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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).

Dark Horse's founding editor recounts how he and Mark Verheiden came to comics after failing to break into film, how Dark Horse acquired the Aliens and Predator licenses (and then combined them on a whim by Chris Warner). He discusses the strengths and limits of adapting movie monsters to comics, Dark Horse's growing Hollywood relationships (including The Mask and The American film deals), and his personal ambition to move into film production.

Florida-based inker who broke in through Dave Dorman and the Joe Kubert School, Story describes how landing the Aliens vs. Predator inking assignment impressed Randy Stradley at San Diego. He discusses his technical inking approach — combining Rotring rapidograph pens for mechanical detail with a large Raphael #4 brush for organic work — and his admiration for penciller Phill Norwood's production-design–quality backgrounds.