Episode overview:

Start Wreck is an episodic web comic, but is nonetheless made up of story arcs. For easy location, here is a list of all episodes currently online (note: list may not be totally up-to-date at any given time; please check for updates, or just use the main page browsing buttons to find what you're looking for).

Story 01:
	Episode 001. The USS Eggsandfries begins its journey into the unknown! This was an easy first episode that got me ready for the more complicated art work that was to come. The shape of the ship was traced from a picture I found on the 'net.
	Episode 002. Captain Tim G. Burke adresses his crew. The first episode to feature people. It turned out okay, although some of the drawing is a little bit rough. The shadows are Photoshop effects.
	Episode 003. Two Redshirts discuss the mission. This was an easy episode that allowed me to further practice drawing people. It was fairly quick to draw because of the duplicated backgrounds and characters from frame to frame.
	Episode 004. Lieutenant Ihearher notices a turbo-lift discrepancy. Another easy repeating background episode. I actually rushed this one a little in order to get the following episode done on time.
	Episode 005. The captain checks everyone is doing their job. This was the first episode to be set on the bridge of the ship. It was very hard to draw, and the numerous new characters didn't make it any easier. It really took ages.
	Episode 006. Burke tries to impress a fellow officer. This episode shows an improvement in drawing technique. The lines are sharper and clearer, and the expressions are solid. The blurred face in frame 1 is a photoshop effect. Definite improvement.
	Episode 007. The crew are given their orders from head office. Simple backgrounds used here, but the drawing is solid. Copied frame 4 from the previous episode.
	Episode 008. Mr. Speck estimates the arrival time. This is the first episode since the first that you can see the outside of the ship. Such "reminder" shots are important with any cartoon, because they help to give the reader some breathing space, and some time to reflect.
	Episode 009. Solo chats with Speck. Copied backgrounds made this fairly easy, however Solo has a lot of detail on him compared to the other mono-colour crew tunics. The torch gag is a lightsabre reference, even though Han Solo never used one - it's artistic license.
	Episode 010. The Eggsandfries is pulled over for speeding. Despite being the tenth episode, not a lot happens here. It was the easiest comic so far, but I think the joke hit the spot anyway.
	Episode 011. Captain Burke tries to get out of getting a speeding ticket. Again, repetitive backgrounds are a godsend for comic artists! Emotion on Burke's face is achieved by manipulation of the eyebrows and use of sweat beads.
	Episode 012. Spotty describes where the food comes from. A bit of a break from the main events in this episode, in order to introduce the character Spotty. Working large scale made it very easy to draw the characters in high-detail. I also think the joke was played out very well. Worth noting: first use of thought balloon.
	Episode 013. Spotty and Bones discuss Checkout's obsessive behaviour. Simple copy-and-paste job here. It's the best thing about digital artwork.
	Episode 014. Captain Burke makes fun of Spotty's waist size. First use of a Captain's Log screen to fill up a frame. The engine room background is literally traced straight from a DVD episode. The last two frames are simply enlarged versions, blurred to hide the pixels.
	Episode 015. Someone left the screen turned on for too long. Two new bridge backgrounds drawn. The front view is my favourite, but they'll all be useful later on. I love the joke in this episode, and it's one of my favourite episodes so far.
	Episode 016. Nobody is familiar with protocol. The detail in the first frame understandably took a very long time. I pieced it together from an isometric technical diagram that I found on the 'net. It's the first episode to give a proper dimensional sense to the bridge.
	Episode 017. Aliens are just people with beards. I drew a Klingfilm ship based on a design for a Klingon Bird of Prey, but then I 'cloaked' it so you can't see it. It's not wasted, though, as it will return again! Frame 3 is a copy from episode 6 - sneaky, huh?!
	Episode 018. Anyone with a beard is evil. In the classic Mirror Universe, the evil twins must have beards. That's the idea, anyway. The Klingfilm was tricky to draw as its armour is very detailed. The design is a cross between old and new Klingons.
	Episode 019. The alert status is changed. Second use of the Captain's Log. The log itself was drawn from scratch, but the drawing of the ship was traced from a DVD episode and then transformed for the third and fourth frames.
	Episode 020. The captain selects the away team. This is a completely ripped off joke/reference from both Family Guy and South Park combined. The poor redshirt is so gonna get it.
	Episode 021. The crew arrive on the 'planet'. It was nice to draw some outdoor scenery for a change. The transporter beam effect was created using the airbrush tool on a dissolve setting, and then applying a glow effect. The crew were then faded out behind it.
