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Now transitioning from editor to writer, "Weezie" Simonson looks back on editing Marvel's most successful titles — including X-Men, New Mutants, and Star Wars — and shares data-rich insights into the comics market: X-Men sells equally well on the newsstand and through direct sales and has confounded predictions of decline for four consecutive years, while Star Wars sells primarily to a newsstand (younger, non-specialist) audience. She discusses the breakout sales phenomenon of Walt Simonson's Thor run, which quadrupled its readership in just four issues, and reflects on what makes the X-Men appealing: Claremont's deep investment in characterization over any single creative team. On her writing career, she talks about Power Pack, the inspirations behind the characters (including naming Julie Power after her own daughter), and her theory — elaborated memorably with Ann Nocenti present — that a Catholic education uniquely prepares one for comic-book writing by instilling a strong sense of myth, moral duality, and magnificent villainy.

Joint interview about the creation of Marvel's upcoming Power Pack, a series featuring four super-powered children. Brigman, a newcomer who had previously done only scattered fill-in work, describes how she met Louise Jones (Simonson) at Marvel and won the assignment with character sketches; she discusses deadline pressures, her admiration for Walt Simonson's design approach, and the challenge of drawing convincing children. Louise Simonson explains the origins of the concept (a long-held idea for a younger group than the New Mutants), introduces the four Power children and their powers, and talks about the emotional complexities of children gaining super-abilities — particularly the "loss of innocence" theme — while expressing enthusiasm for her first solo writing project after years as an editor.

The husband-and-wife team discuss their collaboration on X-Factor and the logistics of coordinating the sprawling Mutant Massacre crossover with Claremont, Nocenti, and others. Louise explains her plans to reveal that the original X-Men are dangerously underpowered relative to modern threats, detailing the deliberate destruction of Angel's wings and wealth as a character-study exercise, and previews Apocalypse and the Four Horsemen as upcoming antagonists. Walt announces he is stepping down as Thor writer after nearly four years and intends to take a break before embarking on a graphic novel based on Russian folk and fairy tales.

Claremont discusses the launch of Excalibur, framing it as a "Cosmic Comedy Caper" blending high adventure with Monty Python-style absurdist humor, in contrast to the more dramatic tone that X-Men had drifted toward. He explains the collaborative long-distance relationship with British artist Alan Davis and credits Davis with substantial plot contributions. He also addresses Marvel's decision to launch a monthly Wolverine series (set in fictional Southeast Asian country Madjipoor) despite his own preference for periodic mini-series, and talks about handing New Mutants over to Louise Simonson.

Pratt and Pertierra explain CompuServe's Comics Forum: Pratt as sysop describes how the forum operates (message boards, data libraries, real-time conference rooms), its half-million subscribers, and the roster of comics professionals who participate, including Chris Claremont, Walt and Louise Simonson, Peter Laird, and Mark Evanier. Pertierra describes his own path back into comics fandom and how he became an assistant sysop, and both discuss the community atmosphere and topics — censorship, art quality, Japanese animation — that drive discussion.

Thorsland, editor of Dark Horse's Star Wars comics line, discusses the revived fan interest in Star Wars and how it parallels the cultural mood of 1977. He covers how Dark Horse secured the license from Lucasfilm, the creative freedom and restrictions imposed by Lucasfilm, the assembling of creative teams (including Tom Veitch, Chris Gossett, Louise Simonson, and June Brigman), and upcoming projects including Dark Lords of the Sith, Dark Empire II, Droids, and an X-Wing series based on the LucasArts game.

Anderson traces his career from a failed first attempt to break into comics in 1976, through his self-taught classical anatomy studies, to landing Ka-Zar the Savage under editor Louise Jones Simonson and ultimately the X-Men graphic novel (with Chris Claremont), which drew controversy from the 700 Club for its portrayal of a fanatical televangelist. He gives an extended account of the creation of Somerset Holmes with writer Bruce Jones — a Hitchcock-influenced romantic adventure series for Pacific Comics — which has been optioned for a movie by Ed Pressman Productions. He discusses his cinematic approach to comics storytelling and is currently preparing Strikeforce: Morituri and a Moon Knight story for Marvel Fanfare.