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.

Among the pages of the comic strip, family members find familiar objects, drawings, and personal information from their everyday life. Although Valentina was a figment of Crepax's imagination, she was also an integral part of his family.

One of Crepax's techniques is to use the details of everyday life to build his stories and provide context. We even see the titles of the books in Valentina's bookcase.

Besides his much better known activity as a graphic artist, Crepax was a keen wargamer and wargame designer and collector of paper soldiers, drawn by himself.

Crepax loved playing at battles and would change the outcomes, using his friends to fine-tune the moves. He had some famous personalities as willing participants in the games, too.

Guido Crepax's son Antonio talks about the day Antonio Custra was killed in May of 1977, during an armed demonstration in Milan. This was during the so-called anni di piombo (years of lead), a period of social turmoil, political violence and upheaval that lasted from the late 1960s until the late 1980s, marked by a wave of both far-left and far-right incidents of political terrorism and violent clashes. Many demonstrators were arrested, but Antonio Crepax managed not to get loaded onto a paddy wagon.

Just as in Cubist art, Crepax would design his figures to be seen from various points of view simultaneously. Sometimes he would use small windows to attract attention rather than making them larger.

Who was the model for Valentina? Certainly, the actress Louise Brooks who portrayed Lulu in the movie Pandora's Box directed by G.W Pabst (based on two plays by Frank Wedekind), but also Crepax's wife, Luisa Mandelli.

Crepax's stories were based on imagination and vision. In those years, artists contaminated one another's works, and there was even a curious connection between Crepax's Ciao Valentina and Antonioni's Blow-Up.

Which came first? Blow-Up or Ciao Valentina? Which work stole from the other? In any case, there are some striking similarities.

We've come to the end of this journey to find Valentina. Philip Rembrandt continues to wait, and Valentina never forgets him.

Detective Lojacono is transferred to a police station that is considered to be the worst of the worst. Judging from his first encounter there, it seems he has his work cut out for him.

Detective Lojacono meets his team and learns why they talk about the "bastards." He also learns what the future holds for the police station.

Special agent Aragona read the files on all his colleagues and relates his findings to Lojacono. And we find out what Lojacono did, too. We also discover where he has his meals.

At the police station, Lojacono takes a phone call about a homicide. The team has been instructed expressly not to take on anything other than ordinary business. This is decidedly not ordinary business, but Lojacono is no ordinary policeman, apparently.