Dottoressa Piras and Lojacono continue their conversation in the car in front of Lojacono's building. They address some serious topics that have nothing to do with the case they have just solved.

Lojacono hasn't seen his daughter in a year, and would like to catch up. She has something to tell him, but doesn't say a whole lot more. Meanwhile, another crime has been committed in the city.

There is a new case for the team at Pizzofalcone and Lojacono and Aragona go to the scene of the crime. A young cleaning woman was found dead in the basement of an apartment building.

Lojacono and Aragona go to see the husband of the ex-door person. He confirms the fight between Giacomo Scognamiglio and Teresa's husband. Back at headquarters, Romano objects to always having to stay there instead of going out as Lojacono and Aragona do.

De Nardo is waiting for her friend at the pizzeria. Lojacono calls Laura about their relationship.

In 1963 Crepax got his start in the world of comic books and two years later created his famous character, Valentina. The comic strip first appeared in the anthology comic book, "linus," founded by Giovanni Gandini, who had known Crepax as a kid.

Valentina's success coincided with the beginnings of feminist movements in Italy. She depicted a woman who was strong and independent, who could do anything a man could do, a departure from the stereotype of the Italian housewife.

Video provided by Youreporter.it Linosa is an island off of Sicily and the setting for an ecological non-profit event "Clean Water Day."

This series begins with Diabolik, the greatest criminal of Italian comics or fumetti as they are called because of the "clouds of smoke" (speech bubbles) present in comic strips. Fumo means "smoke." In this segment, various personalities describe the character Diabolik, both the good and the bad.

Diabolik drives a Jaguar, but not an ordinary Jaguar. He is able to transform the car in order to facilitate escaping when the need arises. In a way, both Diabolik and his car wear masks and assume different identities.

The creators of Diabolik had commuters in mind. They wanted to create something engaging that one could read in the time of a commute, and which was pocket-sized. We also discover why the name Diabolik ends with a K.

At the beginning, the Giussani sisters decided to hide their identities as women. Even so, it was not easy finding distribution. And there were other mysteries, as well, surrounding the early days of the iconic comic book, Diabolik.

Over time, Diabolik's outfit and facemask are transformed. His nemesis is a police inspector with sound morals, an interesting past, and a fascinating love interest.

The artists talk about the process of designing the comics, and how the characters evolved in terms of design, over time, from designer to designer.

Diabolik isn't the work of one person, but rather the result of a group effort. Each contributor has a distinct role but they all have to come together, mindful of keeping the continuity from one episode to the next.