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British artist Gibbons covers his career from early work on the African superhero strip Power Man (co-drawn with Brian Bolland and wrongly accused of racism by The Comics Journal) through 2000 AD's "Harlem Heroes," "Dan Dare," and "Rogue Trooper," and his extensive run on Doctor Who for Marvel UK. He discusses the stark contrast between British and American comics publishing — IPC's refusal to return original artwork, no royalties for creators, and a culture of treating comics as a shameful occupation — versus DC's superior conditions, and explains why he left Green Lantern after a year (preferring space-opera over soap-opera storytelling). He mentions a forthcoming Superman Annual with Alan Moore and his desire to eventually write, pencil, ink, letter, and color his own work.

A sprawling roundtable first published in the British Fantasy Advertiser, covering the structural, visual, and thematic construction of Watchmen in exhaustive detail. Topics include the nine-panel grid's formal discipline and its origins in Ditko's Spider-Man, the symmetrical character pairings, colorist John Higgins's evolving contributions, the serendipitous real-world coincidences (the smiley-face crater on Mars), the Charlton characters as archetypes, the impossibility of a worthy sequel or film adaptation, and how thinking of Watchmen as science fiction rather than superhero fiction liberated Gibbons's artistic approach.

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.

Rude discusses his upcoming DC World's Finest three-issue mini-series, written by Dave Gibbons, in which he aims to return Superman and Batman to their original Joe Shuster/Bob Kane roots and exploit the contrast between the two characters. He speaks candidly about creative burnout while drawing Nexus, the importance of mental health for working artists, and his admiration for Jack Kirby, whose influence he channelled in the Mr. Miracle Special. He also covers the recent major status-quo change in Nexus (Horatio Hellpop replaced as Nexus), his ongoing frustrations with creator compensation at First Comics, and his aspirations to produce a Nexus animated series in the style of Jonny Quest.

Wide-ranging dinner conversation covering Miller's two years writing the RoboCop 2 screenplay, his working relationship with director Irvin Kershner and producer Jon Davison, and the seven-draft development process. Miller discusses his three forthcoming Dark Horse projects — Give Me Liberty (with Dave Gibbons), Hard Boiled (with Geof Darrow), and Elektra Lives Again (with Lynn Varley coloring) — explaining why he took work to Dark Horse over Marvel and DC due to creative autonomy and concern over corporate interference. He also addresses creator rights, the WAP newsletter, censorship threats in comics, and his ambition to direct films.

Bisley reflects on his fascination with death as a theme and how it informed his approach to Judge Death in Judgment on Gotham, acknowledging the book is ultimately a fun, black-humored action story. He discusses his contrasting views of Batman (a medieval-knight idealist) and Judge Dredd (a realistically plausible fascist figure), and mentions upcoming projects including a Batman graphic novel with Neil Gaiman and a Superman story with Dave Gibbons.

Valentino details the Shadowhawk mystery (identity deliberately withheld, to be revealed in Shadowhawk II), explains the upcoming Images of Shadowhawk monthly with rotating creative teams starting with Alan Grant and Keith Giffen, and shares extensive detail about the 1963 retro-homage series featuring Alan Moore, Steve Bissette, Rick Veitch, Dave Gibbons, and others. He defends Image's impact on creator rights industry-wide.

Neary traces his career from Warren Comics and British fanzines through Marvel US (*Captain America*, X-Factor, Wolverine graphic novel with Alan Davis) to his current role as editor-in-chief of Marvel UK. He discusses how Marvel UK was integral in launching British talent (Alan Davis, Alan Moore, Steve Dillon, Dave Gibbons), and the new Overkill fortnightly comic housing Marvel UK's original British superhero universe.

Miller explains why his next wave of work is going to Dark Horse rather than Marvel or DC, citing growing corporate bureaucracy, the risk of outside pressure on mature content, and the desire to retain merchandising control over creator-owned work. He gives detailed accounts of each forthcoming project: the dark graphic novel Elektra Lives Again (coloring by Lynn Varley); the visually excessive Hard Boiled with Geof Darrow; the political Give Me Liberty with Dave Gibbons; and a Daredevil origin graphic novel drawn by John Romita Jr. He also reflects at length on Dark Knight Returns — its unexpected cultural impact, his decision not to kill Batman, and his reluctance to do a sequel.