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Pini discusses creating the Beauty and the Beast graphic novel Portrait of Love for First Comics, describing her visits to the CBS television set, her working relationships with cast members Ron Perlman, Linda Hamilton, and Roy Dotrice, and the lengthy approval process with show creator Ron Koslow. She explains her watercolor technique using prismacolor pencil layouts as a base, her goal of achieving "transcendent likenesses" from photo reference, and the thematic parallels she sees between the show and Elfquest.

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.

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.