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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.

A joint interview about the creative partnership behind Marvel's Wolverine, covering their collaborative Marvel Method process, character history, and the challenges of depicting Logan's height, costume, and relationships with supporting characters. Hama discusses his world-building approach and pseudo-scientific rationale for Wolverine's powers, while Kubert talks about the visual challenge of drawing a short, muscular protagonist.