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Stout traces his career from early fandom and art school at Chouinard/Cal-Arts, through assisting Russ Manning on Tarzan, working with Harvey Kurtzman and Will Elder on Little Annie Fanny, producing movie posters for films including Wizards, Monty Python's Life of Brian, and Rock 'n' Roll High School, and then production design work on Conan the Barbarian, Return of the Living Dead, and Masters of the Universe (where he hired Moebius). Part one of two.

Stout continues his account of work in film and illustration, covering his departure from Conan the Destroyer to produce The Dinosaurs book (250,000-copy first printing), his aborted Godzilla 3-D film project, his production design on Masters of the Universe, and a new Disneyland Europe concept assignment. He and Dan O'Bannon plan to become wealthy film directors so they can return to comics on their own terms.

In the third and final part of his serialized interview, Stout covers his work for Disney Imagineering (including Masters of the Universe, Euro Disneyland planning, and the self-published Mickey at 60 comic strip), his negotiations to retain original artwork, and his current comics projects illustrating a Harvey Kurtzman story and inking a Jim Sullivan story for Titan. He also discusses his film career setbacks after leaving Disney and his work designing Japanese theme parks.

Stout describes his early career connections to the comics world and how Kirby's work influenced his development as an artist. He reflects on the intersection of comics and other visual arts, including his work in film production design and paleontological illustration, and Kirby's broader cultural impact.

Reader Timothy Fay responds critically to a previous Buzz Dixon interview defending G.I. Joe as a "30-minute commercial." Artist William Stout and interviewer Steve Ringgenberg trade detailed corrections regarding factual and caption errors in a prior Frank Frazetta interview.