Friday, May 3, 2013

Early Ditko and the mystery of the Utah Kid

One of Steve Ditko’s early published stories appeared in Blazing Western # 1, dated January 1954. “Range War” was an eight page story published by Timor publications, one of a group of imprints, including Stanmor, Gilmore and others, under publisher Stanley P. Morse. Quite a bit of his horror stories heve been reprinted over the years, and you can see examples of some of the complete comics on this excellent site, which only includes public domain material :  

Technically this was the first year Ditko’s art appeared in comics, although its dated Jan 1954, it appeared on the stands most probably in either October or November of 1953. Ditko’ s earliest art appeared in 1953, including background inks for Simon and Kirby on Captain 3-D, along with work on unpublished issues; stories for Black Magic, and likely breakdowns, possibly with Sy Moskowitz for “Hair-Yee-eee” in Strange Fantasy # 9, published by Ajax-Farrell. The first story Ditko sold, “Stretching Things” would see publication in  Fantastic Fears # 5, January 1954, at Ajax-Farrell (sold to them by Morse).

Quite a bit of Ditko’s early work was sold to small publishers such as Stanley Morse. Morse published comic books from 1951-1956, leaving comics to go into the men’s adventure magazine business, competing with Martin Goodman. Morse was prolific into the 1970's and his story, if ever told, would be quite fascinating. You can read more about Morse, as well an assortment of small 1950s horror publishers, in this excellent essay by Lawrence Watt-Evans :

Some of Ditko's earliest sales were to Morse, including “Paper Romance” in Daring Love # 1 (Sept-Oct 1953), with others sold to Ajax-Farrell. Some stories may have been produced for other companies, but eventually saw publication through Morse, which leads to the mystery of “Range War”

Blazing Western # 1, Jan 1954. Cover by Bernard Baily, who did a fair share of artwork for Morse's comics, including bizarre, nightmarish covers for Weird Chills and Weird Mysteries (long before DC, Morse had the Weird field covered!)

“Range War” is a typical western featuring the “Utah Kid” the hero of the story, and his Indian companion, Golden Eagle. The eight page story proves that Ditko was accomplished early in his career. The pacing, storytelling and composition are quite good, despite a few awkward figures and panels. Ditko was learning very quickly, and his character faces were already beginning to stand out. What makes this story odd, though, is the uncanny resemblance the hero has to an Atlas western character.

Splash page to "Range War" by Steve Ditko; scripter uknown; lettering by Ben Oda.

My first inclination was that perhaps Ditko tried to get work from Stan Lee earlier than suspected, and, for whatever reason, it was not accepted. Ditko’s first story for Atlas was in Journey into Mystery # 33 , dated April 1956 (“They’ll Be Some Changes Made”, scripted by Carl Wessler) but counting production it had to have  been drawn in late 1955. In “Range War” the hero’s name is very crudely re-lettered throughout, replacing another name.

Two examples of the crude UTAH lettering replacing whatever name Ben Oda originally lettered in. At least we know he was a "Kid". THAT narrows it down! 

Atlas comics had a character called the Ringo Kid, dressed in black, with a red scarf. black hair and (often) yellow gloves. Ringo also occasionally had an Indian companion. The Utah Kid has the same outfit. color combination and black hair. Could this have been a rejected Ringo Kid story?

"One Hour Truce", as reprinted in Ringo Kid # 12, Nov 1971. Originally printed in Ringo Kid Western # 17, April 1957. Art by Joe Maneely. 

The theory makes sense - except the dates don’t correlate. Blazing Western # 1 was dated Jan 1954. Ringo Kid Western # 1, debuted eight months later, in an August 1954 dated comic. Ringo Kid stories were usually five pages long; Utah Kid was eight pages. But how to explain the remarkable coincidences?

I passed on the scans to Michael J. Vassallo, good friend and Timely-Atlas expert, to get his thoughts on the matter. He was surprised and stymied as well. I postulated that perhaps the Ringo Kid was being prepared in 1953 but did not see publication until 1954. Perhaps Ditko was given a script to work on and, for whatever reason, it was turned down. Would Lee have given the story back to Ditko? Could Ditko have then kept it and shopped it around? Michael opined that perhaps the story had not been completed, perhaps only pencilled and lettered, and Ditko inked it later on. Obviously, if there was knowledge that the story was prepared for Atlas the characters name would have to be changed. Or is there another answer?

page 2 of "Range War". One can see Ditko's eye for detail, character and panel composition early on.

Could there have been another character in use at the time similar in look to the Ringo Kid? Was the story prepared for a different company? Interestingly, the Utah Kid was featured in later issues by different artists (Les Zakarin pencilled or inked the story in # 4. Issue # 2 was again re-lettered, although by issue 4 there are no changes. Blazing Western ran until issue # 5, and I’m uncertain if the Utah Kid was featured in every issue. His appearance pretty much remained the same, although, from the stories I've seen Ditko’s is by far the best artistically. 

    The Ringo Kid turned out to be a popular Atlas Western hero, appearing in his own comic as well as in anthologies such as Wild Western. He was drawn by a number of noted artists, including Fred Kida, John Severin, and, most memorably, the incredibly talented Joe Maneely.

Maneely was an Atlas workhorse; versatile, dependable and exceedingly talented. In 1970 Marvel brought the Ringo Kid back in reprint form, utilizing Maneely’s original covers and stories. I distinctly recall seeing the first issue on the newsstand and was impressed by the tall, thin figure who commanded the cover spot. This was something different than the typical Marvel style. Although there was no signature on the cover I looked forward to this artists work, not knowing until years later of his contributions to 1950s Atlas. 

