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The British artist, interviewed at his London flat, traces his career from underground comics and Nigerian strip Power Man through his defining run on Judge Dredd in 2000 AD, to his work on DC's Camelot 3000. He discusses the moral ambiguity he found fascinating in Dredd — "He is a component of a police state" — and his struggles with the book's delays, caused by his increasingly obsessive pencilling technique (spending up to two and a half days on a single page). He reveals that Alan Moore had written a synopsis for a Batman Meets Judge Dredd crossover that ultimately fell through due to inter-company complications, and mentions upcoming projects including a Munden's Bar story for Grimjack and a desire to do a Batman graphic novel.

The British artist discusses his early underground work before being recruited to 2000AD for Judge Dredd, comparing his more literalist, narrative-focused approach with Mike McMahon's evolution of the character. Bolland describes his transition to DC work through Green Lantern covers and the twelve-issue Camelot 3000, detailing the mounting delays caused by his obsessive pencil-as-ink technique and his complicated feelings about colorist Tatjana Wood's palette choices. He also reveals the collapsed Batman Meets Judge Dredd project scripted by Alan Moore and reflects on Frank Miller's influence on the field.

British artist Gibbons covers his career from early work on the African superhero strip Power Man (co-drawn with Brian Bolland and wrongly accused of racism by The Comics Journal) through 2000 AD's "Harlem Heroes," "Dan Dare," and "Rogue Trooper," and his extensive run on Doctor Who for Marvel UK. He discusses the stark contrast between British and American comics publishing — IPC's refusal to return original artwork, no royalties for creators, and a culture of treating comics as a shameful occupation — versus DC's superior conditions, and explains why he left Green Lantern after a year (preferring space-opera over soap-opera storytelling). He mentions a forthcoming Superman Annual with Alan Moore and his desire to eventually write, pencil, ink, letter, and color his own work.

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.

Brabner edited Real War Stories for the CCCO and recruited top talent including Alan Moore, Brian Bolland, Denny O'Neil, Bill Sienkiewicz, and Steve Bissette. She describes the book as strictly non-fiction — no composite characters, no fictionalization — and recounts how two publishers got cold feet before Eclipse agreed to publish it. She reveals that Harvey Pekar wrote a story for the book that she rejected, and that her next project will be a comic about the Christic Institute's investigation into a CIA-linked secret team.

Dean Mullaney of Eclipse Comics corrects a claim from issue #55 that Pacific Comics was the first to offer creator ownership, asserting Eclipse has had that policy since 1978 and noting earlier precedents. Brian Bolland issues a stolen art alert for approximately 115 missing pages of his Judge Dredd artwork from 2000AD/Fleetway.