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Discusses leaving a secure animation career (Marvel Productions, Hanna-Barbera, Filmation) to pursue comics, inspired by a trip to Japan where he saw artists owning their own characters. He and Evanier created DNAgents as a more human, "laid-back" superhero team — starting with personalities rather than costumes and powers, enrolling the characters in college, and drawing heavily from their own experiences of emerging from isolated creative lives into the wider world. Contrasts the creative ownership possible with independent publishers versus DC's 80/20 split deal.

Meugniot, veteran of DNAgents and the original X-Men pilot, describes his role as supervising producer at GRAZ Entertainment on the new Fox X-Men animated series, focusing on comics continuity, script editing, and handling the politics of a complex licensed property. He discusses the core cast of eight X-Men, the Korean animation studio Akom doing production, and his parallel work on the Fantagraphics sketchbook mini-series Exotic Fantasy.

Meugniot and Houston discuss the production of the Fox X-Men animated series, explaining the challenges of translating decades of comics continuity into a format accessible to younger TV audiences. They describe creative decisions behind character designs, episode story selection, and the balance between faithfulness to the source material and broadcast animation demands.

Sprawling conversation (with Roger Slifer and D. Jon Zimmerman sitting in) that is essentially an oral history of his career and the comics industry. Shares extensive insider stories from his years as Jack Kirby's assistant at DC — how the New Gods saga was meant to be only 18 issues, how Carmine Infantino forced guest stars into the books, how DC had Superman's face redrawn over Kirby's pencils without telling him, and how DC's publisher once concluded that "the secret of Marvel's success was bad art." Gives a detailed account of the Stan Lee / Jack Kirby working relationship and the ambiguity of who "wrote" what. Reveals extensive behind-the-scenes work packaging Tarzan and Korak comics for overseas markets, the deliberate sabotage (or staggering incompetence) that put a Scooby-Doo issue's pages in wrong order at Marvel, and his theory that DC and Marvel acquire licensed properties primarily to keep them from competitors. Currently writing Blackhawk for DC, dialogue for Sergio Aragones' Groo at Pacific, and DNAgents with Will Meugniot for Eclipse.

The former comics writer, publisher, and Marvel direct sales manager discusses his new career as the comics industry's first professional agent, representing creators like Steve Gerber, Roy Thomas, Craig Russell, Mark Evanier, and Will Meugniot in negotiations with publishers. Explains the value he provides — top-level connections, knowledge of the deal landscape across all publishers, and time savings that let artists earn more by working instead of spending months negotiating contracts. Offers a bullish forecast for the direct sales market, predicting that specialty outlets will eventually match the reach of traditional magazine distributors and that the first million-selling comic is only two years away. Delivers a provocative long-term prediction: as creator ownership becomes the norm, company-owned characters will become "entry-level jobs" and established properties may wither — "It is possible that in thirty years no one will want to write Superman." Reflects on his own career trajectory driven by the pursuit of control — from writer to editor to publisher to distributor to agent — and notes his creative writing impulse has simply been replaced by the creativity of deal-making.