	Episode 022. The away team are ill-equipped for their mission. A lot of the planet looks the same, no matter where you put characters onto it; so it's easy to copy and morph the same background to use over and over. Captain Burke's ears are unintentionally too far down, because I gave him a bigger forehead than normal.
	Episode 023. Burke looks for Checkout who is only doing his job. This could have been done in one frame, but I like to stick to my format, so I dragged the joke out for 4 frames instead. The drawing is nice and bold here. The background characters from frame 2 are re-used from episode 21.
	Episode 024. The Klingfilms approach the landing party's position. This is the largest scale I've ever drawn the characters' faces at. A lot of the stuff behind other faces I didn't colour in, to save time. The fading effect is done in photoshop again.
	Episode 025. A valued member of the crew is killed in the line of duty. The copied frames made this quick and easy to draw, and the use of exaggerated shadows in frame 3 was fun to play with.
	Episode 026. A massive battle ensues. All my time was spent on the first frame, obviously. The explosion in the background wasn't drawn; it's actualy a photograph of an explosion that I cropped and pasted into the frame.
	Episode 027. A valued member of the crew is killed in the line of duty. Getting the action looking right in frame 3 was tricky, but the result is spot-on. The weapon used in based on the Bat'leth from the modern Star Trek series, although only loosely - it was drawn from memory.
	Episode 028. The real culprit is revealed. The big green monster, with its tentacles and teeth, is perhaps the most generic creature ever devised. I could have called it "the Blob" or something. Had to make room in advance for lots of text in frame one - never fun to attempt!
	Episode 029. Captain Burke tackles a dangerous situation by making a funny. Good artwork, good joke. Hey, sometimes you're just on a roll. The Hothnotch creature is 'bigged-up' from the previous episode (as is the Lobnar alien, actually).
	Episode 030. Spotty is away from his station at a critical moment. This Trouble with Tribbles parody episode could work equally well as a stand-alone as it can as part of the plot. Lots of varied drawing here made it quite tricky to finish.
	Episode 031. Solo wishes he was somewhere else. Star Wars references abound! What's great about frame 1 is that it looks hideously complicated, but I'd already drawn it in episode 16! And frame 4 was just a repeat of episode 6 (again). Not so clever, eh?!
	Episode 032. Some outside help lends a helping hand. Yes, this is my hand making a cameo appearance. An easy episode to draw, as much of it is copied again. The Bird of Prey from episode 17 finally gets seen properly.
	Episode 033. The Lobnars make a deadly error. I won't go into the details of how frame 1 was done - it just took patience. As for the rest: these interior shots (of the colosseum) are easy at the moment. They get more complicated...
	Episode 034. The redshirt had a family. Another Captain's Log! The trickiest part was frame 4, but it was a lot of fun to do too.
	Episode 035. Ensign Kenny gives it his best shot. Quick and easy drawing here. Classic comic fodder.
	Episode 036. Bones battles for his - err - life. Frames 3 and 4 were immensely difficult. Creating the illusion of a crowd is simple in theory (lots of little splotches) but takes so much time in practice.
	Episode 037. Burke congratulates Bones on his fight. Skeletons are harder to draw than clothed humans, so I won't be doing much more of it. The shadows here are simply Photoshop layer effects.
	Episode 038. Speck pleads for a little compassion and reason from their captors. Virtually no new drawing went into this episode at all. It's a collection of conveniently arranged pre-drawn shots from other episodes. Now that's pretty clever!
	Episode 039. The two crews form a truce. My drawing pad broke during this episode, so frames 3 and 4 had to be finished using just the mouse, which was very tricky. I used a quicker shading technique (using grouped layers) which sped things along.
	Episode 040. The crew are sentenced to death. This episode marks the last time I ever use that balcony background, I promise! Drawing the detailed crowd scene took a bit of time, but the rest of this was fairly straight forward.
	Episode 041. Ensign Kenny discovers a shocking truth! I actually made myself laugh with this one, even if the joke is tremendously cheesy! The first two frames are where all the work went in this episode; the repetition in the latter two made them easier. Uh, if anyone asks where the guns came from... pass!
	Episode 042. The Hothnotch is defeated. That creature could only ever die through unconventional means! This is the last episode set in the colosseum interior; thankfully that frees me from the tedium of drawing any more massive crowds.
	Episode 043. The crew set off to search for the planet's power source. The outdoors stuff was good to draw again as it's quite basic. This is the first proper drawing of a communicator as well, for whatever it's worth.
	Episode 044. The ship prepares for full power. This is clearly a joke ripped off from The Simpsons, but it's still funny. Ship interiors were already drawn for this episode.
