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Levitz, DC's VP of Operations and writer of the Legion of Super-Heroes, discusses his dual role managing DC's business and creative output. He details DC's involvement with the new Flexographic printing process (debuted in Spanner's Galaxy #1), the success of the Kenner Super Powers toy line (outselling Marvel's comparable line two-to-one), and DC's financial health under Warner Communications. He also covers his writing approach to Legion — using scorecard charts to track the massive cast — and his excitement about bringing Jack Kirby back to profit from Darkseid and the New Gods, and hints at Crisis on Infinite Earths affecting the Legion.

Part one of a two-part interview with DC's newly promoted Vice President and Executive Editor. Giordano outlines his management philosophy — letting creative people motivate themselves, judging work from the creator's perspective rather than imposing his own — and describes DC's strategic planning retreats where the leadership team (Jenette Kahn, Paul Levitz, Joe Orlando, and himself) maps out multi-year publishing plans. Discusses DC's shift toward direct-sales market research, the potential for 400-500% expansion in comic shop retail outlets, and plans for age-segmented lines targeting children, teens, and adults. Addresses the Omega Men violence controversy head-on, articulating a nuanced editorial policy: sex, violence, and strong language are acceptable when they serve the story, never gratuitously. Also covers the Atari in-pack comics deal winding down and DC's position as a "rights company" that owns characters but shares revenue with creators.

A married writing team from California, Tom and Mary Bierbaum discuss their work on the Lightning feature in Wally Wood's T.H.U.N.D.E.R. Agents for Deluxe Comics, which came about through their long friendship with Keith Giffen, initially forged through the Legion of Super-Heroes Amateur Press Association (Interlac). They explain that Giffen handles the majority of the plotting, with Tom doing rough scripts that he and Mary then polish together, and they praise Giffen's commitment to artistic growth over commercial comfort. They also reflect on the decline of younger comics readership, the value of APAs as training grounds for aspiring professionals, and their admiration for writers like Paul Levitz who tell stories through dialogue and art rather than heavy narration.

Giffen reflects warmly on his years on Legion of Super-Heroes, his one-upmanship creative dynamic with Paul Levitz, and his single regret of leaving before he could kill off Karate Kid. He discusses how the completed four-issue Ambush Bug mini-series pushes the humor and parody of the earlier Action Comics appearances even further, with Julie Schwartz as a supportive but usefully moderating editorial influence, and explains that the gags were designed to be funny on their own terms, with comic-book references added as an extra layer rather than as the core joke. Giffen also mentions upcoming work including a World's Finest story written by Zimmerman, a Spider-Man inventory story with Bill Mantlo, a Superman/Brainiac special for the European market, a Robert Bloch "Hell on Earth" DC graphic novel, and a Legion annual with Levitz; he also confirms a new Deluxe Comics character called the March Hare, described as a cross between Ambush Bug and The Texas Chainsaw Massacre.

Gilbert discusses his dual career working on Elric: Sailor on the Seas of Fate (layouts with George Freeman finishing art and coloring, Roy Thomas scripting) and his own creation Mr. Monster for Eclipse, explaining how the somber tone of Elric led him to create the deliberately over-the-top Mr. Monster as a counterbalance. He describes the chaotic coloring problems on the original Pacific Comics Elric series, the collapse of Pacific Comics (which he learned about the night before a cross-country move), and how First Comics picked up Elric. He also reveals that Alan Moore wrote a 16-page Mr. Monster story with a 40-page single-spaced script, and that he and Moore have had serious discussions about a Swamp Thing vs. Mr. Monster crossover — pending approval from DC's Paul Levitz. Gilbert praises the storytelling-first philosophy he shares with Will Eisner and Harvey Kurtzman, and is critical of the "Marvel method" for undercompensating artists like Steve Ditko who were effectively writing the stories they drew.

Uslan recounts being driven since childhood by a goal of bringing a serious, dark-knight Batman to the screen, teaching the first accredited college comics course at Indiana University in 1971, and training at DC Comics alongside Paul Levitz and Bob Rozakis before moving into entertainment law at United Artists. He and Melnicker describe the decade-long path from optioning the Batman rights in 1979 through repeated studio rejections to Tim Burton's involvement and the film's production beginning in October 1988. Both discuss their extensive slate of future projects including Batman II, Monopoly: The Movie, Swamp Thing TV series, and Fantastic Voyage II. A follow-up phone interview covers the state of Batman II planning, casting questions, and the marketing phenomenon of the first film.