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A book-length interview conducted at Continuity's Burbank studio, covering Adams's philosophy on running Continuity Comics as a quality publisher competing with DC and Marvel, including details on characters Megalith, Armor & Streak, Toyboy, and the new Cyberrad title. Adams reflects at length on his career history — early work for Archie on The Fly, the Ben Casey comic strip, ghosting on various syndicated strips, his transformative run on X-Men and Batman at DC/Marvel, his advocacy for creators' rights through ACBA, and his role in securing compensation for Siegel and Shuster. He also shares his enthusiasm for The Flash TV series and his views on the relationship between comics and film.

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.

A candid snapshot of the feast-or-famine freelance painter's life. Larkin, running on 48 hours without sleep, describes juggling Marvel paperback covers, Bantam Doc Savage paintings, and TV Guide illustrations while coping with the loss of nine major clients in a single year after his best year ever. Discusses his gouache painting technique, his accidental entry into comics through Neal Adams at DC, and how Stan Lee gave him his first full-color cover assignment. Despite the instability, he remains committed to freelancing: "I'd never have a steady job again, unless I had to. But I won't. Never. Ever."

Colon discusses his DC graphic novel The Medusa Chain, which he is writing, pencilling, inking, lettering, and coloring himself — a deliberate choice for creative control after years of having his careful pencils damaged by incompatible inkers. He reflects on nearly twenty-five years at Harvey Publications (drawing Richie Rich, Casper, and others), brief stints at Seaboard/Atlas and Marvel, and his editorial work at DC on The Flash (where he pitched the idea of the Flash killing someone and standing trial, boosting sales dramatically) and Green Lantern. He is candid about DC's New Talent Showcase being a "disaster," praises Neal Adams for fighting for creators' rights, and warns that Amethyst should remain a prestige project rather than becoming a monthly series.

The owner and resident comics expert of The Book Nook in Champaign, Illinois discuss the daily realities of running a direct-sales comic shop: erratic distributor shipments, the challenge of ordering new titles blind before issue one even arrives, managing a volatile collectors' market, and the burden placed on retailers by publishers who ignore their end of the supply chain. Brian argues for quality labeling of mature-content comics rather than a full ratings system, while Doug objects to content that pushes toward pornography, calling out Neal Adams' Echo of Futurepast as an example. Both express optimism about comics' future growth and the quality renaissance underway.

Stan Lee's original secretary at Marvel (March 1963–1968), Flo describes the tiny, low-key early Marvel offices and a production process where Stan wrote everything, a handful of freelancers drew it, and the staff was literally just two people. She recounts the shock of the MMMS fan response, the casual disposal of original art (thrown out when files overflowed, including early Fantastic Four pages), and anecdotes about Wally Wood dropping ashes on Stan's carpet and an FBI visit over a threatening letter from Texas. After leaving Marvel she worked at Warren's mail-order division, produced the underground anthology Big Apple Comix with contributions from Neal Adams, Wally Wood, and others, and is now managing editor at Arts Magazine. She reflects critically on pop artists like Lichtenstein "appropriating" the comic image to become fine art while the original practitioners were not considered artists.

Jorgensen, a self-taught freelance illustrator and Ringgenberg's close personal friend, holds forthright opinions on what is wrong with mainstream comics: formulaic storytelling, unrealistic depictions of violence, and thoughtless use of female characters. He traces his artistic influences from Neal Adams and Steranko through Barry Smith and the Pre-Raphaelites, critiques the fine-art academic world as full of failed artists, and describes Outrider, a fantasy/science-fiction/western strip he is developing with Ringgenberg that he plans to shop to publishers.

Patterson traces his career from early porno magazine covers and background work at Neal Adams' Continuity Associates, through his tenure as production coordinator at First Comics (where he inked Warp and the "Black Flame" backup), to his celebrated run inking Brian Bolland on Camelot 3000 and his current work on Green Lantern with Steve Englehart and Joe Staton. He speaks frankly about losing the Camelot assignment due to scheduling conflicts, his enthusiasm for Japanese animation and robot toys, his admiration for the Crisis on Infinite Earths series, and his dismissal of Marvel's Secret Wars as pointless. He offers blunt opinions on artists, publishers, and the state of alternative comics.