	Episode 045. The Klingfilms give us what we really want. This was a change of scene episode that I felt I should fit in somewhere. It was fun to draw a new interior, especially a made-up Klingfilm ship interior.
	Episode 046. The away team finds the main energy source of the planet Negraak III. I had a lot of fun with the shadows in the third frame, whereas the fourth frame took a long time to draw, but it was all pretty interesting.
	Episode 047. The Motherbrain speaks. Most of this was straightforward to draw as the brain had already been done. The hardest part was getting the size of Speck to look right whilst still fitting him into the frame properly.
	Episode 048. Speck reads the Motherbrain's thoughts. Although simple to draw, I put a lot of thought into the writing of this episode to ensure it remained tight, yet funny and indicative of contemporary internet culture.
	Episode 049. Checkout prepares the explosives. This episode is kept simple for a reason: I needed all the time I could get to finish the 50th episode. Still, it's reasonably amusing in a simple sort of way.
	Episode 050. It looks a bit flash for a reason - I made it in Flash. A simple drawing couldn't do the last episode of the story justice so an animation was the only option. The drawing tools were harder to work with, but the end result turned out beautifully, even if it did take about 5 times longer than normal.

Story 02:
	Episode 051. Bones finds his Sick Bay in less than qualified hands. I admit it, I got this joke from a seaside post card! I just couldn't resist! It makes for as good a story opener as any, I guess. As far as the artwork goes, the corridors of the ship are very boring.
	Episode 052. Bones leaves the nurse to her rambling. I included so much text here that I had to shrink it down. Not that any of it is important; it's just to suggest a state of rambling on and on and on as some people like to do. Bones' departure is just the start of this adventure...
	Episode 053. Bones infiltrates the bridge. Yay, gore! I'm leaving a sense of mystery over what's going on with Bones for the time being. All will be revealed in full eventually. It's nice to get back to drawing the interior of the bridge after all the desert landscapes.
	Episode 054. The ship is diverted. Ooh, the plot thickens. What's wrong with Bones?! More stock footage backgrounds used here; only the fourth frame was new.
	Episode 055. Technical problems ensue. No sci-fi spoof comic would be complete without a Microsoft joke. Note: actual errors screens were used in the making of this episode!
	Episode 056. The bridge crew discuss rituals. Using the strength of the futuristic medium is great, and what better way to do it than misconstrue current cultural practices in a humorous manner? The drawing was a lot of easy copy-n-pasting.
	Episode 057. The final member of the away team is chosen. I don't often get to draw background characters, never mind give them names, so this made a nice change. Simple backgrounds and cutting and pasting made this straightforward.
	Episode 058. The away team beam down to the planet. Another planet means a new type of scenery to draw. I had fun with the lighting effects, using a semi-transparent black layer to simulate the darkness, and then erasing parts of that layer around the objects that would be giving off light (the moon, the beams).
	Episode 059. A valued member of the crew is killed in the line of duty. Kenny didn't last long, which isn't surprising. This is one planet that has its comedy timing down to a T.
	Episode 060. Bones returns home. Nice and easy one to draw, this. As for the script: I had to come up with a plausible explanation for how such a structure could have gone undetected - good enough, yeah?
	Episode 061. A cliché is broken! Oh, how I would have loved to stretch the story over several episodes of manic mansion mishaps... no, wait, I wouldn't. This is funnier, sorry!
	Episode 062. Professor Frank N. Styne prepares to explain all. Not only did I break the fourth wall here, but also the fifth, sixth and seventh. Lucky thing mansions have lots more walls, eh? The interior lighting was created much like the darkness outside: a semi-opaque coloured layer over the top.
	Episode 063. The obligatory flashback scene. I strongly considered doing this episode in black and white (excluding the last frame). I think it would have looked nice, but it was a last minute consideration, I didn't really have the time to mess around with the colours, and... colours look pretty.
	Episode 064. A family is reunited. Star Wars jokes are such an easy target. Mostly easy drawing in this one. The background image is some actual old wallpaper.
	Episode 065. Frank reveals his true intentions. Back outside, this episode made for some more varied art work. From here on, it's only going to get harder!
	Episode 066. Kenny advises a plan of attack. Oh, hey, Kenny is back. I mean, he's always been there. Yes. They never did extreme things in Star Trek, like blowing up the moon to stop full a full moon. I like that comics can do this sort of thing, without it breaking the budget.
	Episode 067. The army rises. Well, they weren't going to stop them yet, were they? Too big a build up. The final frame looked good until I had to cover most of it with speech bubbles.
