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Adams discusses his self-taught, humor-inflected artistic style, developed primarily through his work on LONGSHOT, and his habit of hiding background cartoon characters (Gumby, Wimpy, Goofy) in Marvel pages. He describes his upcoming projects — a LONGSHOT Graphic Novel he will pencil, ink, and color; a MARVEL FANFARE Longshot story that ballooned from 15 to 30 pages; and the GUMBY one-shot for Comico written by Bob Burden, a collaboration he initially tried to dodge. He expresses dissatisfaction with print reproduction quality and praises inkers Terry Austin and Craig Russell.

Stan Lee's original secretary at Marvel (March 1963–1968), Flo describes the tiny, low-key early Marvel offices and a production process where Stan wrote everything, a handful of freelancers drew it, and the staff was literally just two people. She recounts the shock of the MMMS fan response, the casual disposal of original art (thrown out when files overflowed, including early Fantastic Four pages), and anecdotes about Wally Wood dropping ashes on Stan's carpet and an FBI visit over a threatening letter from Texas. After leaving Marvel she worked at Warren's mail-order division, produced the underground anthology Big Apple Comix with contributions from Neal Adams, Wally Wood, and others, and is now managing editor at Arts Magazine. She reflects critically on pop artists like Lichtenstein "appropriating" the comic image to become fine art while the original practitioners were not considered artists.

Jorgensen, a self-taught freelance illustrator and Ringgenberg's close personal friend, holds forthright opinions on what is wrong with mainstream comics: formulaic storytelling, unrealistic depictions of violence, and thoughtless use of female characters. He traces his artistic influences from Neal Adams and Steranko through Barry Smith and the Pre-Raphaelites, critiques the fine-art academic world as full of failed artists, and describes Outrider, a fantasy/science-fiction/western strip he is developing with Ringgenberg that he plans to shop to publishers.

Discusses finishing Frank Miller's final Daredevil issue, wrapping up The Further Adventures of Indiana Jones after John Byrne's departure over a conflict with Lucasfilm, and discovering new talent Kevin Nowlan for Dr. Strange. Reflects on his X-Men tenure — "fun while it lasted" but he got "X-Men'd out" — and his career path from inking backgrounds for Dick Giordano at Neal Adams' Continuity Associates to becoming one of the top inkers in the industry. Talks about his tradition of sneaking Popeye and other characters into backgrounds, and the long-running Jack Abel/Howie Chaykin murder subplot hidden in newspaper headlines across multiple Marvel books.

DC freelance colorist and devoted old-time radio historian (specializing in The Shadow), Tollin explains the craft of comics coloring in storytelling terms: how color families establish rooms and scenes, how the colorist must avoid sabotaging the writer/artist's narrative emphasis, and why Jack Adler taught him to evaluate pages upside-down. He traces his career from Warren to Marvel to DC under Sol Harrison and Jack Adler, and reflects on the current renaissance at DC under Jenette Kahn — new Baxter books, Teen Titans, fresh creative energy — as the most exciting period since the Kirby/Adams era.

Patterson traces his career from early porno magazine covers and background work at Neal Adams' Continuity Associates, through his tenure as production coordinator at First Comics (where he inked Warp and the "Black Flame" backup), to his celebrated run inking Brian Bolland on Camelot 3000 and his current work on Green Lantern with Steve Englehart and Joe Staton. He speaks frankly about losing the Camelot assignment due to scheduling conflicts, his enthusiasm for Japanese animation and robot toys, his admiration for the Crisis on Infinite Earths series, and his dismissal of Marvel's Secret Wars as pointless. He offers blunt opinions on artists, publishers, and the state of alternative comics.

Rubinstein discusses his start at age thirteen as an assistant at Neal Adams and Dick Giordano's Continuity Studios, crediting Giordano as the definitive influence on a generation of inkers including Klaus Janson and Terry Austin. He argues passionately that inking is a full artistic discipline requiring anatomical knowledge and an understanding of light and rendering, not mere tracing, and discusses his approach of preserving each penciller's individual style rather than imposing a homogeneous look, and his pride in inking 164 different pencillers for the Marvel Universe Handbook. This is part one of two.

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.

Part two of Hama's interview picks up with his time at Neal Adams' Continuity Studios, describing the Crusty Bunkers inking collective. He recounts his detour into professional acting — landing a principal role in Hal Prince's Broadway musical Pacific Overtures entirely by accident, earning Equity and SAG cards, appearing on M*A*S*H and Saturday Night Live — before returning to comics and eventually editing at DC, where he championed Michael Golden early in Golden's career. Hama reflects on the importance of long-term creative commitment to a title and discusses his Army service as useful research for G.I. Joe and The 'Nam.

Burden discusses the origins of the Flaming Carrot, from a crude 1979 debut in the Atlanta-area anthology Visions to its development as a surrealist superhero unlike any satire before it. He ranges widely over pop culture, film history, censorship, and comics industry trends, arguing that superhero comics have colonized a medium that could encompass far more genres, and expressing admiration for Eisner, Carl Barks, the Hernandez Brothers, Harvey Pekar, and Charles Burns. He reveals he is collaborating with Arthur Adams on a Gumby Special for Comico.

Part one of a wide-ranging career retrospective, Thomas recounts his origins as a fanzine editor (ALTER EGO), his brief unhappy stint under Mort Weisinger at DC, and his hiring by Stan Lee at Marvel in 1965. He discusses the early Marvel Bullpen, his work on X-Men, Avengers (including the Kree-Skrull War with Neal Adams and the creation of the Vision), Doctor Strange, Sub-Mariner, and The Invaders, offering detailed anecdotes about working relationships with Stan Lee, Jack Kirby, Neal Adams, Gene Colan, and Bill Everett. Thomas reflects on his love of historical fiction and Golden Age characters, and his ongoing interest in World War II settings.