Jack Kirby had a lot of different inkers throughout his long and productive career. During the time of Jack’s collaboration with Joe Simon, most of his inkers were also artists that worked for the S&K studio. Mort Meskin, for one, had a extended and fruitful association with Simon and Kirby. The earliest S&K production that included a Meskin signature was “The Inferior Male” from Young Romance #6 (July 1948) (see previous posts here and here). That particular piece was also signed by Jerry Robinson, the usual assumption is that the first signature (in this case Robinson) was the penciler and the second (Meskin) was the inker. Here support is found in that at least some of the pencils do not appear to by Mort, while the inking is typical of his work that follows. The first work to be signed by Meskin alone came over a year later with “His Engagement Ring” (Young Romance #16, December 1949). There is an even earlier work then both of these that Meskin at least participated in (”Love Or A Career” in Young Romance #3 January 1948). To be honest I am holding back some information that I want to be the subject of my next week’s post. Although Mort’s earlier work for Simon and Kirby was sporadic, from 1950 on he became the most prolific of the studio artists. During this time Meskin’s output may have even exceeded Jack Kirby’s.

Young Romance #18 (February 1950) “I Own This Man”, pencils and inks by Mort Meskin

I provide above a splash by Meskin from early in his association with Simon and Kirby. It gives examples of a number of Mort’s spotting techniques. Mort’s most common brush method, actually used much more frequently than apparent in this splash, is to describe clothing folds by using two or more narrow brush lines in close or overlapping paths. These can be found in the pressman’s blue jacket. Note how what the original individual brush strokes are sometimes revealed at the ends of the folds. Another Mort inking style was to often distinctly outline shadows. Once again this splash does not provide the best examples but two of them are present one near the center of the wrestling mat while the other is near Mort’s signature. The wrestlers give Meskin the opportunity to do some real nice simple hatching. The lines vary from thin to quite bold. Often one and occasionally two lines are used to delimit a hatching area. This type of brushing technique is very reminiscent of the S&K Studio style picket fence work. (See the inking glossary for an explanation of my inking terms such as simple hatching and picket fence). I do not know enough about Meskin’s prior inking to say whether this is typical of his work at the time or if this shows he was influenced by the Studio style. The dark spot on the reporter’s right shoulder are suggestive of the Studio style’s shoulder blot. That is misleading as Mort always seems to use these in a way to suggest realistic shadows while in the Studio style they generally appear on both shoulders without any natural explanation.

Young Romance #37 (September 1951) “Just to be Near Him” page 2 panel 1, pencils and inks by Mort Meskin

Although it maybe debatable whether my first image represents true Studio style brushwork, later work can certainly be called that. In the above image the pickets of the picket fence inking have become bold and the rails more consistently applied. Mort would sometimes also use standard crosshatching, as seen on our far left and on the lower part of the woman’s dress. When doing so, he would frequently place the crossing lines at an acute angle so that the white spaces are elongated.

Young Romance #29 (January 1951) “Diagnosis: Love” page 5 panel 3, pencils and inks by Mort Meskin

The above panel provides a better example of Meskin’s penchant for outlining shadows. That the boldly brushed dark spot on the center man’s jacket is a shadow can be seen by the presence of the profile of a nose. Mort would occasionally have a dark shadow trace a path down one side of a figure, such as the man on our left.

Justice Traps the Guilty #56 (November 1953) “G-Man Payoff” page 5 panel 6, pencils and inks by Mort Meskin

When artists both draw and ink their own work the two art stages will sometimes reinforce one another. That is what I believe happened with the eyebrows that Mort gave his men. These eyebrows are inked with a method similar to how Meskin handled clothing folds, two or three narrow overlapping brush strokes would trace the path of the eyebrow. This resulted in eyebrows that were wide, simple and made somewhat angular turns. As we will see below, Mort became so entrenched in inking eyebrows this way that it could affected how he inked Kirby’s pencils.

The above panel also shows how Meskin would sometimes fill in part of a blank background with crosshatching. As is generally the case, here his lines meet at an acute angle, not at right angles some other inkers prefer.

Young Romance #30 (February 1951) “My Lord and Master” page 3 panel 1, pencils and inks by Mort Meskin

Sometimes Mort will use his brushwork to create a side of a figure that is both a narrow shadow and a wide outline. This does not show up often, but is very distinctive when it does. I am sure further study of Meskin’s abundant output will show other inking techniques that while not common can be useful in determining attributions.

