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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.

In part two of his interview, Drake discusses the international history of Kelly Green, the graphic novel series he draws with writer Leonard Starr, which originated through a connection to Dargaud International and is now published in twelve foreign-language editions. He reflects on his working relationship with Starr and explains the challenges of adapting to a new assignment drawing Blondie for King Features, where he is trying to faithfully capture the look established by long-time artist Jim Raymond while working with writer/co-owner Dean Young.

Part two of a two-part interview with DC's Vice President and Managing Editor, focusing on his philosophy of inking and the state of DC's creative pipeline. Giordano argues that inking is primarily intellectual — "the work is done in your head before you sit down to a drawing board" — and that a good inker's contribution should be invisible to everyone except the penciler. Discusses training many of the industry's top inkers (Terry Austin, Bob Layton, Klaus Janson, Joe Rubinstein) through his assistant program, and his new talent development workshop at DC led by Sal Amendola. Reveals DC plans to revitalize their five core heroes (Superman, Batman, Wonder Woman, Green Lantern, Flash) in 1984, admits to a severe graphic novel bottleneck because top creators are overcommitted, and laments that the direct-sales fan market doesn't embrace illustrative styles like Stan Drake's, making it hard to diversify beyond superheroes.

Readers respond to previous issues, with the featured letter offering extended commentary on Crisis on Infinite Earths (praising the story while mourning the loss of DC's parallel Earths), Stan Drake's interview, and a debate about censorship and free expression.

A wide-ranging career retrospective with the longtime artist of the syndicated soap strip Apartment 3-G. Kotzky recounts his early comic-book work in the 1940s for Will Eisner (on The Spirit) alongside Lou Fine, his wartime service, his postwar ghosting work for Milton Caniff, Stan Drake, and John Cullen Murphy, and how Apartment 3-G came together starting in 1961 with writer Nick Dallis.