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Colan recounts his career beginning at Fiction House in 1944, his years at Timely/Atlas under Stan Lee, his use of the alias "Adam Austin" for early Marvel work to avoid issues with DC, and his definitive runs on Daredevil, Sub-Mariner, Doctor Strange, and Tomb of Dracula. He describes auditioning for Tomb of Dracula by sending sample Dracula designs in one day, reveals he modeled Dracula on Jack Palance, and speaks candidly about how Jim Shooter's editorial style forced him out of Marvel.

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.

DC's rising colorist discusses his trajectory from fat-pencil Jack Kirby imitations to becoming the company's go-to specialist for mini-series and Baxter-format books. Reveals he has just finished coloring seven different costume proposals for the new Robin, working from Marv Wolfman's directive to "reflect Batman's colors but not copy them." Details his technical innovation of introducing K-tones (black tones) to the Baxter printing process — previously unavailable for interior pages — allowing true shadow effects without color shifts, a breakthrough he pioneered on Thriller and refined for Gene Colan's pencil-only Nathaniel Dusk, where the unprecedented challenge of coloring unlinked pencil art required ultra-delicate handling. Also discusses his colorist theories centered on storytelling through contrast, continuity, and emotional cueing, and shares editor quirks: "Len Wein does not like pinks — he feels they look 'fey.' Karen Berger hates greens with a passion."

Reader letters responding to the Batman issue; readers debate whether Adam West and Burt Ward should appear in the upcoming Batman film and suggest future interview subjects (Kirby, Ditko, Gene Colan).

A reader praises the previous issue's Gene Colan interview, expressing particular fondness for Colan's Iron Man work in Tales of Suspense and wishing the interview had been longer and more in-depth.

Part one of a wide-ranging career retrospective, Thomas recounts his origins as a fanzine editor (ALTER EGO), his brief unhappy stint under Mort Weisinger at DC, and his hiring by Stan Lee at Marvel in 1965. He discusses the early Marvel Bullpen, his work on X-Men, Avengers (including the Kree-Skrull War with Neal Adams and the creation of the Vision), Doctor Strange, Sub-Mariner, and The Invaders, offering detailed anecdotes about working relationships with Stan Lee, Jack Kirby, Neal Adams, Gene Colan, and Bill Everett. Thomas reflects on his love of historical fiction and Golden Age characters, and his ongoing interest in World War II settings.

Part one of a two-part interview in which Mazzucchelli explains why he stepped away from superhero comics after Batman: Year One and Daredevil, citing burnout and growing doubts about the superhero genre's artistic validity. He reflects on his collaborative working relationship with Frank Miller, his artistic influences (Gene Colan, Kirby, Roy Crane), a nine-month stay in Italy that shaped his graphic sensibility, and his decision to self-publish the anthology series Rubber Blanket.

Part two of the Adkins interview covers his early Warren work for Archie Goodwin on Creepy and Eerie, his transition to Marvel where he pencilled and inked Doctor Strange, and his long career as an inker on Silver Surfer, Sub-Mariner, and other titles alongside John Buscema, Jack Kirby, and Gene Colan. Adkins also recalls mentoring a string of future professionals — Craig Russell, Val Mayerik, Paul Gulacy, and Jerry Bingham — and expresses his desire to return to pencilling.

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.

Waller traces the origins of Omaha the Cat Dancer from erotic funny-animal strips in the amateur press association VOOTIE (launched 1976), through publication in Bizarre Sex #9 and subsequent issues from Kitchen Sink Press. Worley explains how she came to co-write the series after Waller got blocked mid-story, evolving from plot outlines to full scripts with scene descriptions. They discuss their intentional inclusion of adult themes — explicit sexuality, a wheelchair-using character, male homosexual scenes, and mental illness — as reflections of real life rather than shock value, and note their readership has grown to nearly 50% women.

Baran, director of Fondation Herge and a personal acquaintance of Herge since childhood, explains why no new Tintin books will be produced after Herge's death per the creator's own wishes, and how Studio Herge has been dissolved and replaced by the foundation. He discusses ongoing negotiations with Steven Spielberg for a Tintin film — noting that neither the current script nor Roman Polanski's considered involvement has yet produced a workable adaptation — and outlines efforts to launch a new Tintin-philosophy-based children's magazine within six months.

Stanley, a printing sales representative at Sleepeck Printing in Chicago, explains the heat-set web offset printing process used for comic books, from paper stock choices (Dixon #101, Britewight, Baxter) to four-color dot printing, folding, perforating, and stitcher/trimming. She describes Sleepeck's role in making affordable full-color printing accessible to small independent publishers, including their work with Comico, Fantagraphics, Kitchen Sink, and Renegade.

Vogel warns about the danger of expanded RICO laws that now include pornography without any legal definition of the term, arguing the government has effectively granted itself power to destroy any business selling potentially objectionable printed material through the threat of asset confiscation upon a second conviction.

Dean Mullaney of Eclipse Comics corrects a claim from issue #55 that Pacific Comics was the first to offer creator ownership, asserting Eclipse has had that policy since 1978 and noting earlier precedents. Brian Bolland issues a stolen art alert for approximately 115 missing pages of his Judge Dredd artwork from 2000AD/Fleetway.

Stevens discusses his role as co-producer on Disney's The Rocketeer film, covering the seven-year development process, the choice of director Joe Johnston, and the faithfulness of the adaptation to his original comic. He also talks extensively about his history in storyboard work (including Raiders of the Lost Ark and the Michael Jackson Thriller video), his love of good girl art and painters like Gil Elvgren and Robert McGinnis, and his plans to shift toward writing and film work rather than continuing as a comic-book artist.

Editorial musing on the upcoming Batman II film and the Rocketeer movie, speculating whether Warner Bros. might adapt The Dark Knight as a bold sequel.

Features a note from Neal Adams correcting a misconception in a prior Tom Lyle interview about Robin's hair design; a sharp letter from Kim Thompson (Fantagraphics) criticizing DAK's editorial rebuttal of Chester Brown's dismissal of superhero comics; and a spirited defense of superhero comics from reader Clif Langlois.