Young Love #68 (December 1955), pencils and inks by Mort Meskin

Covers are important for the sale of a comic and the higher quality paper allows a superior printing. Therefore artists take more care in the creating artwork for covers. However the S&K studio artists usually did not get a chance to provide cover art, Jack Kirby would do all cover art when a photograph was not used. But when Simon and Kirby launched their own publication company, Mainline, Jack was so busy that for a year the covers for the Prize romance titles would be done by other artists, including Mort Meskin. On none of his romance covers would Mort use picket fence patterns or any of the other traits of S&K Studio style inking. For the spotting on Young Love #68 Mort relied mostly on his use of narrow brush strokes. Note how on YL #68 the back of the man’s jacket and pants has that narrow shadow or wide outline that we saw before.

Mort Meskin was such a prolific artist that the possibility of the use of assistants has to be considered. In preparation for writing this post I reviewed a lot of Mort’s work from 1950 to 1956, there is so much work that I did not have the time to review it all. This review confirmed my previous conviction, Mort had little if any assistance in inking his art. Almost all the spotting looked like it was done by the same hand.

Some of Meskin’s inking techniques are not limited to him alone. The use of narrow, often overlapping brush strokes can also be found in stories by George Roussos as well. This is not too surprising since Mort and George worked together in the late 40’s. The narrow brush strokes were not the only think George picked up from Mort, a lot of his penciling was clearly influenced by Meskin as well. Nonetheless Roussos did not adopt all Mort’s inking techniques so the two can be distinguished. However a discussion about Roussos will have to await another post. I will say that I have yet to find an example of Roussos inking Kirby (that is until the Silver Age).

Boys’ Ranch #4 (April 1951) “The Bugle Blows at Bloody Knife” page 8, pencils by Jack Kirby, inks by Mort Meskin

The Jack Kirby Checklist attributes most of the inking in the classic Boys’ Ranch to Joe Simon. Actually it is not hard to recognize Mort Meskin’s inking in much, if not most, of it, particularly after the first couple of issues. The biggest difficulty I faced with choosing an example of Mort inking Kirby from Boys’ Ranch was that I believe Mort was the penciler for at least some of the work in that title that has generally been credited to Jack. But the drawing in “The Bugle Blows at Bloody Knife” looks so much like Kirby’s that I am confident that he was the penciler. I am equally as confident that Meskin did the inking. Note the narrow clothing folds in panels 3, 4, 5 and 6. See how the shadows have a strong outline, most obvious in panel 4, but can even be found on the officer’s forehead in panel 1. The back of the soldier in panel 3 could be described as either a narrow shadow or wide outline. The eyebrows in panel 1 and 6 are simple with angular turns. All of these are typical Meskin traits.

Police Trap #6 (September 1955) “Only the Guilty Run”, page 1, pencils by Jack Kirby, inks by Mort Meskin

The two gun carrying detectives in the background are so typical of Jack Kirby that he must have been the penciler. At a glance the inking appears typical S&K Studio style. But note how the clothing folds are long and narrow. The final giveaway is the thief’s eyebrows are simple with angular turns. There is little doubt that this is another example of Meskin inking Kirby.

Western Tales #32 (March 1956), pencils by Jack Kirby, inks by Mort Meskin

My final image is the cover of Western Tales #32. This work was not included in the Jack Kirby Checklist. The last time I posted on it I attributed both the pencils and inks to Joe Simon. The fact that it was not Kirby’s inking and the stiffness of the Indians (especially the one in the right foreground) suggested to me that Joe might be responsible. After all Simon has shown himself to be excellent at mimicking Kirby. However Crockett’s pose seems more dynamic then what Joe has ever done without using swipes, and it was just the sort of thing that Jack was so good at. Perhaps the awkward pose of the Indian on the right was due to the limited area left over from Davy’s figure. As for the inking it simply is not Kirby’s work. Note the long and narrow clothing folds, Davy’s angular eyebrows, and the way his back is outlined by a narrow shadow. None of these are Kirby traits but all are characteristic of Mort Meskin’s inking. This magnificently inked cover shows that Mort had complete mastery of the S&K Studio style. Mort’s brushwork has the same sort of bold confidence that Jack and Joe also possessed. Although it may not be a reliable enough trait to rely on in determining attributions, Meskin’s brush does seem a little more mechanical then either Simon’s or Kirby’s.

