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Buscema explains how he came to Wolverine without knowing the character's popularity, consulted Chris Claremont directly to understand the character, and designed the black body-suit costume himself. He draws parallels between Wolverine and Conan in terms of mood and physicality, discusses his new Silver Surfer graphic novel with Stan Lee (entirely in splash pages, which he found limiting), and reacts with strong opinions about the mistake of breaking up the Fantastic Four. He also reflects on teaching a comics art course and his philosophy of figure movement.

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.

Lee discusses his three concurrent Silver Surfer projects, including the collaboration with Moebius (in regular comic form), one with John Buscema (a graphic novel with full-page illustrations), and one with Keith Pollard. He reflects at length on Marvel history, from his start at Timely in 1939–40 through the Comics Code controversy and the drug-story incident where he published uncoded Spider-Man issues at the government's request and received a PTA commendation. He credits Marvel's letters pages, Bullpen Bulletins, No-Prizes, and MMMS fan club as key drivers of comics fandom, and mentions a forthcoming large-format Marvel history book to be published by Simon and Schuster.

Part two of a wide-ranging discussion covering Thomas's decade-long run on Conan the Barbarian at Marvel: acquiring the Howard license, working with Barry Smith and John Buscema, adapting Red Sonja and Elric, and the difficulties of the Fire and Ice animated film with Ralph Bakshi and Frazetta. Thomas details his new licensing deal with Glenn Lord for the Robert E. Howard estate and forthcoming adaptations for Hero Comics' The World of Robert E. Howard anthology, including "Marchers of Valhalla" (art by Nestor Redondo) and "The Gods of the North" (art by Mark Beachum). Note: the tape of the interview's conclusion was lost; a follow-up installment was promised.

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.

In his first major interview, the Marvel veteran talks about his long career trajectory from advertising work to joining Marvel in 1968, sharing candid opinions including his view that Stan Lee's Silver Surfer characterization made the hero too "wimpy" and that he prefers loose plot-style scripts over full scripts for the creative freedom they allow. Buscema discusses leaving the Hulk and ROM after nine and five years respectively to avoid creative ruts, praises Walt Simonson and John Romita as underappreciated comics talents, and expresses strong views that comics should reflect Judeo-Christian values and avoid graphic violence and sexuality. He is currently working on a twelve-issue Eternals limited series (written by Peter Gillis, inked by Al Gordon) which he considers the best work of his career, plus a Balder & Karnilla mini-series written by Walt Simonson.