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In his wide-ranging debut interview for the magazine, Hoberg covers his years working alongside Russ Manning on the Tarzan and Star Wars newspaper strips, his extensive animation career (storyboarding Spider-Man and His Amazing Friends, G.I. Joe, Thundarr, and others at Marvel Productions and Hanna-Barbera, including a stint directing in Korea), and his recent move to Batman at DC. He is blunt about declining art quality at Marvel, the economics of Saturday morning animation versus comics work, and his belief that storytelling fundamentals — learned from Manning, Roy Thomas, and Doug Wildey — matter more than artistic showiness.

The three producers of Marvel Productions' X-Men: The Living Weapons syndicated cartoon pilot discuss dividing production duties three ways, co-producing with Japan's Toei Animation, and character selection driven by New York marketing. They address TV violence debates, explain why the X-Men pilot was set during Kitty Pryde's joining to give a child's point-of-view, and Stan comments on the SPIDER-MAN movie's uncertain status, THE PUNISHER as the likely first Marvel film to reach screens, and the HOWARD THE DUCK movie's failure to maintain a consistent identity.

DAK introduces new West Coast correspondent Shel Dorf, crediting him as the longtime organizer of the San Diego Comic Convention, former founding editor of the Steve Canyon magazine, and current letterer of the syndicated Canyon strip. DAK notes that Dorf's first contribution was an interview with Rick Hoberg in issue #21, and that Dorf himself will eventually be profiled in a future issue.