A few months after Western Tales #32 Meskin would stop providing work to Simon and Kirby. If the GCD is correct, Mort had actually returned to working for DC a couple of years earlier. Now having left S&K, DC would become Mort’s main source of income until he abandoned the comic book industry. Meskin’s final DC period overlaps Jack Kirby’s time there, however none of Kirby’s DC work that I have seen was inked by Mort.

I have not made a thorough examination of Jack Kirby’s work for the purpose of determining what ones were inked by Mort Meskin. I want to hold off on that effort until I review some more S&K artist/inkers. So far the only other one I have posted on was Marvin Stein.

Mainline Advertisement from In Love #1 (September 1954)

Simon and Kirby launched their own comic publishing company, Mainline, with Bullseye (August 1954). The first issue of Bullseye ran an advertisement for the next issue, but no mention of other titles. For the next month, September, two additional titles were released, Police Trap and In Love. Like Bullseye, Police Trap ran an ad for the second issue. However inside In Love was an advertisement for all the Mainline titles. It was a diverse lineup including western, crime, romance and war comics. At this point only the Foxhole had not been released. But it is clear from the description that S&K had already decided on the theme for their war title:

BATTLE STORIES WRITTEN AS THEY ARE LIVED BY THE MEN WHO MARCHED AND CUSSED…AND DIED! HERE IS YOUR FATHER - YOUR BROTHER - AND YOUR SON, TOUCHED BY THE HAND OF WAR!

Right above the blurb the comics title is given and it is Night Fighter instead of Foxhole. Night Fighter just does not make sense as a title for a war comic. There is nothing in the blurb to suggest the comic would only be about nighttime battles.

Night Fighter, unpublished cover

Night Fighter was also the title used for a superhero proposal that Simon and Kirby came up with. The original art is known for two covers. The one whose image I show above was created by altering an unused Fighting American cover. This and the other Night Fighter cover can also be seen in Greg Theakston’s Jack Kirby Treasury volume 2. Both covers show a hero with special equipment, boots that allow him to walk on walls and goggles that permit him to see in the dark.

But the use of name Night Fighter in the Mainline advertisement and for the unused superhero is not a coincidence. Compare the logo from the unused Night Fighter covers with the one in the In Love advertisement. There is no question, both are the same design. The most reasonable explanation is that the superhero Night Fighter was originally planned as part of the Mainline lineup and was included in the first state of the In Love ad. Before In Love #1 was sent to the printers Simon and Kirby decided to replace the superhero entry of the Mainline comics with one from the war genre. They replaced the blurb in the advertisement with one appropriate for the new war title. Somehow S&K never got around to changing the title from Night Fighter in the ad. Perhaps they had not yet decided what to call the war comic and simply forgot to correct it in the advertisement by the time they decided to name it Foxhole.

Why did Simon and Kirby decide to drop the superhero Night Fighter from their lineup? With the part that Jack played in the creation of the Marvel universe as well as all the superheroes Simon and Kirby worked on during the war, it is easy to conclude that superheroes were important for the S&K team. However during the years after the war until the breakup of the studio superheroes only played a small part of the comics that Simon and Kirby produced. Stuntman and the Red Demon quickly failed during the comic book blot that followed the war. Captain 3D had an even shorter life when 3D comics turned out to just be a fad. Simon & Kirby had created Fighting American for Prize Comics just before starting Mainline. Fighting American #1 has a cover date of April which would indicate a calendar date for its release as February. In Love #1 with a cover date of September would have gone to the printers at a calendar date of May. Since their deal with Prize was to share the profits, it is possible S&K may have known the sales return for FA #1 in May and perhaps these were not as good as hoped. The only problem with this scenario is that when In Love #1 was sent to the printers it would be expected that some work may have already begun for the next month’s titles. Yet all the art that seems to remain for Night Fighter are the two unused covers. So it is hard to be sure whether or not sales figures for Fighting American affected the decision not to launch Night Fighter. Whether influence by sales figures for Fighting American or not, Simon and Kirby apparently decided the time was not right for launching a new superhero. Perhaps if Mainline had been a success they might have later expanded their line to include Night Fighter.

