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In a broad career retrospective, Wein recounts the creation of Wolverine (a name supplied by Roy Thomas, with a costume designed by John Romita Sr.) and the new X-Men lineup with Dave Cockrum, including the origin of Storm from two merged character concepts. He shares opinions on what subsequent writers did with his creations — disliking the move toward Wolverine killing — and discusses his fondness for The Incredible Hulk, favorite Batman stories, working with Alan Moore on Swamp Thing, and early career breaks through fanzines and Joe Orlando at DC.

DC's rising colorist discusses his trajectory from fat-pencil Jack Kirby imitations to becoming the company's go-to specialist for mini-series and Baxter-format books. Reveals he has just finished coloring seven different costume proposals for the new Robin, working from Marv Wolfman's directive to "reflect Batman's colors but not copy them." Details his technical innovation of introducing K-tones (black tones) to the Baxter printing process — previously unavailable for interior pages — allowing true shadow effects without color shifts, a breakthrough he pioneered on Thriller and refined for Gene Colan's pencil-only Nathaniel Dusk, where the unprecedented challenge of coloring unlinked pencil art required ultra-delicate handling. Also discusses his colorist theories centered on storytelling through contrast, continuity, and emotional cueing, and shares editor quirks: "Len Wein does not like pinks — he feels they look 'fey.' Karen Berger hates greens with a passion."

A deeply detailed spotlight interview conducted at DC's offices, with editor Len Wein and others drifting in and out. Wolfman and Greenberger explain that the deaths of Supergirl (issue #7) and the Flash (issue #8) were planned from the very beginning in their two-year-old original plot outline, and that the Flash title had long been in sales trouble. They discuss the mechanics of coordinating dozens of tie-in books across the line — how crossovers were voluntary but requested, how certain dictates came from publisher Jenette Kahn, and how Perez's extraordinary choreography has made the book possible. They also address the planned post-Crisis history of the DC Universe (a three-part chronological project with Perez), the decision to streamline the multiverse, the use of Charlton characters as Earth-4 heroes, and candidly acknowledge that the JLA/JSA team-up tradition had "outlasted decent stories."

This novel-length, issue-spanning interview covers Perez's entire career from fanzine work and his early Marvel years (Man-Wolf, Sons of the Tiger, Avengers, Fantastic Four) through his landmark DC work on New Teen Titans and Crisis on Infinite Earths, up to his then-current ongoing series Wonder Woman. Perez discusses his personal life candidly — his Puerto Rican heritage, his first marriage and divorce, his diabetes and dramatic weight loss, his community theater work — drawing direct connections between his personal experiences and his artistic output. He offers extensive behind-the-scenes detail on Crisis on Infinite Earths, including designing the Monitor, Anti-Monitor, Harbinger, Pariah, and Alexander Luthor, and the story reasons behind killing Barry Allen and making Wally West the new Flash. On Wonder Woman, he explains his feminist-humanist approach to the character, the importance of Greek mythology research, the departure of co-writer Greg Potter and arrival of Len Wein, and he also speaks at length about his views on industry censorship — opposing DC's new in-house guidelines introduced without creator consultation — and addresses Marv Wolfman's firing as editor over his public protest of those guidelines.

Weinstein discusses his career path from selling the animated Star Trek episode "The Pirates of Orion" at age 19, through writing five Star Trek novels and three V novels, to taking over the DC Star Trek comic from Peter David in late 1990. He addresses working within Paramount's content restrictions, the challenge of adapting novel pacing to comics, and his transition to new editor Kim Yale.