PALGRAVE STUDIES in COMICS and GRAPHIC NOVELS Series Editor: Roger Sabin

PALGRAVE STUDIES IN COMICS AND GRAPHIC NOVELS Series Editor: Roger Sabin LONE HEROES AND THE MYTH OF THE AMERICAN WEST IN COMIC BOOKS, 1945–1962 David Huxley Palgrave Studies in Comics and Graphic Novels Series Editor Roger Sabin University of the Arts London London, UK This series concerns Comics Studies—with a capital “c” and a capital “s.” It feels good to write it that way. From emerging as a fringe interest within Literature and Media/Cultural Studies departments, to becoming a minor field, to maturing into the fastest growing field in the Humanities, to becoming a nascent discipline, the journey has been a hard but spectacular one. Those capital letters have been earned. Palgrave Studies in Comics and Graphic Novels covers all aspects of the comic strip, comic book, and graphic novel, explored through clear and informative texts offering expansive coverage and theoretical sophistica- tion. It is international in scope and provides a space in which scholars from all backgrounds can present new thinking about politics, history, aesthetics, production, distribution, and reception as well as the digital realm. Books appear in one of two forms: traditional monographs of 60,000 to 90,000 words and shorter works (Palgrave Pivots) of 20,000 to 50,000 words. All are rigorously peer-reviewed. Palgrave Pivots include new takes on theory, concise histories, and—not least—considered provo- cations. After all, Comics Studies may have come a long way, but it can’t progress without a little prodding. Series Editor Roger Sabin is Professor of Popular Culture at the University of the Arts London, UK. His books include Adult Comics: An Introduction andComics, Comix and Graphic Novels, and he is part of the team that put together the Marie Duval Archive. He serves on the boards of the main academic journals in the field and reviews graphic novels for the international media. More information about this series at http://www.palgrave.com/gp/series/14643 David Huxley Lone Heroes and the Myth of the American West in Comic Books, 1945–1962 David Huxley Film and Media Studies Manchester Metropolitan University Manchester, UK Palgrave Studies in Comics and Graphic Novels ISBN 978-3-319-93084-8 ISBN 978-3-319-93085-5 (eBook) https://doi.org/10.1007/978-3-319-93085-5 Library of Congress Control Number: 2018945054 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover pattern © Harvey Loake Printed on acid-free paper This Palgrave Pivot imprint is published by the registered company Springer International Publishing AG part of Springer Nature. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland ACKNOWLEDGMENTS Parts of Chap. 1 are based on the paper, “Inventing and Selling Buffalo Bill: The West Travels the World” that I presented at the Film and History Conference, University of Wisconsin, Madison, November 2015. Parts of Chap. 3 are based on the paper “Roping n’ Riding: Selling Western Stars, 1946–1962”, that I presented at the Film and History Conference, University of Wisconsin, Madison, November 2016. v CONTENTS 1 Introduction 1 2 Inventing and Selling “Buffalo Bill” in Comic Books, 1949–1957 9 3 Billy the Kid: The Outlaw as Lone Hero, 1952–1958 33 4 Roping n’ Riding: Selling Western Stars, 1946–1962 51 5 Conclusion 83 Index 87 vii LIST OF FIGURES Fig. 2.1 “The Emperor of America”, Buffalo Bill #8, 1951 12 Fig. 2.2 “War Drums of Doom”, Buffalo Bill #4, 1951 16 Fig. 2.3 “Highlights of a Dangerous Life”, Buffalo Bill Annual, 1953 21 Fig. 2.4 Cover, Buffalo Bill, Collection Hurrah, 1949 27 Fig. 2.5 Duel, Buffalo Bill, Collection Hurrah, 1949 30 Fig. 3.1 Billy the Kid, Toby/Minoan by Jack Sparling 35 Fig. 3.2 Billy the Kid, Toby/Minoan by Don Heck 35 Fig. 3.3 “The Water Poisoner”, Billy the Kid #26 Toby/Minoan, 1954 36 Fig. 3.4 Billy the Kid #24, Charlton, 1960 39 Fig. 3.5 “Billy the Kid”, Sun, 1952 46 Fig. 4.1 “The Treasure of Butterfly Rock”,Dale Evans #8, 1955 55 Fig. 4.2 “Tainted Justice”, Lash LaRue Western #41, 1953 60 Fig. 4.3 “Warriors of the West”, Indians: Picture Stories of the First Americans #13, 