In my last chapter I described the penciling and inking stages that the art went through in the Simon and Kirby studio. Now I would like to provide some examples of the S&K studio style of inking from when they were creating comics for Mainline, their own publishing company. This is the inking style from which Kirby’s Austere Style developed. Artistically, Simon and Kirby were at their peak. Jack’s penciling was bold and assured. Spotting, particularly when done by Kirby, had both nuanced and muscle. The development of the S&K shop style was probably greatly influenced by the poor printing processes used for comics at the time. Fine inking techniques such as the standard crosshatching could look great on the original art. Yet when these same fine inking was printed it often fail to fully print leaving the area unnaturally light. Or it might fill with ink resulting in large black splotches. But it would have to be a truly bad printing to completely ruin S&K shop inking.

Because I want to describe the evolution of Jack’s Austere Style, I want to provide examples that I believe Jack did the spotting. The rub is that there is not a single Simon and Kirby piece of art that provides credits identifying the inker. It is hard enough to recognize individual hands involved in the inking, how do you go about applying actual names to these hands? I have asked people who provide inking attributions for the S&K period how they got around this difficulty, but I have never received a good answer. One person seriously suggested using intuition!

Well here is my solution to this naming problem. In my last chapter I summarized why I believe Jack was the actual inker for the Austere Style. Working my way backwards from that style to earlier inking works I then picked out works that looked like they were done by the same hand. If I am correct to attribute the Austere Style to Jack, then I am probably also correct about the earlier work. I realize that my readers may not yet have a good idea of what the Austere Style is like but hopefully they will be the end of this serial post.

Bullseye #3 (December 1954) from “Devil Bird” page 5, pencils and inks by Jack Kirby

One spotting technique frequently used in the S&K studio style is what I refer to as picket fence pattern. Two lines following a roughly (sometimes very roughly) parallel tract are connected by a series of more or less evenly spaced lines. The upper arm of the rifle holder in the image above shows what I mean. This inking technique is not too common outside of the S&K studio. But I have seen other artist use it as for example Will Eisner. Its use in the S&K studio style is unusual in the thickness of the lines used for the pickets.

Bullseye #3 (December 1954) from “Ghosts of Dead Center” page 1, pencils and inks by Jack Kirby

A row of short dashes, or as I like to refer to them as a string of drops, is common in the studio inking. The size of the drops often varies along the string. As the size varies they occasionally become more like short lines then drops. Sometimes the string of drops is placed on top of a simple line and sometimes not. The Bullseye splash (see above image) provides good examples of some of these variations.

Police Trap #2 (November 1954) “Desk Sergeant” from the original art, pencils and inks by Jack Kirby

I wanted to provide another example of the studio style and its use of the techniques I have been describing. Generally inking was more elaborate when done for a cover or a full page splash. The inking for “Desk Sergeant” is, in my opinion, particularly nice. I just love the way the inking provides bold statements in the use of picket fence and drop strings brush work while still being very sensitive to facial features. Although I have been describing some of the brush patterns used in the S&K studio style it is important to remember that these were not restricted techniques. Note how some of the picket fences have one rail that is not a line but rather a drop string.

In my last chapter I provided an example of outline inking done with very uniform lines as if made by bending a wire. These simple lines could later be modified by adding thickness in parts. The outlines in “Desk Sergeant” are very variable but this was probably done that way right from the start. Note the sleeve in the area of the wrist in the man on our lower left. The outline disappears for short distances. Because there is no whiteout used, we can be sure this reflects the original state of the outline. The outline work so matches the rest of the inking that I believe Jack did both line and spot inking in this splash.

Police Trap #4 (March 1955) cover pencils and inks by Jack Kirby

Picket fence and drop strings are not always used especially in the case of panel art. They are most effective when used on a large image such as a cover or a close-up in story art. Otherwise more simple inking patterns are used. The folds in clothing are variations of simple patterns. Many of the smaller folds are recorded as simple spatulate shapes. With an increase in size and length they assume a shape like the frond of a palm leaf. Or the spatulate form can be increased in size without lengthening to become a sort of rounded rectangle. The spatulate and frond shapes often bend slightly to suggest the form of the underlying figure. The above image from the cover for Police Trap #4 gives some good examples of spatulates, fronds and rectoids as well as showing how they morph into one another.

