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Comics historian John G. Pierce interviews Rod Reed, who served as executive editor of Fawcett's comics line from 1941 to 1943 and scripted many of the most humorous Captain Marvel stories of the Golden Age. Reed shares reminiscences about working with C.C. Beck and Kurt Schaffenberger (who ribbed him for writing too many mob scenes), recalls recruiting Bill Finger to write for Fawcett (who turned in 16 pages when paid for 15), and credits Bill Parker as the under-appreciated creator of Captain Marvel, Billy Batson, and most of the original Fawcett cast. He also reveals that he invented the city-visiting story format for Captain Marvel and takes credit for a behind-the-scenes editorial decision that inadvertently changed the name of a Mary Marvel character.

Joint interview about the upcoming Killraven graphic novel for Marvel, their first return to the series after a six-year hiatus. Russell discusses his artistic evolution since the original Amazing Adventures run — reworking the Martian designs ("they used to look like Mr. Potato Head"), drawing from life models, and his influences ranging from 19th-century Symbolist painters to Wagner operas and foreign films. He also discusses his collaboration with Michael Gilbert on Elric for Pacific Comics and his wordless Symbolist fantasy stories. McGregor explains the graphic novel's 50-plus page scope, the introduction of Killraven's brother Deathraven, and a new character — a woman astronaut in her 50s at Cape Canaveral who provides a counterpoint to Killraven's brooding nature. He notes the creative freedom of working without page restrictions: "I put my dues in on it, that's for damn sure."

Dixon traces his animation career from Filmation through Ruby-Spears (Thundarr the Barbarian) and Tokyo Movie Shinsha (Mighty Orbots) to his role as story editor for the 1986 G.I. Joe season and story consultant on the G.I. Joe animated feature film. He explains how he devised the film's redemption-arc structure and created Serpentor's origin after being blindsided by Hasbro's introduction of the character mid-production, including two competing backstories that Hasbro wanted merged. He offers pointed commentary on network censorship versus syndication freedom, the hypocrisy of professional critics like Peggy Charren, and the misuse of the "gratuitous violence" argument.

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.

Petrucha explains how his longstanding interest in Forteana and UFO phenomena made him lobby hard to write the X-Files comic for Topps, and discusses the show's success as the product of unique, integrity-driven storytelling rather than formula replication. He reflects on the freedom the comics format gives him versus TV budget constraints and expresses hope that the series' success will allow him to revive Squalor and Meta-4.