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A wide-ranging conversation covering Sim's creative process on Cerebus, his collaboration with background artist Gerhard, the thematic structure of the 300-issue storyline (Power, Faith, Love, Death, and Birth as successive arcs), and his commitment to self-publishing and autonomy. Sim reflects on the completion of Melmoth and the upcoming Mothers and Daughters, discussing how long-planned story beats feel like transcription rather than invention when the time comes to draw them.

Wide-ranging conversation covering his move to California and his work as story editor at Ruby-Spears animation. He delivers a blistering critique of Saturday morning TV censorship, describing network Standards & Practices departments as trying to create "animated Valium" and blaming them for breeding the punk-rock generation. Discusses co-creating Thundarr the Barbarian with Joe Ruby and designing it around known censorship limits (the Sunsword, rubber-tipped arrows). Expresses deep frustration with mainstream comics' lack of creativity — "recycled 1960s comic books" — while singling out Frank Miller's Daredevil and Dave Sim's Cerebus as the exceptions. Voices strong optimism that independent publishers like Eclipse and Pacific are "redefining the mainstream" and discusses his collaboration with Jack Kirby on Destroyer Duck.

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.

Reader mail responding primarily to issue #107 (Dave Sim interview and letter-hack panel); includes a notable correction from Don Markstein disputing the claim that Bebe's Kids is the first animated feature with exclusively African-American principals, citing Ralph Bakshi's Coonskin (1975) as a predecessor.

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.

Writer/producer Bilson discusses developing The Flash as a CBS primetime series, explaining how the show is inspired by Watchmen, The Dark Knight, and American Flagg rather than campy TV superhero conventions. He covers the casting of John Wesley Shipp as Barry Allen, Dave Stevens' costume design, Howard Chaykin's role as story editor, and the challenge of competing against The Cosby Show and The Simpsons in its time slot. He contrasts the show's grounded, dark tone with prior superhero TV productions and previews plans for costumed villains and moral ambiguity.

A wide-ranging interview covering Gaiman's entry into comics via Black Orchid with Dave McKean, the origins and evolution of Sandman as a monthly series, and his approach to writing Miracleman: The Golden Age as a post-utopia character study. Also discusses Books of Magic (a four-issue guided tour of DC's magical universe with four different artists), his novel Good Omens co-written with Terry Pratchett, and numerous future projects including a Batman/circus graphic novel with Simon Bisley, a Death miniseries ("The High Cost of Living"), and a Sweeney Todd story for Taboo.