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Claremont discusses the launch of Excalibur, framing it as a "Cosmic Comedy Caper" blending high adventure with Monty Python-style absurdist humor, in contrast to the more dramatic tone that X-Men had drifted toward. He explains the collaborative long-distance relationship with British artist Alan Davis and credits Davis with substantial plot contributions. He also addresses Marvel's decision to launch a monthly Wolverine series (set in fictional Southeast Asian country Madjipoor) despite his own preference for periodic mini-series, and talks about handing New Mutants over to Louise Simonson.

Interviewed at the 1991 San Diego Comic Con, Claremont reflects on leaving the X-Men after seventeen years, describing it as something like a divorce and noting the dust has not yet settled. He discusses key collaborative moments — the Dark Phoenix saga with John Byrne, the Wolverine limited series with Frank Miller — and Jim Shooter's executive decision to revive Jean Grey against his wishes. He confirms he is writing the first three issues of the new X-Men title and has projects including an Excalibur graphic novel and work for DC, plus a new novel (*Grounded*).

Group "First Look" interview with the creative team behind D'Arc Tangent, an independently published science fiction love story about a woman and a robot set against a war that began eighty million years ago. Foglio describes conceiving the story seven years earlier from a sketch of a robot with a sword, shopping it unsuccessfully to underground publishers, and finally self-publishing after collaborating with Freff and recruiting Chris Claremont as a story consultant. They discuss their publishing model of keeping every issue in print, following the trail blazed by Elfquest, and their ambition to create genuine science fiction in comics capable of winning Hugo nominations. Singer, an associate SF editor at Berkley Books who serves as publisher, describes the steep learning curve of dealing with distributors, while the team explains their plan for a roughly sixteen-issue run that weaves multiple prologues and subplots into a novelistic whole.

Two separate interviews are presented together: the first, conducted by Brian Talley, covers Romita Jr.'s career from breaking in via Iron Man (with Dave Michelinie and Bob Layton) through his long run on Amazing Spider-Man, exploring his father's influence (John Romita Sr. discouraged him from comics), his views on social commentary and violence in comics, and his feelings about ego and self-imposed pressure. The second, a shorter piece by Steve Saffel who caught him dropping off art at the Marvel Bullpen, focuses on his new role as X-Men penciller — he discusses the challenge of following Byrne, Cockrum, and Paul Smith on what he calls a "suicide book," his working relationship with Chris Claremont, his affinity for the diverse cast, and his careful research for location-specific issues.

Part One of Orzechowski's career retrospective, conducted by Schutz in her capacity as editor of The Telegraph Wire for Comics & Comix in California. Orzechowski traces his origins in Detroit fandom — where he worked alongside Terry Austin, Jim Starlin, Al Milgrom, and Rich Buckler — and his path to Marvel at age 19 via Tony Isabella, where Starlin championed him onto Captain Marvel before he felt ready. He recounts his famous prank of changing the Comics Code stamp to "The Cosmic Code Authority" on Strange Tales #179, and describes his move west with Mike Friedrich's Star*Reach collective (alongside Englehart, Starlin, and Brunner), his years freelancing for independents, and how he eventually settled into working almost exclusively with Chris Claremont on X-Men. Part Two (covering his X-Men alphabet design, Dark Phoenix lettering, and royalties) is promised for the next issue.

Part Two of the interview with the veteran X-Men letterer covers his long association with Chris Claremont beginning with X-Men #94, his development of distinctive typefaces for the series (including the ragged balloons for Dark Phoenix, created with a worn-out animation-cel brush), and his scholarly approach to logo design drawing on historical lettering books from the 1900s through the 1930s. Orzechowski is candid about the inequity of Marvel and DC's royalty systems, which exclude letterers and colorists despite their contribution to a book's look and sales, and expresses hope that the system will eventually be extended. He also discusses his mentoring of apprentice letterers David Cody Weiss and L. Lois Bohalis, and reflects on his "umbilical cord" to comics that makes a move into other commercial lettering difficult.

