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An extensive career retrospective with one of comics' grandmasters, who began professionally at age 11 at MLJ. Kubert traces his decades at DC (Hawkman, Enemy ACE, Sgt. Rock, Tarzan), his 1950s co-publishing venture with Norman Maurer that produced the first 3D comics (selling over two million copies before the market was glutted), his Green Berets newspaper strip (which he abandoned over political interference from the writer), and his current dual role as editor and creator of The Redeemer. He discusses his close working relationship with Bob Kanigher, his preference for full scripts over "Marvel style" plotting, and his Joe Kubert School of Comics Art — a three-year curriculum designed to turn out professional-ready cartoonists capable of working across all genres.

Interview with the relatively unknown young artist who replaced Keith Giffen as penciller on The Omega Men. Smith describes his pre-comics career as a rock'n'roll guitarist in Rhode Island, his training at the Joe Kubert School and Dick Giordano's inking workshop, and his path from doing backgrounds for Frank McLaughlin, Mike DeCarlo, and Gil Kane to landing his first pencilling assignment. He got The Omega Men because the deadline was urgent after Giffen left, and editor Marv Wolfman chose his more "Kirby-esque" style over another candidate's animated look. Smith discusses his admiration for "the three Ks" — Kirby, Kubert, and Kane — and shares Kane's motivating advice to either commit fully to comics or give it up. He acknowledges the legitimate criticism of the book's graphic violence and says the series will move toward a more entertaining adventure tone under Wolfman's direction.

Wide-ranging career retrospective with the veteran artist and inker, whose over-thirty-year career spans the Golden Age to the present and who notes this is his first published interview. Abel recalls attending Burne Hogarth's Cartoonists and Illustrators School alongside classmates Wally Wood, Al Williamson, Marie Severin, Mike Esposito, and Ross Andru, and describes the post-school bohemian scene of late-night inking sessions and bars near the school. He recounts working for Fox, Crestwood, Fawcett, Charlton, DC, Marvel, and the short-lived Seaboard/Atlas, as well as inking Joe Kubert's Green Beret newspaper strip and doing cover art for Israel Waldman's repackaged warehouse comics. Abel frankly admits he is "really sick of super-hero comics" and misses the genre variety of earlier decades — crime, westerns, romance, and mystery — while reflecting on Dr. Wertham's damaging crusade and the industry's evolution from a short-term hustle to a professional career path.

Oakley, a staff letterer at Marvel for just over a year, explains his accidental entry into lettering after attending the Joe Kubert School, and his day-to-day duties including last-minute corrections and logo design (he designed the Mephisto logo). He talks craft: preference for a filed-down #107 Crowquill nib over Rapidographs, freehand balloon shapes, aversion to typeset copy in comics, and admiration for Jim Novak's balloon technique.

Florida-based inker who broke in through Dave Dorman and the Joe Kubert School, Story describes how landing the Aliens vs. Predator inking assignment impressed Randy Stradley at San Diego. He discusses his technical inking approach — combining Rotring rapidograph pens for mechanical detail with a large Raphael #4 brush for organic work — and his admiration for penciller Phill Norwood's production-design–quality backgrounds.

Campbell, star of Disney's The Rocketeer, discusses his background as a former art-school student who originally wanted to illustrate comics before pivoting to acting. He describes the casting process, the physical demands of the role, practical flying sequences in the film, and his admiration for Jennifer Connelly as co-star Betty. He confirms Timothy Dalton plays the villain and shares genuine fondness for classic comics artists including Jack Kirby, Russ Heath, and Joe Kubert.

In Part One of a two-part interview, Rovin recounts his entry into comics in the early 1970s, starting with Skywald under Sol Brodsky, then writing at DC under Dorothy Woolfolk and Joe Kubert. He moves on to running Warren Publishing's Captain Company mail-order operation under Jim Warren, witnessing the rise of Spanish artists and creators like Rich Corben, Will Eisner, and Bernie Wrightson, and shares colorful anecdotes about Jim Warren's eccentric personality and the events that brought the Warren empire down.

Comics Interview Hot Tips From Top Comics Creators #1 is a reference compilation edited by Don Markstein that gathers practical advice from more than 250 working and legendary comics professionals, organized into six thematic chapters covering breaking in, storytelling, business practices, artistic philosophy, working methods, and miscellaneous craft observations. The book grew out of the tip segments that had appeared in Comics Interview magazine across 132 issues and was intended as a durable resource for aspiring creators. Contributors range from Golden Age veterans like Joe Kubert, Carmine Infantino, and Dick Sprang to then-current stars like Frank Miller, George Perez, and Bill Sienkiewicz, with each contributor briefly profiled in a "Tipsters" biographical section before the tips chapters begin. The volume functions less as a collection of interviews than as a distillation of professional wisdom — a how-the-industry-works manual assembled from hundreds of individual voices rather than any single authoritative perspective.