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Part One of Orzechowski's career retrospective, conducted by Schutz in her capacity as editor of The Telegraph Wire for Comics & Comix in California. Orzechowski traces his origins in Detroit fandom — where he worked alongside Terry Austin, Jim Starlin, Al Milgrom, and Rich Buckler — and his path to Marvel at age 19 via Tony Isabella, where Starlin championed him onto Captain Marvel before he felt ready. He recounts his famous prank of changing the Comics Code stamp to "The Cosmic Code Authority" on Strange Tales #179, and describes his move west with Mike Friedrich's Star*Reach collective (alongside Englehart, Starlin, and Brunner), his years freelancing for independents, and how he eventually settled into working almost exclusively with Chris Claremont on X-Men. Part Two (covering his X-Men alphabet design, Dark Phoenix lettering, and royalties) is promised for the next issue.

Part Two of the interview with the veteran X-Men letterer covers his long association with Chris Claremont beginning with X-Men #94, his development of distinctive typefaces for the series (including the ragged balloons for Dark Phoenix, created with a worn-out animation-cel brush), and his scholarly approach to logo design drawing on historical lettering books from the 1900s through the 1930s. Orzechowski is candid about the inequity of Marvel and DC's royalty systems, which exclude letterers and colorists despite their contribution to a book's look and sales, and expresses hope that the system will eventually be extended. He also discusses his mentoring of apprentice letterers David Cody Weiss and L. Lois Bohalis, and reflects on his "umbilical cord" to comics that makes a move into other commercial lettering difficult.