What if your first Star Wars movie were Return of the Jedi? You’d have questions! That’s how Tim felt once he got started reading Robotech II: The Sentinels volume 1, a comics continuation of the animated Robotech show that hit the U.S. in 1985. Robotech was a combination of three different anime — why?? And why is it that, after all these years, the Robotech story doesn’t really progress? Tim discusses with longtime Robotech fan Erik Amaya of Comicon.com.

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One of the most highly-regarded English-language strips of all time is George Herriman’s Krazy Kat, featuring the odd love/hate triangle of Krazy, Ignatz, and Officer Pupp. Why was Krazy so gender-ambiguous? How did Herriman’s (somewhat mysterious) racial background influence the strip? Tim and Kumar discuss this and much more. (Originally published September 2, 2013.)

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In 2023, King Features Syndicate decided to bring Flash Gordon, originally created by Alex Raymond and first published in 1934, back from rerun purgatory with new strips, written and drawn by Dan Schkade. Dan was also the artist on Dynamite Entertainment’s Will Eisner’s the Spirit Returns in 2016, and is also known for his original work Lavender Jack, which ran on Webtoon. This week, Tim talks with him about Flash Gordon and some of the trickier aspects of doing a newspaper strip, including refreshing readers’ memories and getting new readers on board while also moving the story forward a step every day. And, in 2025, how do you handle a great villain (Ming the Merciless) who’s also a terrible racial stereotype?

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From 1942 to 1966, many of the Donald Duck comic books published by Dell Comics were written and drawn by Carl Barks. Like most comic book creators at the time, his name was unknown; the Duck comics were all credited to Walt Disney. Fans only knew that his work was by the GOOD duck artist. Barks created Scrooge McDuck and many of the other duck characters that are taken for granted as part of Disney canon today.

What made Barks the standout Duck artist? Were they meant to be satirical, or simply enjoyable stories? Tim, Kumar, and Tom Spurgeon discuss Barks’ work, particularly the Fantagraphics volume Lost in the Andes. (Originally published June 3, 2013.)

Comics Journal review of Lost in the Andes

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Captain America and the Falcon #212 concludes the Arnim Zola/Red Skull storyline in somewhat perfunctory fashion, and gives a living castle with big teeth much less P.R. than it deserved! In #213 we meet the strange and underutilized assassin the Night Flyer! (Underwhelming name? Must’ve been named by Jack Kirby!) Tim and Emmet discuss both issues in this episode.

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Joe Mallard, a favorite of Tim and Jason’s from a year ago, is back! Creator Asante Amani has sent us issues 4-6 of this crime series. Did it go over with us as well as the first two issues did?

Ky Lawrence has created a trippy graphic novel about survivor’s guilt. In Dream Machine, our protagonist dreams he can sacrifice himself to bring his cancer victim twin back to life. Tim and Adam critique.

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We’ve been building up to it for months with our reviews of previous Fantastic Four movies. Now it’s here, the FF’s debut in the MCU, Fantastic Four: First Steps. How well did it scratch that FF itch? Kumar and Jordan once again join Tim to review the film, and discuss how it stacks up against the others (including the unreleased 1994 version).

One idea about what “Subzero Intel” might mean

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This week, Koom interviews Wahab Algarmi, author of Almost Sunset, a graphic novel about a Muslim American boy’s search for balance between his family traditions and the demands of life in Middle School. Koom and Wahab discuss their international family backgrounds as well as the merits or demerits of 1990s Image comics!

Almost Sunset on Amazon

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Ben Wickey has created a graphic novel, More Weight: A Salem Story, that gives us a very deep dive into the Salem witch trials: why they happened, who was to blame, and how the city has dealt with their legacy. This week Koom gets the scoop on what inspired Ben, why his art style seems to vary depending on what point in the past he’s writing about, and more.

More Weight: A Salem Story on Amazon.com

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The film is bloated, it’s busy, it showcases numerous failures at human communication, and doesn’t hit some points it needs to. And yet, Spider-Man 3 screenwriter Alvin Sargent managed to weave together the many plotlines thrust on him to make a script with a message – although not necessarily the one director Sam Raimi had in mind. Tim and Mulele examine Raimi’s final Spider-Man film. (Originally published on Patreon May 23, 2020.)

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