The Police Trap #4 cover also shows a technique that had become more frequent. This is the careful placement of a number of rectoids near one another leaving only small strips of white between. This is used to suggest the clothing folds in areas of shadow. The lower right leg of the man handing from the hock is a good example of this which I call negative folds.

Win A Prize #1 (February 1955) from “That Giveaway Guy” page 2, pencils and inks by Jack Kirby

The above image of a close up from Win A Prize #1 provides further examples of both picket fences and drop strings. The shoulders of man on our left features another spotting technique which I think of as a collar blot. I “get” the picket fence and drop string, they are means of suggesting grays in a black and white world of pure ink. Similarly the spatulate and frond shapes are used to suggest the shadows cast be folds in the clothes. But I am not clear at just what the collar blot is meant to portray. Unlike the other brush methods, I have only seen the collar blot used in S&K productions. I refer to it as a blot, but actually it is not at all unusually for the shape to be formed by ink strips that are kind of like the pickets only wider leaving very narrow white strips in between.

Police Trap #6 (September 1955) from “Only The Guilty Run” page 1, pencils by Jack Kirby and inks by Mort Meskin

All the examples that I have provided above are ones that I believe that Kirby did at least the spot inking. But I do not want to leave the impression that this inking style was used by Jack alone. I refer to it as the S&K studio style because it was used by other inkers as well when working on Kirby pencils. The image I provide above is from a half page splash panel. The pencils look like Kirby’s and I do not mean just the layouts. Even the fine details have Jack’s “fingerprints”. Look at the pointing hand of the of the man that yells “stop that man”. Although the faces look like they were drawn by Kirby they also suggest Mort Meskin, particularly the face of the running thief. I am sure Mort did the outline inking.

But what about the spot inking? A close examination of the spotting convinces me that it was not done by Kirby. The picket fence seems very meticulous while Jack’s usually has a more spontaneous feel. Some of the clothing folds are narrower then Jack would use for the same length. Also look at the use of negative folds on the left arm of the guy with the blue jacket. It is the same type of handling that the leg from the Police Trap #4 cover shown earlier. It is hard to put into words, but the “Only The Guilty Run” version does seems more mechanical and less convincing then those done by Kirby.

Having come to the conclusion that the spot inking was not done by Kirby I end up with that same problem of applying a name to that inking hand. I do not feel that this is the place to explore this matter nor have I conducted my own careful check. I will say that currently I suspect that the spotting was done by Mesking as well. The actual attribution of the spotter is not that important for this post. The point I am trying to make now with “Only The Guilty Run” is that the S&K studio style was not used solely by Jack.

Police Trap #6 was the last of the Simon and Kirby Mainline titles to be published. All the studio style of inking from this period is pretty consistent. This style continued afterwards, as for instance Western Tales #31 (October 1955) and #32 (March 1956). However starting in 1956 works appear where the inking style began to be change. This will be the subject of my next chapter.

Bullseye #5 (April 1955)

This is another selection made by a participant of my recent Featured Cover Contest as their favorite Simon and Kirby cover. I had provided an image of it before in my serial post The End of Simon and Kirby but it is such a great cover that it warrants repeating. When discussing Boys’ Ranch #4 (see my previous post) I said that all the covers for that title were so good that I would be hard pressed to pick my favorite. Well S&K did a good job on the Bullseye covers but there is no doubt in my mind that issue #5 is the best.

In the origin story we learn that Bullseye got his name not just because of his skill with weapons but because of a target pattern that an Indian foe had branded onto his chest. All but one cover (#6) featured this target pattern prominently as part of the design of the cover. But for issue #5 S&K took it even further by turning the pattern into an Indian theme, as if it was some sort of flattened decorated teepee. Then added to this was one of the dramatic hand-to-hand combats that Jack had ever drawn. Clearly this unique cover is one of Simon and Kirby’s greatest masterpieces.

Boys’ Ranch and the Fighting American were probably the most obvious Simon and Kirby titles to reprint. But beyond a doubt Bullseye is a title that deserves the same honor. An interesting hero, great stories and lots of Kirby. Unfortunately it has not received the treatment that Marvel gave the other mentioned titles. But hey, I have not given up hope that some publisher will recognize what a classic Bullseye was.

