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McFarlane discusses leaving Amazing Spider-Man to launch a new self-written Spider-Man series, explaining his desire to write and draw his own stories outside continuity, with standalone arcs of three to five issues. He reflects on his artistic influences (Ditko, Romita, Golden, Kirby), his approach to the character's visual redesign (bigger eyes, heavier webbing), and his philosophy of letting sales—not critics—judge his work.

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.

A roundtable discussion on the 1994 direct-sales market crisis, focusing on Capital City Distribution's new cancellation ($500) and resolicitation ($750) fees, which disproportionately punish small-press publishers while leaving major publishers largely unaffected. McFarlane explains how he deliberately skipped Spawn #19 and #20 to expose loopholes in the new policies and argues that independent publishers should unite under a creative community umbrella to gain collective bargaining power with distributors. Wheeler and Morris explore the systemic bias toward superhero titles at the retailer and distributor level.

Larsen discusses the challenge of succeeding fan-favorite Todd McFarlane on The Amazing Spider-Man, deliberately easing readers into his own style rather than making a jarring break. He traces his career from self-published fanzines through his Marvel debut in Marvel Fanfare and his critically panned run on Doom Patrol, and addresses the influence of Kirby, Kane, and Simonson on his art, his frustrations with continuity-obsessed editors, and his dream project: a new Nova series.

A one-page feature presenting a scene by Todd McFarlane cut from Spider-Man #1 that did not appear in the published comic.

Reflects on Spider-Man's unlikely rise to Marvel's flagship character, notes the record-breaking launch of Todd McFarlane's new Spider-Man title, and introduces the issue's Spider-Man theme.

David describes his eight-part Wolverine story in Marvel Comics Presents (following Barry Windsor-Smith's "Weapon X"), which centers on Wolverine's psychological block against an opponent named Cyber. Originally intended for Todd McFarlane and rewritten for Sam Kieth's moody, horrific style, David wrote the story at 3 a.m. to achieve a stream-of-consciousness, *Twin Peaks*-influenced surrealism. He also discusses the differences between his and Claremont's interpretations of Wolverine and argues in favor of keeping Wolverine's past deliberately mysterious.