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Yronwode ranges widely across her history as a Marvel fanzine fan, her belief that the Overstreet Price Guide killed the collegial atmosphere of early fandom by turning collecting into wealth-driven speculation, and her philosophy of editing. She argues that fine art has been dead since the 19th century and that commercial artists like N.C. Wyeth, Craig Russell, and Dan Spiegle are the true artistic heirs — a position she uses to defend Eclipse's eclectic publishing philosophy against critics who want independents to be more experimental. She discusses the Eclipse line at length — praising Crossfire, Zot!, and Miracleman, defending the complexity of Aztec Ace, and noting that Eclipse's commitment to creator ownership of copyright still surprises professionals who assumed creators' royalties were sufficient.

Moench discusses his new Eclipse time-travel series Aztec Ace at length, explaining how the concept grew from an earlier, funkier "Captain Wow" idea into a multi-genre epic spanning all of history, with a hero named Caza operating from Tenochtitlan in 1518. He describes the strip's layered structure — synchronicity, the Illuminati-inspired villains called the Ebonati, regular companions Bridget Kronopoulous and the disembodied Head of Sigmund Freud — and his enthusiasm for collaborating with editor Cat Yronwode and young artists Mike Hernandez and Dan Day. He frames the book as his personal championship run, declaring himself "Moses" Moench leading readers to the Promised Land. Note: Part I only; Moench reconstructed the interview from garbled tapes, and Part II (covering Six from Sirius, DC work, and the Red Sonja screenplay) is promised for the next issue.