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Sprawling conversation (with Roger Slifer and D. Jon Zimmerman sitting in) that is essentially an oral history of his career and the comics industry. Shares extensive insider stories from his years as Jack Kirby's assistant at DC — how the New Gods saga was meant to be only 18 issues, how Carmine Infantino forced guest stars into the books, how DC had Superman's face redrawn over Kirby's pencils without telling him, and how DC's publisher once concluded that "the secret of Marvel's success was bad art." Gives a detailed account of the Stan Lee / Jack Kirby working relationship and the ambiguity of who "wrote" what. Reveals extensive behind-the-scenes work packaging Tarzan and Korak comics for overseas markets, the deliberate sabotage (or staggering incompetence) that put a Scooby-Doo issue's pages in wrong order at Marvel, and his theory that DC and Marvel acquire licensed properties primarily to keep them from competitors. Currently writing Blackhawk for DC, dialogue for Sergio Aragones' Groo at Pacific, and DNAgents with Will Meugniot for Eclipse.

Announces the magazine is going monthly (up from bi-monthly) due to the enthusiastic reception of issue #1. Notes format tweaks — Mark Evanier's interview is doubling for both the Writer and Editor departments, and colorists/letterers will alternate. Previews next issue's features on Killraven and American Flagg.

The former comics writer, publisher, and Marvel direct sales manager discusses his new career as the comics industry's first professional agent, representing creators like Steve Gerber, Roy Thomas, Craig Russell, Mark Evanier, and Will Meugniot in negotiations with publishers. Explains the value he provides — top-level connections, knowledge of the deal landscape across all publishers, and time savings that let artists earn more by working instead of spending months negotiating contracts. Offers a bullish forecast for the direct sales market, predicting that specialty outlets will eventually match the reach of traditional magazine distributors and that the first million-selling comic is only two years away. Delivers a provocative long-term prediction: as creator ownership becomes the norm, company-owned characters will become "entry-level jobs" and established properties may wither — "It is possible that in thirty years no one will want to write Superman." Reflects on his own career trajectory driven by the pursuit of control — from writer to editor to publisher to distributor to agent — and notes his creative writing impulse has simply been replaced by the creativity of deal-making.

Conducted at Ken Steacy's Toronto studio over Chinese food, this comedic three-way conversation covers Leialoha's career of "amazing coincidences": meeting Mark Evanier at the 1971 San Diego con, getting on Warlock by bumping into Jim Starlin in Berkeley, inking Howard the Duck #1, and landing Star Wars because he knew who George Lucas was and asked Howard Chaykin in an elevator. He discusses the creative/financial tension between Marvel work-for-hire (fast, paid, owned by Marvel) versus creator-owned alternative work (slow, satisfying, underpaid), explaining why he eventually left Coyote — the bi-monthly schedule was destroying him. He is planning a samurai mini-series with Carl Potts at Marvel and more funny-animal work for Epic.

A standalone feature-length interview in which Miller lays out the full timeline of the DC ratings system controversy and advocates for an anti-censorship information booklet he is assembling from editorials by Mark Evanier, Alan Moore, Chris Claremont, and Steve Bissette.

Pratt and Pertierra explain CompuServe's Comics Forum: Pratt as sysop describes how the forum operates (message boards, data libraries, real-time conference rooms), its half-million subscribers, and the roster of comics professionals who participate, including Chris Claremont, Walt and Louise Simonson, Peter Laird, and Mark Evanier. Pertierra describes his own path back into comics fandom and how he became an assistant sysop, and both discuss the community atmosphere and topics — censorship, art quality, Japanese animation — that drive discussion.