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A joint interview conducted over sushi in Toronto, connecting Darrigo (writer of Renegade Press's Wordsmith, a love letter to 1930s pulp fiction) and Ross (artist newly assigned to Alpha Flight for Marvel). Darrigo explains that Wordsmith originated as a novel concept exploring the contrast between Depression-era pulp writers' comfortable incomes and mass poverty, and worries the series may pigeonhole him as unsuitable for mainstream work. Ross discusses his aspirations for Alpha Flight — moving the book away from constant internal character crises toward stories that use the team's powers in outward-facing adventures.

Part two of an on-location Toronto interview continues the discussion of comics vs. film/animation storytelling, with Ross drawing on his experience storyboarding Rock and Rule at Nelvana studios. Ross outlines his plans for Alpha Flight — focusing on underused characters like Puck and Box, adding domestic "slice of life" moments — while Darrigo expresses interest in pitching a historically-set Captain America story to Marvel.

Includes a substantial letter from Richard S. McEnroe rebutting charges of "elitism" leveled at Gary Groth and the Comics Journal; a critical letter from George Ross objecting to what he calls puffery on Comics Interview's cover; and a brief note from Dave Sim (Cerebus) clarifying that casting Archie Goodwin as a character in Cerebus #82 was Gerhard's idea, not a deliberate satirical attack.

McFarlane discusses Image's break from Malibu, his strategy of bringing in high-profile writers (Alan Moore, Neil Gaiman, Dave Sim) to write Spawn as a response to critics who said he couldn't write, and reveals the then-unannounced Batman/Spawn crossover — the first time in 50 years Warner Bros. allowed Batman outside of DC. He outlines plans for a Violator mini-series and explains Image's ownership structure: creators own everything they create, but not the "i" logo itself.