Joe Maneely adds character, simplicity and perfect composition to this cover that caught my attention back in the fall of 1969. I particularly like how Maneely positioned the owlhoot on the right side. Ringo Kid # 1, Jan 1970; originally from Ringo Kid Western # 18, June 1957. 

Comics were a business, and a great amount of material was produced, some never published; others altered or sold to different publishers. Steve Ditko, beginning his long and exceptional career in comics, was making the rounds in the early 1950s and getting assignments. In time he settled down to a few big accounts, notably Charlton and Atlas. The question of “Range War’s” origin may be a long forgotten memory, but a detour –hopefully – of some small interest within the circle of  comic book mysteries.                   


Smurfswacker said...

This Utah Kid sure looks to me like Key Publications' Silver Kid (issues available at the Digital Comics Museum, e. g. "Silver" would certainly fill the space in these balloons better than "Utah." The Silver Kid has a white streak in his hair but otherwise looks like Utah and wears the same costume. He also has an Indian companion.

But--this just raises more questions. Silver's pal is named Hondo rather than Golden Eagle and doesn't have the same hairdo or costume. What's more Comic Book Plus says Silver #1 appeared in October 1954, months after Utah!

Nick Caputo said...


Thanks for the info. I'll take a look. It doesn't look like there are any easy solutions, and lots of "kids" to investigate!

Professor Fester said...

once again, you've given us something to scratch our heads over.I am inclined to agree on the Ringo Kid theory.

Nick Caputo said...

Thanks, Prof. I'm glad you found it interesting. I'll have some more early Ditko surprises coming up soon.

Blake Bell said...

Hi Nick. Great post! The good news is that it triggered something so I dug into my files and have solved your mystery. I'll update tomorrow on my blog and link to yours. Hint: not Ringo Kid.

Nick Caputo said...

Hi Blake,

I'm very curious to see the answer. Doing further research on the comics of this period, my next guess is that it was a story originally produced for Fawcett, who stopped publication on their comics and sold most of their stories to Charlton.

Kid said...

Actually, the answer's simple. The character was originally called 'The Glasgow Kid' and was all about me in the Old West. Now that the secret of my immortality is out, I'll probably be hounded outta town.

Whaddya mean, have I had my pills today?

Nick Caputo said...

I THOUGHT it was you, Kid! You must have been honored to have Ditko draw your likeness :)

Kid said...

Tremendously honoured. Of course, it was also a great honour for him to have me pose in his studio. (He wanted to get the likeness right, you see.)

Blake Bell said...

Finally! My new blog post on the mystery of the Utah Kid -

joey2027 said...

Not to side-track from the mystery, but I was very impressed with the Joe Maneely pages. I'm certain the term "cinematic" is over-used to describe a comic book artist's work. But to me this is the very definition of that term and it is inescapable to my eyes that this artist was superb at defining action within the limits of the story.

I can image these two scenes(the cover and the first page examples of Maneely) being borrowed from any number of TV Westerns. Or the TV shows stealing this for their storyboards.

The ponies riding by in the back ground in the first panel, they're moving! I can actually follow them out of the panel.

I had a certain teacher in a school I attended that had a reputation for assigning work for us that always involved drawing horses. No matter what it was it HAD to involve horses. His critique would have some advice on how accurately we drew those horses.

If Jack Kirby was working for this guy the Fantastic Four would have crept past the guard on their way towards their date with destiny riding....yup, horses.

Crammed in the capsule would be Reed Richards, Ben Grimm and ....Scout?

I should mention he was a comic book artist before being an instructor.

The students that had this instructor in the semester before my class and the students that had him in the semester after my class, they complained, some times in front of his back, about having to draw horses....horses...horses!

My class was not exempt from the complaining.

He would just smile.

Finally he gave us an explanation!
He told us that artists, do not, as a rule, draw horses very well. This was his opinion. So why not get a hoof, er leg up, and be good, no great, dammit, at drawing horses?



Hopefully that wasn't too long a way around to get to the pass before the banditos (I'm not even going to try to spell banditos correctly, I'll be here all night). Now, years later, every time I see pages from any westerns I scan the panels to see if a.) are there horses? and b.) does the artist draw the horses ...accurately? Is he hiding great portions of horses behind cacti or wimin's skirts(that's what I would do). Or,are they displayed in yah can't nearly missum poses that darn near dare yah to pickem off?

For what it's worth I think Steve Ditko draws good horses. I think Joe Maneely draws damn good horses too!

I also think it's a curse that I'm always checking the horses in any issue of the Rawhide Kid!

Me? I got a B- grade in depiction of the equestrian (I speeled it right!) variety done in pen and ink. The Space Shuttle didn't look right, tho.

Thanks for all your articles, Mr. Caputo! I'm sorry if my digression strayed to much off the trail.

And I'm done with silly nods to Westerns for the rest of my life.

joey2027 said...

my silly nods ...I'm not referring to your article. I thought you article was great!

Nick Caputo said...


Digressions are welcome here, and I agree with you about artists who can draw horses well. They are limited in number, but Maneely was one of the top guys. Severin and Kane were up there, too. I'm forgetting a lot of other artists who did a fine job, but I suspect many current artists might have a hard time drawing our equine friends.

And thanks for the kind words!

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