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Shooter discusses the origins and astonishing commercial success of Marvel Super Heroes Secret Wars, which outsells even The X-Men nearly two-to-one and is the best-selling comic series in twenty-five years. He explains how the Beyonder story was designed from the outset with Marvel's entire continuity in mind, with input from writers like Claremont and Byrne, and how the Mattel toy tie-in came about with Marvel refusing to compromise the integrity of the Marvel Universe. He also reveals that a sequel, tentatively called Secret Wars II, is already in the works, and that the ending is known only to himself and editor Tom DeFalco — not even Stan Lee.

A bombshell "First Look" about the stalled JLA/Avengers crossover. Perez gives a detailed, anguished account of the project's collapse — Gerry Conway's original plot was rejected by Jim Shooter, DC prematurely greenlit Perez to pencil 21 pages before Marvel approved, and Shooter then spent months neither approving nor rejecting Roy Thomas's revised plot. Perez announces he is leaving the project, calling the experience "the most heartbreaking decision I've ever had to make" and accusing Shooter of deliberate procrastination. Thomas corroborates Perez's account, describing Shooter's failure to read or respond to a 17-page plot as inexplicable and unprofessional, and vows not to let the blame be shifted onto DC. Both express deep frustration that a project they loved — one Perez had dreamed of since before turning pro — has been reduced to a political meatgrinder between the two companies.

DAK explains why the promised Fred Hembeck "Destroy the Marvel Universe" feature was pulled: Marvel imposed a moratorium on Hembeck's destruction pending the outcome of the Secret Wars storyline. DAK promises the Hembeck piece will run in a future issue and introduces the Jim Shooter spotlight on Secret Wars as a timely substitute.

Ostrander discusses his unlikely path into comics via friend Mike Gold at First Comics, his on-the-job training on Starslayer after inheriting it from Mike Grell, and his passionate co-creation of GrimJack, which he originated five years before it was published. He is candid about his dissatisfaction with Jim Shooter's Marvel — calling Secret Wars "just bad writing" and blaming corporate success for stifling creativity — while enthusiastically praising the independent scene and drawing parallels between Shakespeare's mastery of genre forms and the potential of comics. He also discusses his Dr. Who stage play project and the launch of the "Munden's Bar" backup feature in GrimJack.

Olshevsky recounts his origins as a lifelong Marvel reader who built a massive computer-based Marvel index beginning in the late 1960s, and the long, calamity-filled story of self-publishing the Marvel Comics Index series with partner Tony Frutti — including customs nightmares, a crooked Toronto printer, and distributor headaches. He announces that Marvel will now publish the indexes officially as the Official Marvel Comics Index, in affordable comic-sized Baxter-paper editions, and that he has been recruited by Jim Shooter to also produce an Official History of the Marvel Universe, a comprehensive multi-volume chronological chronicle of the entire Marvel Universe.

(int. Darrel Boatz) — A lively group interview with eight members of the University of Illinois-based Chambana Comix Club, founded in 1973 and reorganized in 1976. The club operates as an informal buying cooperative with weekly meetings, and members hold strong and outspoken opinions: they are openly skeptical of Marvel under Jim Shooter, enthusiastic advocates for American Flagg, Thriller, Swamp Thing, Grimjack, and Dreadstar, and critical of the lack of editorial control over star creators like Claremont and Byrne. The conversation ranges across comics literacy, the distinction between soap operas and literature in comics, the merits of alternative-press titles, and the club's own history of writing protest letters — including one addressed in single-syllable words to a comics executive, with a pocket dictionary enclosed.

Hembeck discusses the long, troubled history of Fred Hembeck Destroys the Marvel Universe, which was completed but then blocked by Jim Shooter and Jim Galton over the ending's allusion to Mort Weisinger; Hembeck refused to change it. He recounts a personal "curse" surrounding the book — his mother died, a close friend (cartoonist Raoul Vezina) died unexpectedly, and several other near-disasters struck while he worked on it. He also reflects on his career trajectory from fanzine parody strips to Marvel projects, his sitcom-driven sense of comic timing (citing Jack Benny, Sgt. Bilko, and Mary Tyler Moore as key influences), and his desire to eventually do situation-comedy-style comics without superheroes, praising Love and Rockets and American Flagg as models.

In what Salicrup describes as the longest John Byrne interview ever published, Byrne walks through his entire run on Fantastic Four issue by issue, from his early penciling stints under Marv Wolfman's plots through his current tenure as writer/artist, discussing his approach to character (making The Thing a tragic hero, reinvigorating Sue Richards, introducing Frankie Raye as a Herald of Galactus, and the Alicia–Human Torch storyline). He speaks at length about Marvel's sliding-scale continuity and the "seven-year Marvel Universe," his deliberate effort to keep the FF's history internally consistent while avoiding characters aging into obsolescence, and his philosophy of plotting spontaneously rather than from rigid outlines. Byrne recounts the disastrous experience developing an Indiana Jones ongoing series—killed by what he describes as impossible demands from Lucas licensing representatives who didn't understand the comics medium—and explains why he has refused all licensing work since. He offers sharp opinions on the distinction between "readers" (the 250,000 who buy the book) and capital-F "Fans" (hardcore convention-goers), arguing that listening too closely to the latter led him astray on Alpha Flight; he announces he is swapping that title for The Incredible Hulk with Bill Mantlo and outlines plans to return the Hulk to his roots as a creature of the night, marry Betty Ross to Bruce Banner, and strip away accumulated continuity. On creator's rights, Byrne defends his "company man" reputation, arguing that working within the system and doing one's best work—rather than public agitation—is what actually improved conditions at Marvel, pointing to the royalty incentive program as proof; he credits Jim Shooter specifically for quietly fighting for creators' rights from inside editorial.