Anderson traces his career from a failed first attempt to break into comics in 1976, through his self-taught classical anatomy studies, to landing Ka-Zar the Savage under editor Louise Jones Simonson and ultimately the X-Men graphic novel (with Chris Claremont), which drew controversy from the 700 Club for its portrayal of a fanatical televangelist. He gives an extended account of the creation of Somerset Holmes with writer Bruce Jones — a Hitchcock-influenced romantic adventure series for Pacific Comics — which has been optioned for a movie by Ed Pressman Productions. He discusses his cinematic approach to comics storytelling and is currently preparing Strikeforce: Morituri and a Moon Knight story for Marvel Fanfare.

Sienkiewicz discusses his radical shift to fully painted, mixed-media originals for the Elektra limited series, describing the psychological and technical challenges of working in cut paper, acrylics, and other color media rather than pen and ink. He compares working with Chris Claremont (emotionally driven, soap-opera storytelling on New Mutants) versus Frank Miller (thematically and politically driven on Elektra), calling Elektra "a punk book — counterculture, very political." He also discusses plans to begin writing his own material, citing Orwellian imagery and the political subtext of David Lynch's Eraserhead as major influences.

The "invisible editor" of X-Men and New Mutants reflects on the editorial philosophy behind the Mutant Massacre, arguing the paranoid witch-hunt storyline had to escalate to a full combat footing or risk becoming repetitive. She articulates the thematic difference between the X-Men (graduates, day-to-day combat leaders) and the New Mutants (kids who screw up), describes efforts to separate the two books' universes and ground the New Mutants in age-appropriate activities, and credits Chris Claremont as the primary story architect.

Ringgenberg discusses his new bi-monthly science-fiction comic The Emissary (Electric Comics), co-written with Jorgensen, describing its elaborate world-building on the planet Calador and its aim for a more literary, cinematic storytelling style. He reflects critically on his earlier work for DC and Marvel, praises Alan Moore's Watchmen as the best comic on the market, and is sharply critical of Chris Claremont's verbosity and Frank Miller's insularity. He also discusses his role as associate editor at Byron Preiss Visual Productions, where he is adapting Bradbury, Bloch, and H.G. Wells stories into comics for the educational market.

A standalone feature-length interview in which Miller lays out the full timeline of the DC ratings system controversy and advocates for an anti-censorship information booklet he is assembling from editorials by Mark Evanier, Alan Moore, Chris Claremont, and Steve Bissette.

Buscema explains how he came to Wolverine without knowing the character's popularity, consulted Chris Claremont directly to understand the character, and designed the black body-suit costume himself. He draws parallels between Wolverine and Conan in terms of mood and physicality, discusses his new Silver Surfer graphic novel with Stan Lee (entirely in splash pages, which he found limiting), and reacts with strong opinions about the mistake of breaking up the Fantastic Four. He also reflects on teaching a comics art course and his philosophy of figure movement.

A guest editorial arguing that comic writers are systematically undervalued compared to artists — both by the price guide and by fandom — despite writers like Chris Claremont and Marv Wolfman being the sole constants behind the longest-running successful titles.

Silvestri recounts his path from DC anthology work and Conan to landing Uncanny X-Men through editor Ann Nocenti, and discusses working with writer Chris Claremont on the twice-monthly schedule and the Australian storyline arc. He talks about the book's wide readership demographics, his admiration for artists like Buscema and Mignola, and his interest in eventually pitching an original project with his brother.

Pratt and Pertierra explain CompuServe's Comics Forum: Pratt as sysop describes how the forum operates (message boards, data libraries, real-time conference rooms), its half-million subscribers, and the roster of comics professionals who participate, including Chris Claremont, Walt and Louise Simonson, Peter Laird, and Mark Evanier. Pertierra describes his own path back into comics fandom and how he became an assistant sysop, and both discuss the community atmosphere and topics — censorship, art quality, Japanese animation — that drive discussion.

Sienkiewicz describes the chaotic, emotionally exhausting process of developing his fully painted, mixed-media approach for the Elektra: Assassin series — working in cut paper, acrylics, charcoal, and other non-traditional materials — and contrasts it with the more controlled painted work on his Daredevil graphic novel with Miller. He compares his creative relationships with Frank Miller and Chris Claremont, reflects on breaking from his early Neal Adams-derived style during New Mutants, and discusses his ambitions to write as well as draw.