dynamite, Gold Key, American Mythology, and so on. Is there any particular run of a Burroughs comic that you hold in high regard?

TS: I’m so old school re: comics I’m probably not relevant; the first actual comic books I read (other than the newspaper version) were Classics Illustrated. That said, for me old school illustrators and writers like Hal Foster, Alex Raymond and Russ Manning were always my favorites. 

MD: I recall OBSESSING on a big treasury edition sized Tarzan comic adaptation that I read to shreds as a kid – I no longer have it and can’t identify what edition it was. I do love Joe Kubert’s work on the character. I never really read the John Carter comics, but I love what I’ve seen in issues drawn by Gil Kane. I haven’t kept up with anything modern – I’ve enjoyed seeing Joseph Michael Linsners Dejah Thoris® cover art.

TS: If we’re talking about Dejah Thoris, for me Jay Anacleto and Michael C. Hayes are tops.

I Am a Barbarian can be considered a sword and sandal story. Is this a genre you have appreciation for? If so, any particular texts over the years that have left an impression on you?

TS: The film Gladiator is a recent standout for me. I also very much liked Spartacus and Ben-Hur.

MD: Oh man, Old Testament Biblical epics were one of my favorite things to watch as a kid, and Biblical comic adaptations were always a favorite as well. I loved Conan and Kull too, especially the comic books, but also the Robert E. Howard stories. While I was drawing I Am a Barbarian I streamed the Spartacus TV series, which was also very entertaining.

TS: Also, thinking of further S&S influences for me, I loved Colleen McCullough’s First Man in Rome series of novels as well as the 2005 Rome TV series. 

What projects do you have on the horizon that you’d like to share?

TS: I’m continuing doing the online strip adaptation of ERB’s other historical novel, The Outlaw of Torn. I’m currently working with Benito Gallego, who does the art, colors and letters for the strip. The plan is to do a printed version of this story as well when it’s completed in 2024. The book will form a “companion volume” to the printed I Am a Barbarian graphic novel, and I envision a matte red board slipcase with silver foil lettering for the book which will have two parts, one containing the art of Jake Bilbao and the other that of Benito Gallego. I also have ongoing screenplay projects; this summer I’ll finally complete the pilot for an 8-part miniseries entitled The Nessus Shirt, a WWII story told from the German point of view through the eyes of an ordinary soldier who becomes involved in the pre-Valkyrie plots to assassinate Adolf Hitler. 

MD: My primary focus has been Forbidden Futures Magazine and the Forbidden Futures Book Club, where I am the illustrator of an entire line of books and magazines working with premiere science fiction and horror writers, that goes out as a quarterly package to our subscribers through Oddness Books.

We are currently printing Forbidden Futures issue #10 which is a double issue with new fiction by David Gerrold, creator of both Star Trek’s Tribbles, and the Sleestacks from the Land of the Lost TV series. The issue also presents the first fully illustrated publication of Philip K. Dick’s “Tony and The Beetles,” a new sci-fi comic story I wrote and illustrated, and contributions from John Shirley and Cody Goodfellow. Forbidden Futures will be reissuing several of my out-of-print comics and graphic novels, including my Cthulhu Mythos SF graphic novel Weirdling, body horror underground comix Mystery Meat, and a collection of short graphic stories “The Wet Nurse and Other Tales of Conception and Re-Birth.” We have been publishing illustrated novels and novellas under the “Forbidden Futures Presents” banner, and I have my own illustrated prose projects planned for that line, including a soon to be announced SF novella. Finally, we are also debuting a bi-yearly chapbook “In Human Skin: The Mike Dubisch Journal of Illustrated Verse,” which pairs my series of surreal drawings on black paper with my own written verse.

Additionally, I continue to contribute to Diabolik Books Adventures of Professor Dario Bava comics, with the epic graphic novel tribute to Italian horror films and mod culture, “Murder Vibes from the Monster Dimension” still available and the new “Orgy Of The Blood Freaks” out now with new issues on the way.

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Sincere thanks to Simmons and Dubisch for this interview. Their release of I Am a Barbarian can be found in two editions – with and without a signed bookplate – at Cedar Run Publications. Consider checking it out!