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Richardson and Stradley explain how Dark Horse grew out of shared frustrations with mainstream comics and the connections forged in APA-5, with Concrete as the cornerstone title that defined their editorial philosophy of creator ownership and minimal interference. They discuss the origins of Boris the Bear as a parody of the b&w glut, their move to better paper stock without a price increase, and their anger at being excluded from the Overstreet Price Guide solely because their books were black-and-white. Upcoming projects include the four-issue color Predator series, a Roy Thomas/Robert E. Howard adaptation, the Concrete Color Special, and Outlanders (Japanese manga by Johji Manabe).

Verheiden discusses his path from comics writing (The American, Aliens, Predator for Dark Horse) to Hollywood screenwriting, detailing his credited work on The Mask for New Line Cinema and his sole screenplay credit on Timecop, the Jean-Claude Van Damme film due September 1994. He recounts the origins of Timecop as a concept developed with Dark Horse publisher Mike Richardson in 1989, the long road to production through Sam Raimi and Largo Entertainment, and his rewrite work on Darkman II and Darkman III for straight-to-video release.