Guice discusses how he and Bob Layton pitched X-Factor to Jim Shooter as a vehicle for the original X-Men characters, with Mike Carlin coming aboard as editor and coining the title. He explains that Jean Grey's return was not part of their original plan but was incorporated after John Byrne and Roger Stern proposed it. Guice also reflects on his origin story: breaking into comics via Southern Knights while working a day job designing patches, then drawing his first Micronauts issue with his arm in a cast, and his goal to make X-Factor feel as landmark as Kirby's Fantastic Four run. He describes his collaborative full-time creative process with Layton, and why he departed Swords of the Swashbucklers at issue #4.

Weiss discusses his Epic limited series Steelgrip Starkey, a six-issue creator-owned book about a construction worker who wields an advanced all-purpose power tool called Technalchemy, presented as a positive, non-violent American folklore hero in the mold of John Henry. He describes the book as a character-driven adventure without supervillains, pitched to Jim Shooter in 1983 and finally reaching publication after years of delays, with Jim Sherman inking and coloring all six issues. Weiss also previews the Marvel graphic novel Wonderwar and praises titles like Rocketeer, Mr. Monster, and Judge Dredd.

Goodwin recounts his career arc from EC fan to editor at Warren Publications (CREEPY, EERIE), through stints at Marvel and DC before returning to Marvel to launch Epic Comics. He explains how Epic came about partly through his own intervention after Jim Shooter initially approached Al Milgrom, and how creator ownership at Epic means creators like Jim Starlin can take their books elsewhere if dissatisfied. He discusses the New Universe at length — four of the eight launch titles were concepts he developed — describing it as a more realistic universe proceeding from a single event (the "White Event"), and praises ELEKTRA: ASSASSIN (Miller/Sienkiewicz) as breakthrough material.

Concluding a two-part conversation, Rubinstein discusses the difference between technically proficient and genuinely artistic inkers, citing Klaus Janson as the most innovative in the field, and his ongoing debate with Bill Sienkiewicz over the tension between expressionism and serving the source material. He defends Jim Shooter against industry criticism, describing Shooter's genuine care for quality and his personal role in negotiating favorable deals for creators. He also explains his decision to ink Don Newton's final DC job as an act of mourning, and talks about burnout, business pressures, and his assistant Kyle Baker's habit of hiding Bullwinkle in background panels.

Readers respond to recent issues; topics include praise for the Steve Gerber and Buzz Dixon interviews, a defense of G.I. Joe's characterization, comments on the Howard the Duck movie, and a reader's complaint about Marvel killing off major heroes under Jim Shooter's editorial tenure.

Hollywood veterans Bill Mumy (Lost in Space child star and musician) and Miguel Ferrer (actor and drummer) discuss their lifelong passion for comics and their six-issue limited series Comet Man for Marvel, a psychological science-fiction family drama with guest appearances by the Fantastic Four and the Hulk. They recount how Jim Shooter approached them at San Diego after learning they had written a Twilight Zone script, and how Marvel's mini-series freeze and the Challenger disaster delayed the book from March to October. The interview also covers a historic dinner party at Mumy's home bringing together Jack Kirby, Jerry Siegel, and Bob Kane for the first time in over thirty years, alongside Mark Hamill and the Ferrers.

A veteran Marvel artist and editor who trained initially as a theater director (BFA and MA from University of Nebraska), Hall explains how he perpetually alternates between comics projects and stage work, having directed roughly 60–65 plays while also drawing WEST COAST AVENGERS, SQUADRON SUPREME, and now PSI FORCE. He co-authored and co-produced the long-running off-Broadway play THE PASSION OF DRACULA and has since written a FRANKENSTEIN adaptation performed in sign language by a theater for the deaf in Cleveland. Hall reflects on the evolution of Marvel's artistic culture, crediting Jim Shooter's improved page rates with enabling slower but more talented artists to sustain careers.

Extended letter from John Trauger and W. Everett Chesnut condemning John Byrne's handling of Star Brand #13, specifically the brutal death of supporting character Debbie Fixx, which they argue constitutes a mean-spirited vendetta against former Marvel Editor-in-Chief Jim Shooter through his fictional creations.

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.

Zeck traces his career from Charlton horror work and Wally Wood's studio through his runs on Master of Kung Fu, Captain America, Secret Wars, the Punisher Limited Series, and the Spider-Man/Kraven Saga. He discusses his design of Spider-Man's black costume, his frustrations with Secret Wars under Jim Shooter, and his artistic approach to the Punisher — modeled partly on Clint Eastwood's Josey Wales — and his hands-on involvement in coloring the graphic novel.

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*).

(int. Richard Pachter) — A lengthy profile of veteran Legion of Super-Heroes fan Broertjes, copy editor at the Miami Herald, covering his role co-founding The Legion Outpost fanzine in 1972, his instrumental part in tracking down a retired Jim Shooter and facilitating Shooter's return to DC and eventual rise to Marvel editor-in-chief, and his detailed opinions on the current Giffen/Bierbaum Legion relaunch.