George Perez
Penciller / Writer-Artist, Freelance (Marvel/DC)
Working on: *The Infinity Gauntlet* (Marvel); *The Holy Wars* (DC); *Classics Illustrated: Julius Caesar*
Perez discusses returning to Marvel after nearly a decade, pencilling The Infinity Gauntlet for writer Jim Starlin, working strictly as penciller without co-plotting credit for the first time. He also previews The Holy Wars, his DC crossover tied to Wonder Woman's 50th anniversary, and reflects on his six-year DC exclusive contract and his experience writing plots for other artists on Wonder Woman.
Peter David
Writer, Freelance (Disney Comics / Bantam)
Working on: *The Rocketeer* comic adaptation and novelization
David explains how he landed both the Disney Comics adaptation and the Bantam novelization of the Rocketeer film, with the novel commissioned on an iron-clad February 1 deadline. He discusses the differences between comic adaptation and novelization — huge chunks of the script couldn't fit in 64 pages, whereas the novel allowed him to add bridging scenes, historical period detail, and cameos by real 1938 figures like Clark Gable and George Reeves.
Tim Burgard
Artist / Storyboard Artist, Freelance (Hero Comics / storyboard work)
Working on: *Flare*; storyboards for *Terminator II*, *The Simpsons*
Burgard discusses his design work on Flare for Hero Comics, his storyboard career including work on The Simpsons with Matt Groening and on the Terminator II trailer, and his frustrations with breaking into mainstream Marvel and DC. He defends superhero cheesecake as a legitimate artistic approach and talks about working alongside Jack Kirby on animation development projects, describing Kirby's prolific and visionary output at Ruby Spears.
Rémy Bastien
Writer / Editor, Freelance
Working on: Personal projects; new role at Publicaciones Continentales de México (Part 3 of 3)
In the third and final part of a multi-issue interview, Bastien recounts the history of Marvel publishing in Mexico, including failed experiments with Western titles and the challenges of maintaining Spider-Man continuity across multiple U.S. titles for Mexican readers. He discusses the growth of comics fandom in Mexico, the cultural and class distinctions between foreign licensed comics and homegrown Mexican comics, and offers reflections on storytelling fundamentals. A postscript note reveals that Bastien resigned from Novedades just before publication and had taken a new role directing a comics division at Publicaciones Continentales de México.
Kraft's editorial looks ahead to the milestone issue #100 and invites reader feedback on the magazine's format, including questions about interview length, frequency, and format preferences.