1952 70 Fig. 4.4 “The Bushwhacker”, Annie Oakley and Tagg #17, 1956 74 Fig. 4.5 “Crafty Woodcraft”, Gabby Hayes Western #42, 1952 78 ix CHAPTER 1 Introduction Abstract The nature and definition of the lone hero and the ways in which the West has generated various myths have a complex history. There are ways in which existing theories about the hero and myth in Western films can be applied to comics. Many of these comics feature Native American characters, which gives rise to problematic issues about the nam- ing of the “Indian”. Keywords Buffalo Bill Cody • Myth • Western comics • Western films • Lone heroes • Native Americans The thousands of comics dealing with the American West are still a com- paratively neglected area in comic studies. Yet the sheer number of these comics, their longevity, and their production in a range of countries, not just the USA, indicate that there is something very significant in their appeal. The main focus of this study is the postwar period when this production reaches its peak. The investigation will use various case studies of comics featuring historical figures, such as Buffalo Bill and Bill the Kid, as well as film and television stars, such as The Lone Ranger and Dale Evans. The majority of these case studies will fall within the main period of consideration, from 1945 to 1962, although the final sections will look at how Western comics began to change after 1962. This book will look in © The Author(s) 2018 1 D. Huxley, Lone Heroes and the Myth of the American West in Comic Books, 1945–1962, Palgrave Studies in Comics and Graphic Novels, https://doi.org/10.1007/978-3-319-93085-5_1 2 D. HUXLEY particular at a staple of these comics, the lone hero. This raises a series of issues concerning both the idea of the lone hero and the complications of the term “myth”. If we separate the idea of the lone hero into its constitu- ent parts, it can be seen as a little more transparent. “Lone” is perhaps the clearest part of this equation. This kind of Western hero must, by definition, to a large extent, “ride alone”. It might be that he will sometimes work with others, and even be accompanied by allies at times, but in the main he or she must rely on their own skills, both physical and mental, to succeed in their tasks. Close analysis of a series of stories will establish which of the comic characters under consideration qualify in this category. Some of the reasons for the appeal of this kind of hero, and the reasons for his isolation, will also be examined. The nomination of a character as a “hero” is more complicated. It should be pointed out, as well, that these definitions are not gender specific and apply equally to heroines as well as heroes. When Western heroines are examined, as we shall see later, there are perhaps some surprises in store. The overall idea of what constitutes a hero or heroine is more complex. J. Isen explains that the concept has changed quite dramatically since the early classical Hellenic version, and in a contemporary setting the hero can be defined as follows: The qualities inherent within the word ‘hero’ in English are sharply defined. The modern western understanding of heroic characteristics has been shaped by the course of history and literature…In today’s world, a hero is more often than not lauded for heroic qualities due to their willingness to sacrifice themselves for the safety or benefit of others. This lack of concern for per- sonal well-being and safety in sight of a great threat is deemed courageous and the essence of heroism…Another factor in the modern concept of heroism arrives from the medieval concept of chivalry and the knight errant of Arthurian mythology who displays qualities of bravery and magnanimity.1 Starting in 1859, Alfred Tennyson began publishing a highly successful series of poems, Idylls of the King, based on Malory’s Morte d’Arthur, and the idea of the chivalrous hero was a popular trope in the late nineteenth century. Dime novels often lift the idea of the hero’s quest and the saving of the innocent directly from this model.

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