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Mills traces his career from D.C. Thompson through the creation of BATTLE, ACTION, and 2000 A.D. with John Wagner, revealing that ACTION's extreme violence led to it being banned by the British press, while 2000 A.D. succeeded by being the first British comic to compete on strong visual storytelling. He discusses the genesis of Judge Dredd (his original concept was an occult character), the ABC WARRIORS, and the strip CHARLEY'S WAR, which required extensive historical research into World War One. The interview concludes with discussion of METALZOIC, a DC graphic novel he and Kevin O'Neill are creating, centered on robot evolution and featuring a deliberately anti-heroic protagonist named Armageddon.

IPC Magazines' assistant editor on 2000 AD provides a comprehensive look at the British comics industry. Describes how 2000 AD, launched in 1977 by writers John Wagner and Pat Mills, broke British conventions by adopting American-style splash panels and dynamic dialogue, attracting an older readership including college students and pop musicians — slowly eroding the British social stigma against reading comics past age 14. Explains the unique economics of British weekly comics publishing: IPC launches titles with heavy TV advertising and high print runs, then systematically cuts 1,000 copies per week, with only "boom" relaunch issues or mergers with other titles pushing circulation back up. Details his own path from fan publisher of Comic Media News through a chaotic stint at Marvel's British office under Dez Skinn — where three people produced the entire output — to IPC, where he landed on the doomed Tornado (22 weeks before merger) before joining 2000 AD. Notes that superheroes don't work in Britain ("it would be impossible to do that in London because it's a lot flatter") and praises Dez Skinn's Warrior magazine, singling out Marvelman and V for Vendetta.

Colquhoun, veteran British artist on "Charley's War" in Battle weekly, discusses his thirty-year career from post-war beginnings at Amalgamated Press through long stints on Lion and Roy of the Rovers to his current celebrated work. He reflects on the difficulty of depicting WWI trench warfare in comics form, the liberalizing then re-tightening of violence standards in British weeklies (citing the influence of films like Jaws on Battle and Action), and laments that Cockney dialect is now censored from Charley's speech despite Pat Mills writing it authentically. He credits Alex Raymond as his greatest artistic influence and notes that organized comics fandom is a recent and welcome discovery for him.

The Fleetway editors discuss their plans to launch a new full-color fortnightly for simultaneous U.K./U.S. release, with a Judge Dredd/Batman crossover book as the format flagship, signed talent including Ian Gibson and Pat Mills. They trace the history of why American superhero reprints consistently failed in the British market, contrast creator contract terms at Epic, DC, and IPC/Fleetway, and debate the British tradition of strict separation between editors and writers.