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King, a software engineer and aspiring comics artist based in Vermont, describes his Comic Art Creator — a low-cost ($39.95–$59.95) computer-aided design program for the Apple IIe that generates accurate perspective construction lines, anatomical models, and shadow calculations, allowing artists to double their pencilling output. Unlike Saenz's fully computer-generated art, King's tool is a production aid that leaves the actual drawing to the human artist. He predicts that publishers will begin licensing such systems to creators and that Marvel will soon market animated comics for the home video market.

Discusses finishing Frank Miller's final Daredevil issue, wrapping up The Further Adventures of Indiana Jones after John Byrne's departure over a conflict with Lucasfilm, and discovering new talent Kevin Nowlan for Dr. Strange. Reflects on his X-Men tenure — "fun while it lasted" but he got "X-Men'd out" — and his career path from inking backgrounds for Dick Giordano at Neal Adams' Continuity Associates to becoming one of the top inkers in the industry. Talks about his tradition of sneaking Popeye and other characters into backgrounds, and the long-running Jack Abel/Howie Chaykin murder subplot hidden in newspaper headlines across multiple Marvel books.

Sprawling conversation (with Roger Slifer and D. Jon Zimmerman sitting in) that is essentially an oral history of his career and the comics industry. Shares extensive insider stories from his years as Jack Kirby's assistant at DC — how the New Gods saga was meant to be only 18 issues, how Carmine Infantino forced guest stars into the books, how DC had Superman's face redrawn over Kirby's pencils without telling him, and how DC's publisher once concluded that "the secret of Marvel's success was bad art." Gives a detailed account of the Stan Lee / Jack Kirby working relationship and the ambiguity of who "wrote" what. Reveals extensive behind-the-scenes work packaging Tarzan and Korak comics for overseas markets, the deliberate sabotage (or staggering incompetence) that put a Scooby-Doo issue's pages in wrong order at Marvel, and his theory that DC and Marvel acquire licensed properties primarily to keep them from competitors. Currently writing Blackhawk for DC, dialogue for Sergio Aragones' Groo at Pacific, and DNAgents with Will Meugniot for Eclipse.

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.

Part one of a wide-ranging career retrospective conducted at the Hotel San Diego. Drake recounts his early life with his father Alan Drake, a prolific radio actor of the 1930s–40s, and describes his own brief Hollywood detour — winning a Paramount screen test and dining with starlets before Pearl Harbor ended his acting ambitions. He traces his postwar career from commercial art studios (Perlowin, then Johnstone & Cushing) through a physical breakdown from overwork, to Bob Lubbers' advice that led him to King Features and the creation of The Heart of Juliet Jones, which he describes as a happy accident born from a strip Ward Greene had originally commissioned from Margaret Mitchell. Drake discusses his technique — heavy reliance on Polaroid reference photography and attention to "fluffy" hair for depicting feminine appeal — and his studio-sharing arrangement with Leonard Starr. The interview closes on a teaser: a secret new deal Drake can't yet reveal.

Features letters debating a previous She-Hulk controversy between readers Darrel Boatz and Barry Dutter; a sharp rebuttal from David M. Singer of Deluxe Comics responding to allegations made by letter-writer Bob Sodaro in issue #25; a letter from horror novelist Ramsey Campbell thanking CI for his issue #22 interview and recommending Alan Moore's Swamp Thing; and a note from Gerard Jones and Will Jacobs promoting their forthcoming book The Comic Book Heroes, with a response from DAK.

Hugo Award-winning SF novelist Bester discusses his mid-to-late 1940s work as a scripter for DC (Green Lantern, Genius Jones) and Fawcett (Captain Marvel), recounting how Bill Finger personally tutored him in comics scripting and how he later parlayed comic-book plotting techniques into a career writing radio dramas (Charlie Chan, The Shadow, Nick Carter). He shares colorful anecdotes about Harry Donenfeld, Jerry Siegel and Joe Shuster's Superman sale, the accidental creation of Solomon Grundy (inspired by a Ted Sturgeon story), and working for HOLIDAY magazine for a decade. The interview is accompanied by an excerpt from his autobiographical piece in Hell's Cartographers and reproductions of two different comics adaptations of his novel The Stars My Destination.

Ito, a veteran animator and cartoonist, discusses his career from his apprentice days on Lady and the Tramp at Disney through six years at Warner Bros. with Chuck Jones' unit, then Bob Clampett's Beany and Cecil studio and various comic-book work (Baby Huey, Flintstones, Yogi Bear, Looney Tunes, Crazy Magazine). He is now in Disney's character merchandising division, working on licensed publications and the Gummi Bears presentation strip, and also describes his extensive Disneyana collection — begun in WWII internment camps as a child — which has toured Japan and been exhibited at the Bowers Museum.

Vansant, the incoming penciller on The 'Nam replacing Michael Golden starting with issue #14, discusses his background as a self-taught military history artist who worked at the Hyde Museum in Atlanta before breaking into comics through Savage Tales. He explains his attraction to realistic portrayals of ordinary people in extraordinary circumstances, citing novelist James Jones (The Thin Red Line) as a major influence, and describes the adrenaline rush of combat as something war stories must honestly address.

In a wide-ranging conversation, Loebs and McCloud discuss the appeal of Jonny Quest, the nature of the independent comics market, and Loebs's philosophy of honest, character-driven storytelling in Journey. Topics range from realism in adventure narratives and the limitations of the revenge motif, to the tension between writer and artist in collaborative comics, copyright law, and the role of comics criticism. Loebs also reflects on his artistic development — his debt to Will Eisner, his shift toward a more cartoony style, and his experiences working on Mr. Monster, Munden's Bar, and DC's Flash.

Rude discusses his upcoming DC World's Finest three-issue mini-series, written by Dave Gibbons, in which he aims to return Superman and Batman to their original Joe Shuster/Bob Kane roots and exploit the contrast between the two characters. He speaks candidly about creative burnout while drawing Nexus, the importance of mental health for working artists, and his admiration for Jack Kirby, whose influence he channelled in the Mr. Miracle Special. He also covers the recent major status-quo change in Nexus (Horatio Hellpop replaced as Nexus), his ongoing frustrations with creator compensation at First Comics, and his aspirations to produce a Nexus animated series in the style of Jonny Quest.

Wide-ranging dinner conversation covering Miller's two years writing the RoboCop 2 screenplay, his working relationship with director Irvin Kershner and producer Jon Davison, and the seven-draft development process. Miller discusses his three forthcoming Dark Horse projects — Give Me Liberty (with Dave Gibbons), Hard Boiled (with Geof Darrow), and Elektra Lives Again (with Lynn Varley coloring) — explaining why he took work to Dark Horse over Marvel and DC due to creative autonomy and concern over corporate interference. He also addresses creator rights, the WAP newsletter, censorship threats in comics, and his ambition to direct films.

A career retrospective spanning Ayers' WWII Army Air Corps service and early work at Magazine Enterprises, where he co-designed the original Ghost Rider. Covers his decades as a western and war specialist at Marvel, including his long run on Sgt. Fury and His Howling Commandos (where he helped plot most stories), inking Jack Kirby on Fantastic Four, and later work for DC on Jonah Hex and Scalphunter.