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Williamson recounts how financial pressure led him to shift from pencilling to inking, first for DC (inking Curt Swan's Superman) and then for Marvel. He describes his approach to inking over the very different styles of John Buscema (*Wolverine*) and John Romita Jr. (*Daredevil*), expressing deep admiration for both. Williamson voices concern about increasing violence in comics, arguing that suggestion and choreographed action are more effective and more appropriate than graphic gore, and discusses his Star Wars newspaper strip years and his collaboration with Reed Crandall on Edgar Rice Burroughs illustrations.

Krenkel's last interview before his death from cancer on February 24, 1983, at age 63. A warm, rambling conversation about his life as a fantasy artist and inveterate collector, from doing background pencils for Al Williamson and Wally Wood at E.C. Comics to painting Ace paperback covers for Donald Wollheim. Shares vivid memories of his decades-long friendship with Frank Frazetta — all-night coffee sessions on Long Island, watching Frazetta paint with effortless brilliance — and credits Frazetta with pushing him to work more directly. Characteristically self-deprecating about his commercial ambitions ("I was busy dis-inventing work"), he reflects on his gifts as a visual thinker who grasps the "gestalt" of ancient civilizations, his compulsive collecting habits, and his late-life resolve to finally produce something worthy of his accumulated knowledge.

Wide-ranging career retrospective with the veteran artist and inker, whose over-thirty-year career spans the Golden Age to the present and who notes this is his first published interview. Abel recalls attending Burne Hogarth's Cartoonists and Illustrators School alongside classmates Wally Wood, Al Williamson, Marie Severin, Mike Esposito, and Ross Andru, and describes the post-school bohemian scene of late-night inking sessions and bars near the school. He recounts working for Fox, Crestwood, Fawcett, Charlton, DC, Marvel, and the short-lived Seaboard/Atlas, as well as inking Joe Kubert's Green Beret newspaper strip and doing cover art for Israel Waldman's repackaged warehouse comics. Abel frankly admits he is "really sick of super-hero comics" and misses the genre variety of earlier decades — crime, westerns, romance, and mystery — while reflecting on Dr. Wertham's damaging crusade and the industry's evolution from a short-term hustle to a professional career path.

Plunkett, whose detailed work on Marvel Fanfare #6 (inked by P. Craig Russell) attracted wide attention, discusses his slow, painstaking process and ongoing struggle to balance craft with commercial deadlines. He cites Al Williamson's EC work as his primary comics influence and describes his admiration for heroic figure-drawing traditions while acknowledging the gap between realistic anatomy and superhero convention. He is working on a difficult EPIC story about the death of Robert E. Howard and tentatively planning a run of Defenders covers for Marvel.

In an unconventional interview conducted at Gordon's home in Northern California (where Yeates had originally planned to interview Gordon and Macklin), Yeates discusses his artistic philosophy — preferring illustrative, story-driven picture-making in the tradition of Hal Foster, Roy Krenkel, and Al Williamson over the cinematic violence he associates with Frank Miller. He recounts his training at the Kubert School's inaugural class alongside Steve Bissette, Rick Veitch, and John Totleben, his early work assisting Al Williamson on Secret Agent X-9, and his year drawing Saga of the Swamp Thing — which he found grueling and philosophically incompatible with writer Marty Pasko's scripts. He discusses Timespirits as a labor of love for indigenous cultures and hints at wanting to write future issues himself, while expressing broader anxieties about violence in media and whether comics can be a meaningful positive force.

Wide-ranging interview covering Byrne's approach to She-Hulk (fourth-wall-breaking humor, Blonde Phantom revival, her role as a DA), his plans for both Avengers titles (treating all Avengers as one unified roster, dismantling the Vision, a "Dark Scarlet Witch" arc with Magneto), and his departure from and return to Marvel after his Superman run at DC. He discusses his work on Star Brand and the New Universe, his views on the industry's drift toward "psychotic" anti-heroes versus true super-heroes, critiques of DC's mature-readers content, the Comics Code and creativity under restriction, his new penciling assignment on Wolverine (written by Archie Goodwin, inked by Al Williamson), and his broader ambitions to write novels and his preference for the Excalibur print format.

Prentice recalls his career from wartime Navy service and art school on the GI Bill, through early comic-book work for Simon & Kirby and DC, to his unlikely succession of Alex Raymond on Rip Kirby after Raymond's fatal car crash in 1956. He describes working only fifteen days ahead of deadline at the start, the syndicate's desire for seamless visual continuity with Raymond's style, and collaborations with assistants Al Williamson, Al McWilliams, Gray Morrow, and George Evans.

Theakston, a veteran illustrator and publisher (Pure Imagination), discusses his first comics coloring assignment: Jack Kirby's The Hunger Dogs DC graphic novel, which he colored using aniline dyes with laser separation, and for which he also painted the cover in oils over a canvas transcription of Kirby's pencils. He offers detailed analysis of coloring theory — the importance of keying color sequences, directing the reader's eye, the difference between coloring Kirby (direct, punchy animation-style color) versus Williamson (delicate pastels) — and argues that coloring is the weakest and most undertaught link in comics production. He addresses rumors about Jack Kirby's health, firmly denying the Alzheimer's reports, and provides historical context on coloring technology from the 1940s through the new laser-separation and water-ink printing processes then being introduced at DC.