This issue has variants.
With this issue, the title offers more panels per story, with at least four panels on the first page and extra small panels on the other pages, instead of the previous upper limit of six panels per page. (This was a return to the format that Archie comics had used in the late '50s and early '60s.) Art director Victor Gorelick told the Comics Journal that with the change of all the Archie titles to bi-monthlies, the increased number of panels was a way of "giving the kids a little more for their money." Apart from stories that were drawn before the change, this format would be the standard in Archie comics for the next few years.
This issue once again experiments with trying to make Jughead cooler and more of a ladies' man: the cover portrays him as a loverboy, another story revives the idea that his hat can attract women, and the final story in the issue actually has him being attracted to a girl. This idea would once again be abandoned a year later.
The usual Jughead artist, Samm Schwartz, was temporarily replaced on the title by Dan DeCarlo Jr. and Stan Goldberg for the next year (though the next Jughead issue, # 326, consisted of previously-unpublished Schwartz stories). He would return with Jughead # 330.
This is the second appearance of Cheryl and Jason Blossom; it appeared the same month as their official debut story (in Betty and Veronica # 320).
As in her debut story, Cheryl is dressed in a bikini that is even skimpier than anything the regular characters wear, pushing the limits of Code-approved exposure.
The story suggests that Cheryl is attracted to Jughead, something that would be dropped in later stories as she transferred her attentions to Archie.
The return of Jughead's "magic pin," which had not appeared since 1979.