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Goodwin recounts his career arc from EC fan to editor at Warren Publications (CREEPY, EERIE), through stints at Marvel and DC before returning to Marvel to launch Epic Comics. He explains how Epic came about partly through his own intervention after Jim Shooter initially approached Al Milgrom, and how creator ownership at Epic means creators like Jim Starlin can take their books elsewhere if dissatisfied. He discusses the New Universe at length — four of the eight launch titles were concepts he developed — describing it as a more realistic universe proceeding from a single event (the "White Event"), and praises ELEKTRA: ASSASSIN (Miller/Sienkiewicz) as breakthrough material.

Hama recounts how he was brought in at the inception of the relaunched G.I. Joe toy line to create dossiers, character bios, and the concept of Cobra (which Archie Goodwin named). He explains the storytelling philosophy behind the book's most popular characters — Snake-Eyes' power lies in his deliberate blankness as a projection surface — and defends the title against dismissive fan reaction, arguing that the fans "take it too damn seriously." He traces his artistic education from high school through working at Wally Wood's studio and meeting Neal Adams, and notes that he receives roughly 1,200 letters a week, many from women and girls who appreciate that the female characters are treated as full team members.

Includes a substantial letter from Richard S. McEnroe rebutting charges of "elitism" leveled at Gary Groth and the Comics Journal; a critical letter from George Ross objecting to what he calls puffery on Comics Interview's cover; and a brief note from Dave Sim (Cerebus) clarifying that casting Archie Goodwin as a character in Cerebus #82 was Gerhard's idea, not a deliberate satirical attack.

Lee, a Princeton psychology graduate who stumbled into comics only two years before the interview, recounts his rapid rise: self-taught from library anatomy books and back issues of Comics Interview, he landed a try-out story from Archie Goodwin and Carl Potts at his first ever convention, then completed eleven issues of Alpha Flight before moving to Punisher War Journal. He shares practical advice for breaking in — showing work face-to-face at conventions, using a mirror to spot anatomical errors (a tip from Terry Austin), and tracing published art to understand construction.

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.

Part one of a career retrospective covering Colan's early freelance work at Quality Comics, DC, and EC through the early Marvel Age, including Hopalong Cassidy, Ben Casey, war stories for Warren/Archie Goodwin, and the landmark "Marvel method" with Stan Lee on Iron Man, Daredevil, Sub-Mariner, and Captain America. Colan discusses his film-influenced visual style, his preference for spontaneous panel-by-panel storytelling, his difficult early years with overbearing editors, and his collaboration with Don McGregor on Black Panther.

Part 3 of an ongoing retrospective interview in which Colan recalls his efforts to break into film storyboarding (aided by neighbor Sigourney Weaver), his brief encounter with Roger Corman, and free-association memories of working with Stan Lee, Harvey Kurtzman, Archie Goodwin, Jack Kirby, Don McGregor, and Harlan Ellison. Adrienne Colan is briefly interviewed about her background in the arts and her role in encouraging Gene's career when he was forced out of comics and working below his abilities.

Part two of the Adkins interview covers his early Warren work for Archie Goodwin on Creepy and Eerie, his transition to Marvel where he pencilled and inked Doctor Strange, and his long career as an inker on Silver Surfer, Sub-Mariner, and other titles alongside John Buscema, Jack Kirby, and Gene Colan. Adkins also recalls mentoring a string of future professionals — Craig Russell, Val Mayerik, Paul Gulacy, and Jerry Bingham — and expresses his desire to return to pencilling.