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Part one of a conversation with DC's Director of Development covering the critical and commercial reception of DC's recent editorial initiatives: Gold expresses satisfaction with The Flash and Green Arrow revamps and The Question, and reflects candidly on the missteps with Doom Patrol and Sonic Disruptors. The pair also discuss the evolution of comics conventions from their decade co-running the Chicago Comicon, noting increasing professionalism, shrinking sense of wonder among attendees, and the superior intimacy of small shows and store appearances.

Part two of an interview with DC's Director of Development and his wife Ann DeLarye-Gold, focusing on comics as show business, convention etiquette for professionals, and Mike's vision for DC's future. Gold explains his rationale for Action Comics Weekly as an anthology incubator, his enthusiasm for a Bugs Bunny mini-series aimed at all ages, plans to reprint classic Kanigher/Kubert Sgt. Rock stories, development of TSR role-playing properties, and a five-year vision of comics splitting into periodical and book-format "creative industries."

Ostrander discusses his unlikely path into comics via friend Mike Gold at First Comics, his on-the-job training on Starslayer after inheriting it from Mike Grell, and his passionate co-creation of GrimJack, which he originated five years before it was published. He is candid about his dissatisfaction with Jim Shooter's Marvel — calling Secret Wars "just bad writing" and blaming corporate success for stifling creativity — while enthusiastically praising the independent scene and drawing parallels between Shakespeare's mastery of genre forms and the potential of comics. He also discusses his Dr. Who stage play project and the launch of the "Munden's Bar" backup feature in GrimJack.

Wide-ranging career retrospective with the veteran artist and inker, whose over-thirty-year career spans the Golden Age to the present and who notes this is his first published interview. Abel recalls attending Burne Hogarth's Cartoonists and Illustrators School alongside classmates Wally Wood, Al Williamson, Marie Severin, Mike Esposito, and Ross Andru, and describes the post-school bohemian scene of late-night inking sessions and bars near the school. He recounts working for Fox, Crestwood, Fawcett, Charlton, DC, Marvel, and the short-lived Seaboard/Atlas, as well as inking Joe Kubert's Green Beret newspaper strip and doing cover art for Israel Waldman's repackaged warehouse comics. Abel frankly admits he is "really sick of super-hero comics" and misses the genre variety of earlier decades — crime, westerns, romance, and mystery — while reflecting on Dr. Wertham's damaging crusade and the industry's evolution from a short-term hustle to a professional career path.