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Robinson describes how he came up with the concept for the Joker one evening as a journalism student, sketching a playing card as the character's trademark, though he acknowledges Bill Finger wrote the first story using a Conrad Veidt photo to finalize the look. He also claims credit for suggesting the name "Robin" and adapting the Robin Hood costume for Batman's sidekick, recounting the camaraderie and grueling all-night work sessions of the Golden Age. Robinson offers warm tributes to Bill Finger's research-driven, visually sophisticated writing.

Part one of a three-part interview tracing Robinson's career from his accidental 1939 meeting with Bob Kane at a country resort through his rapid rise from background inker and letterer to full Batman penciller and cover artist. Robinson recounts creating the Joker — designing the character from a joker playing card one night, only to have Bill Finger write the actual story — and his role in naming Robin. He also discusses his later career curating major comic-art exhibitions, co-founding the Cartoonist's and Writer's Syndicate, and advocating for the legitimacy of comic art as a fine-art form.

Part two of a three-part retrospective on Robinson's Golden Age career, covering his time working with Bob Kane and Bill Finger on Batman, his friendship and artistic partnership with Mort Meskin on features like Johnny Quick and the Vigilante, and his recollections of working conditions and pay rates at DC, Fox, and MLJ. Robinson discusses the visual innovations he and his peers made — full-page splashes, varied panel shapes, extreme chiaroscuro — and the influence of Milton Caniff and Orson Welles' Citizen Kane on their storytelling.

In the third installment of a multi-part interview, Robinson discusses the abrupt cancellation of his Jet Scott science-fiction newspaper strip just before Sputnik would have made it timely, his teaching at the School of Visual Arts where Steve Ditko and others were students, and his philosophy of comics as a living medium that uniquely manipulates time and engages reader imagination. He describes founding the Cartoonists & Writers Syndicate and launching Views of the World, a weekly round-up of international editorial cartoons now carried by over 100 U.S. papers.

A career retrospective from one of the longest-tenured people in comics, starting with his 1939 job lettering for Ripley's Believe It or Not in Spanish. Shares vivid stories from Bob Kane's BATMAN studio in the early 1940s — being one of 60 applicants, creating the heavy shadow look with Jerry Robinson, hiding pages under the newspaper from Kane's father, and Kane refusing to pay after 5 PM on Fridays for religious reasons. Traces his path through decades of work at National/DC and Marvel, explains how he became Marvel's cover colorist after Marie Severin moved to penciling, and shares Stan Lee's color philosophy: "I don't want to see grays... something simple, powerful, and direct."

Kane traces Batman's creation to influences including Leonardo da Vinci's bat-winged flying machine, Zorro's dual identity, and the film The Bat Whispers, and credits Bill Finger with refining the character's look and writing the early stories. He disputes Jerry Robinson's claims to have created the Joker and Robin, asserting the Joker originated from a Conrad Veidt photograph and that Robin came from Robin Hood — his own ideas. Kane discusses his lifetime royalty contract with DC, his fine-art Batman paintings, his work on the Courageous Cat animated series, and his current role as creative consultant on the Batman feature film in Hollywood.

Roussos recalls working at Bob Kane's studio alongside Jerry Robinson, erasing Kane's rough background pencils and replacing them with his own dramatic big-moon, heavy-shadow style that defined the early Batman's visual atmosphere. He describes the chaotic freelance environment, Kane's strict Friday paycheck rituals, and National/DC's eventual offer to bring Robinson and Roussos in-house to prevent their work on rival titles from competing with Batman. Now a longtime Marvel staff colorist, he reflects on 30 years with National and his later collaborations with Robinson on Harvey Comics and the Green Hornet newspaper strip.

E. Nelson Bridwell of DC Comics writes in at length responding to the magazine's recent Batman history interviews, clarifying the disputed origins of the Joker (crediting Jerry Robinson for the concept), Two-Face (Bob Kane), Robin's costume, and Batman's gauntlets, drawing on personal conversations with Bill Finger.