O'Neil reflects on over 20 years in comics, describing how royalties, creator ownership, and the direct market have transformed the industry beyond what he could have imagined. He speaks candidly about the personal fallout from the sudden fame brought by his Green Lantern/Green Arrow run with Neal Adams, including a deteriorating marriage and a period of diminished work quality, and credits his recovery and subsequent sobriety as his greatest personal success. Now editing Batman, Detective, Firestorm, and Warlord at DC, he discusses his views on deadlines, fan criticism, and the craft of writing the Tony Stark alcoholism arc in Iron Man from personal experience.

Rubinstein discusses his start at age thirteen as an assistant at Neal Adams and Dick Giordano's Continuity Studios, crediting Giordano as the definitive influence on a generation of inkers including Klaus Janson and Terry Austin. He argues passionately that inking is a full artistic discipline requiring anatomical knowledge and an understanding of light and rendering, not mere tracing, and discusses his approach of preserving each penciller's individual style rather than imposing a homogeneous look, and his pride in inking 164 different pencillers for the Marvel Universe Handbook. This is part one of two.

Hama recounts how he was brought in at the inception of the relaunched G.I. Joe toy line to create dossiers, character bios, and the concept of Cobra (which Archie Goodwin named). He explains the storytelling philosophy behind the book's most popular characters — Snake-Eyes' power lies in his deliberate blankness as a projection surface — and defends the title against dismissive fan reaction, arguing that the fans "take it too damn seriously." He traces his artistic education from high school through working at Wally Wood's studio and meeting Neal Adams, and notes that he receives roughly 1,200 letters a week, many from women and girls who appreciate that the female characters are treated as full team members.

Part two of Hama's interview picks up with his time at Neal Adams' Continuity Studios, describing the Crusty Bunkers inking collective. He recounts his detour into professional acting — landing a principal role in Hal Prince's Broadway musical Pacific Overtures entirely by accident, earning Equity and SAG cards, appearing on M*A*S*H and Saturday Night Live — before returning to comics and eventually editing at DC, where he championed Michael Golden early in Golden's career. Hama reflects on the importance of long-term creative commitment to a title and discusses his Army service as useful research for G.I. Joe and The 'Nam.

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.

Lyle recounts how he landed the Robin assignment after finishing Starman and lobbied for Chuck Dixon as writer. He discusses Robin #1's stunning 600,000-copy sales (three times DC's projections), his fight to give Tim Drake spiked rather than helmet hair, and the involvement of Tim Burton in selecting the new Robin costume designed by Neal Adams. Post-Robin, Lyle is writing, plotting, pencilling, and inking a revival of The Comet for DC.

Reader Paul Power clarifies credits on the CI #89 Rocketeer cover (pencilled and inked collaboratively at Neal Adams' Continuity studio); reader Don Markstein (CI typographer) writes in support of a prior editorial on children's literacy, arguing that letting children read comics they enjoy — including TMNT — produces better readers than forcing "dull classics" on them.

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.

Sienkiewicz describes the chaotic, emotionally exhausting process of developing his fully painted, mixed-media approach for the Elektra: Assassin series — working in cut paper, acrylics, charcoal, and other non-traditional materials — and contrasts it with the more controlled painted work on his Daredevil graphic novel with Miller. He compares his creative relationships with Frank Miller and Chris Claremont, reflects on breaking from his early Neal Adams-derived style during New Mutants, and discusses his ambitions to write as well as draw.

Readers debate the Stan Lee/Jack Kirby co-creation controversy, with Ed Hannigan offering pointed commentary; a second letter corrects caption credits for Continuity Studios artists on the Rocketeer storyboard project featured in issue #89.