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Extensive interview covering the creative philosophy, working process, and cultural impact of Elfquest. They discuss the series' roughly equal male/female readership — unusual for comics — and their collaborative method, with Wendy as the driving creative force and Richard as editor and business manager. They delve into the anthropological design of the various elf tribes, the deliberate ambiguity of their villains (Winnowill's evil is "deplorable in execution but debatable in motive"), and how Blue Mountain expanded from one issue to a multi-issue arc, forcing them to extend the series to twenty issues. They also address the darker side of fan devotion, including a deeply disturbing suicide note from a girl who "wanted to set her soul free so she could be an elf," which led them to personally track down and check on troubled fans who write in.

Part Two of the Elfquest interview, focusing on the series' approaching conclusion with issue #20 and the Pinis' future plans. Wendy discusses the emotional challenges of sustaining the story over six years, including drawing a key scene of Cutter and Skywise years in advance out of fear she wouldn't be able to recapture the emotion later. They detail post-Elfquest projects including the Blood of Ten Chiefs storybook, a Stormbringer art book compiled from Wendy's aborted college animation project, and plans to publish new comics in the Elfquest format. Richard offers publishing philosophy — distinguishing genuine "alternative" comics driven by personal vision (Elfquest, Cerebus, D'Arc Tangent) from "independent" four-color comics that resemble mainstream superhero books. They give a cautiously optimistic update on the Nelvana animated film, noting three other studios have also made offers, and discuss the explosive growth of the direct sales market that made their self-published success possible.

Doran and Pini discuss A Distant Soil, a black-and-white science-fantasy series published by WaRP Graphics, with Doran plotting and drawing while Pini scripts from her layouts. Doran talks candidly about being one of the very few women in comics, pushing back against the notion that women draw in a particular way, and the personal nature of the story she has been developing since her teens. Pini explains why he was drawn to Doran's anatomically precise pencil art and his belief in the black-and-white format, discusses the initial print run of 20,000 copies for issue #1, and announces WaRP has plans for additional titles beyond Elfquest and A Distant Soil.

On the 10th anniversary of ElfQuest, the Pinis trace the book's origins in the proto-independent comics market of 1977–78 alongside Cerebus and First Kingdom, arguing that ElfQuest succeeded by breaking every industry rule (wrong size, wrong price, fantasy, female artist, continued narrative). They discuss why the series generates an unusually deep emotional bond in readers — attributing it to the unified writer-artist vision and its 50% female readership — and contrast this warmth with the cynicism of Dark Knight and Watchmen. Richard announces plans to relaunch all of ElfQuest in six Father Tree Press color volumes through Berkley distribution to reach mainstream bookstores, while Wendy reveals that Siege on Blue Mountain is an eight-issue allegory about child abuse.

The co-creators of ElfQuest discuss the new open-ended series Kings of the Broken Wheel (contrasting it with the tightly structured Siege at Blue Mountain), plans for computer-colorized video adaptations of the original series, and Richard's new project adapting Piers Anthony's Xanth novels into graphic novels with artist Dennis Fujitake. Wendy also discusses completing a second Beauty and the Beast graphic novel for First Comics, and both reflect on high-tech changes to their workflow including Mac-based scripting and computer lettering.

Foglio discusses his Hugo Award history (youngest winner at 21 in 1977), his work adapting Bob Asprin's Myth-Adventures novels for WaRP Graphics, and the collaborative dynamic with inker Tim Sale and publisher Richard Pini. He reveals that he's been significantly rewriting the source material beyond his original mandate, with Asprin's blessing after the fact; Asprin even took a pay cut so Foglio could receive more money for the extra writing work. Foglio also discusses the troubled history of D'Arc Tangent — a project he co-created with Freff that collapsed when he discovered Freff was erasing and redrawing his pencils — and his upcoming Buck Godot graphic novel series for Starblaze, which he fears will embarrass him by the time it's finally published.

In what Salicrup describes as the longest John Byrne interview ever published, Byrne walks through his entire run on Fantastic Four issue by issue, from his early penciling stints under Marv Wolfman's plots through his current tenure as writer/artist, discussing his approach to character (making The Thing a tragic hero, reinvigorating Sue Richards, introducing Frankie Raye as a Herald of Galactus, and the Alicia–Human Torch storyline). He speaks at length about Marvel's sliding-scale continuity and the "seven-year Marvel Universe," his deliberate effort to keep the FF's history internally consistent while avoiding characters aging into obsolescence, and his philosophy of plotting spontaneously rather than from rigid outlines. Byrne recounts the disastrous experience developing an Indiana Jones ongoing series—killed by what he describes as impossible demands from Lucas licensing representatives who didn't understand the comics medium—and explains why he has refused all licensing work since. He offers sharp opinions on the distinction between "readers" (the 250,000 who buy the book) and capital-F "Fans" (hardcore convention-goers), arguing that listening too closely to the latter led him astray on Alpha Flight; he announces he is swapping that title for The Incredible Hulk with Bill Mantlo and outlines plans to return the Hulk to his roots as a creature of the night, marry Betty Ross to Bruce Banner, and strip away accumulated continuity. On creator's rights, Byrne defends his "company man" reputation, arguing that working within the system and doing one's best work—rather than public agitation—is what actually improved conditions at Marvel, pointing to the royalty incentive program as proof; he credits Jim Shooter specifically for quietly fighting for creators' rights from inside editorial.

(int. Richard Pachter) — A lengthy profile of veteran Legion of Super-Heroes fan Broertjes, copy editor at the Miami Herald, covering his role co-founding The Legion Outpost fanzine in 1972, his instrumental part in tracking down a retired Jim Shooter and facilitating Shooter's return to DC and eventual rise to Marvel editor-in-chief, and his detailed opinions on the current Giffen/Bierbaum Legion relaunch.