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Joint interview about the upcoming Killraven graphic novel for Marvel, their first return to the series after a six-year hiatus. Russell discusses his artistic evolution since the original Amazing Adventures run — reworking the Martian designs ("they used to look like Mr. Potato Head"), drawing from life models, and his influences ranging from 19th-century Symbolist painters to Wagner operas and foreign films. He also discusses his collaboration with Michael Gilbert on Elric for Pacific Comics and his wordless Symbolist fantasy stories. McGregor explains the graphic novel's 50-plus page scope, the introduction of Killraven's brother Deathraven, and a new character — a woman astronaut in her 50s at Cape Canaveral who provides a counterpoint to Killraven's brooding nature. He notes the creative freedom of working without page restrictions: "I put my dues in on it, that's for damn sure."

The second installment of a career-spanning interview covers McGregor's work on Zorro and Lady Rawhide at Topps — including the historical research behind the series and the origins of Lady Rawhide — then shifts to his early life, military service, and first forays into the industry through his confrontational first encounter with publisher Jim Warren that led to his early Warren stories.

Part three of a multi-issue career interview, covering McGregor's Warren Comics work (the David Turner trilogy, vampire anthology plans), his arrival at Marvel and long runs on Killraven and Black Panther, and the genesis of Sabre at Eclipse — conceived first for a Jim Salicrup/DAK newspaper project — and McGregor's insistence on retaining copyrights and choosing an oversized format.

The final session of the career-spanning interview covers McGregor's experience writing and directing the Detectives, Inc. video film (a two-hour-ten-minute production dealing with domestic abuse), drawing detailed comparisons between comics scripting and filmmaking. He also discusses his later Warren work, his Eclipse prose books (*Dragonflame*, The Variable Syndrome), his Gene Colan stories from Nathaniel Dusk and Ragamuffins and Panther's Quest, and his ambitions for future projects including Sabre: The Decadence Indoctrination, a Predator series at Dark Horse, a Milestone story, and completing the final Killraven graphic novel with Craig Russell.

Brief column promoting the upcoming third issue of Mark Gruenwald's Omniverse fanzine, noting its full-color wraparound cover by Ed Hannigan and John Beatty, and previewing next issue's look at Don McGregor's James Bond 007 book.

Announces the upcoming publication of Don McGregor's James Bond magazine, a photo-intensive guide covering classic spy series, fight scene breakdowns, and a Bond-versus-Indiana Jones comparison, priced at $2.95.

In Part Two of his interview (continued from #10), Moench covers the full arc of his career since leaving Marvel in late 1982: his unexpected detour into Hollywood writing screenplays for Ralph Bakshi's Red Sonja film (produced by Dino De Laurentiis), brokered by Jim Steranko, which he found exhilarating but surreal and ultimately unproductive. He discusses SIX FROM SIRIUS, his 120-page science-fiction limited series with Paul Gulacy for Epic, born from a years-long passion project with no deadlines. On his DC work, he talks candidly about the complications of introducing Jason Todd as the new Robin, his ongoing Batman and Detective Comics run, and his upcoming assignment on Omega Men — diplomatically avoiding direct criticism of predecessor Roger Slifer while noting his intent to make the characters more sympathetic and optimistic. He closes with pointed opinions on the comics press's tendency toward extreme lionization and sudden dismissal, citing Frank Miller and Don McGregor as victims of this cycle, and dismissing the lavish praise for Love and Rockets as publisher-driven hype.

Part one of a career retrospective covering Colan's early freelance work at Quality Comics, DC, and EC through the early Marvel Age, including Hopalong Cassidy, Ben Casey, war stories for Warren/Archie Goodwin, and the landmark "Marvel method" with Stan Lee on Iron Man, Daredevil, Sub-Mariner, and Captain America. Colan discusses his film-influenced visual style, his preference for spontaneous panel-by-panel storytelling, his difficult early years with overbearing editors, and his collaboration with Don McGregor on Black Panther.

Part two of Colan's career retrospective focuses on his relationships with inkers, naming Tom Palmer as his best collaborator, and also praising Frank Giacoia, George Klein, and Syd Shores. Colan explains his preference for working at one-and-a-half-up scale, his use of blurred/multiple-image panels inspired by photography and film, and announces he will self-ink all his future work going forward. He also speaks warmly of his return to Black Panther at Marvel with writer Don McGregor.

Part 3 of an ongoing retrospective interview in which Colan recalls his efforts to break into film storyboarding (aided by neighbor Sigourney Weaver), his brief encounter with Roger Corman, and free-association memories of working with Stan Lee, Harvey Kurtzman, Archie Goodwin, Jack Kirby, Don McGregor, and Harlan Ellison. Adrienne Colan is briefly interviewed about her background in the arts and her role in encouraging Gene's career when he was forced out of comics and working below his abilities.