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Expansive interview covering his traumatic tenure as Marvel's editor-in-chief ("there is no way one editor can edit fifty-four comics and keep his sanity"), his detailed character-by-character breakdown of the Teen Titans cast, and major upcoming storylines. Reveals that Robin will give up his costume and adopt a new identity, that Terra is secretly working for the Terminator, and that Kid Flash is leaving the book. Discusses his plans for Superman with Gil Kane — splitting up Lois and Superman, pairing Clark with Lana Lang, and wishing he could de-power Superman to his original 1938 levels. Defends the violence in The Omega Men by noting the book has no Comics Code seal and isn't aimed at children. Also covers DC's new talent Showcase book, where he bought Todd Klein's "Class of 2064" and discovered artist Scott Hampton.

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."

Wolfman discusses taking over the Batman title in its 50th anniversary year, including his plans for Batman: Year Three and the challenge of balancing present and past storylines at editor Denny O'Neil's direction. He reflects on his history with the character through Dick Grayson's transition to Nightwing and his fondness for Tomb of Dracula as the book where he learned his craft. He also addresses the Batman movie's influence, upcoming villains like Two-Face and Crimesmith, and returning supporting characters like Lucius Fox and Alfred.

The Kiss bassist and lifelong comics fan reveals his deep roots in fandom — publishing fanzines as a teenager in Queens alongside a young Marv Wolfman, his encyclopedic knowledge of comics minutiae (he once rattled off DAK's complete scripting credits on first meeting), and his love of the Kirby-Ditko-Lee pre-superhero fantasy stories. Discusses how comics and rock'n'roll are both "folk art" that reflect their times, his subconscious borrowing from Harryhausen animation for his stage movements, and his brief career as a sixth-grade teacher who assigned Spider-Man as homework. Mentions wanting to play the Thing if CBS's Fantastic Four movie gets made.

Interview with the relatively unknown young artist who replaced Keith Giffen as penciller on The Omega Men. Smith describes his pre-comics career as a rock'n'roll guitarist in Rhode Island, his training at the Joe Kubert School and Dick Giordano's inking workshop, and his path from doing backgrounds for Frank McLaughlin, Mike DeCarlo, and Gil Kane to landing his first pencilling assignment. He got The Omega Men because the deadline was urgent after Giffen left, and editor Marv Wolfman chose his more "Kirby-esque" style over another candidate's animated look. Smith discusses his admiration for "the three Ks" — Kirby, Kubert, and Kane — and shares Kane's motivating advice to either commit fully to comics or give it up. He acknowledges the legitimate criticism of the book's graphic violence and says the series will move toward a more entertaining adventure tone under Wolfman's direction.

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."

In what Salicrup describes as the longest John Byrne interview ever published, Byrne walks through his entire run on Fantastic Four issue by issue, from his early penciling stints under Marv Wolfman's plots through his current tenure as writer/artist, discussing his approach to character (making The Thing a tragic hero, reinvigorating Sue Richards, introducing Frankie Raye as a Herald of Galactus, and the Alicia–Human Torch storyline). He speaks at length about Marvel's sliding-scale continuity and the "seven-year Marvel Universe," his deliberate effort to keep the FF's history internally consistent while avoiding characters aging into obsolescence, and his philosophy of plotting spontaneously rather than from rigid outlines. Byrne recounts the disastrous experience developing an Indiana Jones ongoing series—killed by what he describes as impossible demands from Lucas licensing representatives who didn't understand the comics medium—and explains why he has refused all licensing work since. He offers sharp opinions on the distinction between "readers" (the 250,000 who buy the book) and capital-F "Fans" (hardcore convention-goers), arguing that listening too closely to the latter led him astray on Alpha Flight; he announces he is swapping that title for The Incredible Hulk with Bill Mantlo and outlines plans to return the Hulk to his roots as a creature of the night, marry Betty Ross to Bruce Banner, and strip away accumulated continuity. On creator's rights, Byrne defends his "company man" reputation, arguing that working within the system and doing one's best work—rather than public agitation—is what actually improved conditions at Marvel, pointing to the royalty incentive program as proof; he credits Jim Shooter specifically for quietly fighting for creators' rights from inside editorial.

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.

Miller discusses the comics censorship controversy in detail, recounting how DC's proposed ratings system came about after pressure from religious groups, and how he organized a petition signed by Alan Moore, Howard Chaykin, and Marv Wolfman, which he says led directly to DC firing Wolfman as an editor. He argues that the direct sales market offers genuine creative freedom and that any ratings system would damage the artform by introducing invisible bureaucratic censorship. He also previews upcoming projects: a new series with Dave Gibbons, an Elektra graphic novel, and covers for Lone Wolf and Cub with Lynn Varley coloring.

A guest editorial arguing that comic writers are systematically undervalued compared to artists — both by the price guide and by fandom — despite writers like Chris Claremont and Marv Wolfman being the sole constants behind the longest-running successful titles.

Marv Wolfman responds to a previously published critical letter from a fan, defending himself and his New Teen Titans co-workers against accusations of ignoring old Titans characters; DAK also prints an open letter from an aspiring scripter criticizing Marvel and DC's unresponsiveness to unsolicited submissions.