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A wide-ranging career retrospective covering Anderson's entry into comics at Fiction House in 1944, his Navy WWII service, his work on Buck Rogers, his long DC tenure illustrating science fiction and superhero features (*Hawkman*, The Spectre, Adam Strange), his close working relationship with editor Julius Schwartz, his years inking Curt Swan on Superman, and his current company Visual Concepts which handles color separations primarily for DC.

Bruning, DC's art director, and Rozakis, DC's production manager, explain the shift from letterpress to offset printing that has transformed DC's output, noting that Camelot 3000 was the first DC book printed offset and tracing the development of Baxter paper, Rono-web paper for Ronin and Dark Knight, and the new dollar-priced offset format debuting with The Spectre. Bruning describes his integrated design philosophy — as seen in Watchmen (where the cover is literally the first panel) — and his earlier career founding Capital Comics and publishing Nexus, Badger, and Whisper before "Black September" drove small publishers out. Rozakis details the production department's heroic efforts to meet press deadlines, including Murphy Anderson's late-night runs to Teterboro Airport with film for the Montreal printers.