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Executive Director: Kim "Nein" Thompson&#13;
Art Director: Mark "Ain't" Thompson&#13;
News Correspondents: Marcus "Sven" Tsong &amp; Harry "Sicks" Kujava&#13;
Production Assistants: Roberta "Fife" Gregory &amp; Stefan "Far" Dinter&#13;
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              <text>This Amazing Heroes issue contains a number of featured articles along with many additional shorter articles. The featured articles in Amazing Heroes #191 are “Two Out of Three” interviews by Mike Maddox, “…And Comics Will Never Be the Same Again” by Peter Sanderson, “‘Backstage With the Flash” interview by Andy Mengels, “Spy-ing Comics” by Thomas Harrington with Dave Strom &amp; Mike Maddox, and “Amazing Checklist” index by Brian Mowbray. The smaller publications include “Perspective” by Tom Field, “Newsline,” “Coming Distractions,” “Backstage” by Andy Mangels, “Cover Gallery” by Do Rosa, “Infernal Gall” by Adam-Troy Castro, “Doc’s Bookshelf” by Dwight R. Decker, “Eccentricities &amp; Attitudes” by Ace, “Perspective” by Gerard Jones, an “Editorial” by Kevin Dooley, “It’s Essayin’ Time” by Sidney Mellon, “Reviews,” “Silly Cover” by Wood, “Amazing Readers” by Wood, “The Cartoonist” by Wood, “Strom’s Index” by Dave Strom, and the “Cover” is by John Bolton &amp; Brian Bolland. In addition to this list of publications, there is a quote in the top right-hand corner that notes, “‘And so, Amazing Heroes. A magazine that likes to play hooky from daily reality.’ Here in our pages, you’ll be treated to delights of that playground,’ – J. Michael Catron, Amazing Heroes #1 June, 1981.” &#13;
Overall, it is indicated in the table of contents that this issue of Amazing Heroes celebrates its tenth anniversary. However, many of the articles in the table of contents foreshadows the incoming downfall of comics and the end of Amazing Heroes in the future. Amazing Heroes was a fan magazine rather than an analytical journal. The magazine initially was printed monthly, then appeared twice a month for years, then was printed monthly again in 1989. In February of 1993, Amazing Heroes was bought by Personality Comics and they promised that they would revive the magazine. However, this never happened. This table of contents hints at the fact that not a lot of people would like to work to make improvements in comics in the 1990s. There was no longer optimism for a comic revolution as hoped ten years ago. Over the past ten years, the direct-market distribution permitted publishers to bypass the comics code entirely and write/draw about whatever graphic subject matter they wanted. By the late 1980s, comic books focused on violence and explicit sex to entertain the masses. These uncensored comics mirrored the movies, television, and music that were popular in this era. This in turn caused comics to appeal to consumers of more mature audiences rather than just young readers like it did in the past. This change was quite problematic for young readers and caused some to stop reading them. In addition to the rise of mature issues in the 1990s, comics also had to compete with television, video games, and the internet to survive. However, young people began to grow disinterested in comics due to their shrinking attention spans and distractions with other media sources. Overall, this disinterest in the industry had major effects and is evident in this table of contents of Amazing Heroes issue #191.&#13;
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