Fighting American #1 (April 1954) by Jack Kirby

It is easy to see why one of the entries for my recent Best Simon and Kirby Cover contest was Fighting American #1. The cover shows a race car flying off a cliff. It that was not bad enough the engine is exploding. Fighting American and Speedboy leap to safety with Fighting American pulling along another man by his leg. Surprising the man shoots a gun at his would be rescuer. This scene takes up pretty much every inch of the cover below the comic title. I cannot see how Simon and Kirby could possibly have added more excitement to the cover. The art was done when, in my opinion, Joe and Jack were at their peak. Just look at the exaggerated perspective that Kirby uses, it is amazing. No doubt about it this is one great piece of cover art.

Fighting American was obviously Joe and Jack showing how Captain America should be done. They had created Cap in 1941 but only did the first 10 issues, less then one year of work. Timely continued to produce Captain America without S&K up to issue #74 (October 1949) which was re-titled as Captain America Weird Tales. Timely must have known that they were about to end the title because the single Cap story showed the definitive end of their long time nemesis, the Red Skull. I say definitive because although the Red Skull had been shown supposedly killed before this time the story shows him in hell. There was a Captain America Weird Tales #75 (February 1950) but Cap did not actually appear on the cover or in any story.

Coincidentally the demise of Timely’s patriotic hero marked the period of the rise of Joe McCarthy. McCarthy lead a crusade against all the communists that he said had infiltrated the U.S. government. McCarthy’s “investigations” can best be described as a modern day witch hunt. But that was not so obvious to Americans at the time as can be shown by the fact that a Gallup poll taken in January 1954 showed McCarthy had a 50% approval rating. It is only a guess, but perhaps all of McCarthy’s talk about Communist infiltration brought back to the Atlas company thoughts of their previous success with their superheroes. After all if their hero line was was so financially successful fighting the Nazi’s during the war, perhaps it might occur again using the same heroes to fight the Communists. Whether that was thinking or not, Atlas re-launched the Human Torch, Sub-Mariner and Captain America in Young Men #24 (December 1953). It takes three to four months to produce a comic and so the earliest cover date following YM #24 appearance would be March or April 1954. April is exactly the date that appears on the cover of Fighting American #1. The timing is too perfect, could Joe and Jack saw that their old creation had reappeared? This could have prompted them to rush their own patriotic hero out hoping to take part in the superhero revival.

Captain America #76 (May 1954)

But Joe McCarthy’s rise did not go unopposed. On March 8, 1954 Edward R. Murrow did a segment of “See It Now” critical of McCarthy and his tactics. On June 9 during one of his Senate investigation meetings Joseph Welch addressed McCarthy with the line “Have you sense of decency, sir, at long last?” On June 10 Senator Flanders introduced a resolution to condemn Joe McCarthy. On December 9 1954 the condemnation of McCarthy was passed by the Senate. At this point Joe McCarthy had been pretty much discarded on the rubbish pile of history where he belonged. I do not suggest that McCarthy’s downfall had any affect on the Atlas superhero revival attempt. No I think that the termination of this revival with Human Torch #38 (July 1954) can be blamed on the fact that they were really poor comics. (Sub-Mariner Comics continue until issue #41 dated October 1955 due to a hope of a movie deal). But although I do not think McCarthy’s fall affected Atlas much, it may have had an affect on Fighting American. That title had started out as exciting superhero fare but by issue #3 (August 1954) had turned to humor. The timing is just right for Joe and Jack to begin to see what McCarthy was really about and to change their comic accordingly.

Before closing this post I would like to comment on the artist for the cover of Captain America #76 shown above. Both the GCD and AtlasTales attribute it to John Romita. John Romita did do a lot of the art for Captain America during this revival attempt. For instance he signed the covers for Captain America #77 and #78. Although unsigned, some of the art inside Cap #76 appears to be by Romita. But I find it hard to believe that John was the artist for the cover, Captain America just looks like he was done by a different hand. In an interview of John Romita by Roy Thomas from Alter Ego (volume 3 #9) both seem to indicate that they do not believe the cover for #76 was by Romita either. However the suggestion that John makes in the interview that it may have been done by Carl Burgos or Joe Maneely seems even less creditable. Unfortunately I do not know enough about Atlas artists to suggest an alternative. In the interview John mentions that Stan Lee often had art rework done by whatever artist had stopped by at the office at that time. John particularly suggests that Cap’s smile on issue #76 might be an example of that. But perhaps for Cap #76 the rework was much more extensive.