	Episode 068. The army prepares to attack. I love hordes, when you have lots and lots and lots of identical things spanning into the distance. The skeleton army was actually really easy to create, since I only drew one skeleton and let Photoshop do the rest. HORDES!
	Episode 069. A valued member of the crew is killed in the line of duty. Look, it doesn't get old until I say it gets old, okay? Art-wise, this was no big deal. The horde of skeletons was already drawn from the previous episode.
	Episode 070. The crew run away!! Back inside the mansion means no new backgrounds to draw! The change in lighting is apparent again, from black to yellow. Frame 1 required the army to appear further forward, which meant some copy-and-pasting of the front row, moving them forward slightly.
	Episode 071. The Captain realises the solution. I had an idea for how to wrap up this story, but it relied on overlooking a plot hole - so I poked fun at that very fact! I like the blur effect in frame 3 as it gives an illusion of depth and makes it seem more than just a drawing.
	Episode 072. The remaining crew make it to the roof. I haven't really done a lot of weird perspective shots, so frame 1 made a nice change. When I wrote this episode, I had no idea that bar code could actually hold alphabetical characters, which made it somewhat funnier in my head.
	Episode 073. The away team communicates with the Eggsandfries in orbit. So Solo's torch-sabre was useful! Admitedly I rushed this episode a little bit. The final frame is a stock shot and is not centred properly; and the refractor in the first two frames is missing some details around the rim. Oh well, you live and learn.
	Episode 074. Speck and Spotty discuss the plan. This episode had lots of rewrites before I finally settling on this one just before I started drawing it. The problem is fitting something even remotely funny into an essential plot explanation story without it sounding tacked on.
	Episode 075. Bones returns to the safety of the ship. The horde of skeletons is easy to draw, so this episode required very little work. I do enjoy drawing transporter effects; if only I could think of a better sound effect.
	Episode 076. The skeleton army is finally destroyed. This one took some time. I achieved the dissolve effect by using the mask tool, then applied a standard lens flare. The ship/planet scene was the hardest to draw because the proportions are so massive to get them accurate in such a small window.
	Episode 077. Professor Frank N. Styne gets angry. This was mostly stock footage, so to speak, so it was quick to make. Changing from night to day colours was easy - I just removed the top dark layer that was previously covering the picture.
	Episode 078. The nutty professor meets his demise. Ah, classic misdirection. (NB: Gamma radiation is what turned Bruce Banner into the Hulk.) For what it's worth, I never had any intention to have a final showdown scenario, so don't go thinking I wussed out at the last minute!
	Episode 079. Captain Burke gets off the hook. Admiral Crazydude makes a return here, mainly 'cos I didn't want to draw another admiral. The opening speech made for an easy way to wrap up the rest of the story without showing them still on the planet, etc.
	Episode 080. Captain Burke apologises to Bones. The final episode of this second story comes to an end here. There's no way I was going to animate another Flash version, though - sorry about that! Having a 'gift shop' on the ship was a bit of artistic license.

Story 03:
	Episode 081. A new passenger arrives on board. Total fanboy treat, this one: a DS9-alike station (I had fun making it out of bedposts) and a brotherly Star Trek V reference, mixed with a blog emoticon and a punny punchline. I start as I mean to go on; Story 03 is gonna be a killer.
	Episode 082. Smock is welcomed aboard the ship. I try to make some of my jokes a bit more high brow sometimes; it makes a change from Kenny-gets-killed-again stories. Art-wise, I drew the transporter pad from a screenshot and enlarged the background for the close-up (blurring hides the imperfections).
	Episode 083. Kenny escorts Smock to the guest living quarters. Some fiddly drawing here with the top-down shot of the room, and then trying to make the corridor appear to move past them. I made up the deck numbers; I have no idea where actual living quarters would be.
	Episode 084. Smock sneaks into the shuttle bay. I love silly visual references and couldn't think of a better way to incorporate that into a four-panel comic strip. I think it works well enough, though. First proper drawing of a shuttlecraft here; I made up the registry code ("XNF" = Eggs 'N Fries, yeah?).
	Episode 085. The Eggsandfries fails to prevent Smock's escape. This episode was reconstructed almost entirely from previous drawings. I'm not very familiar with the old style shuttlecraft, so I sort of made that up myself. The joke should be very familiar to anyone who's seen a few episodes of Next Generation or Voyager.
	Episode 086. The bridge scene becomes a parody. If you're not familiar with phenomenon that is Zero Wing, just ignore this entirely. If you are, you're probably sick of it, and should also ignore me entirely. ;)
	Episode 087. Burke briefs the bridge crew. There is some chronological fudging going on here with regards to Kenny's recitation of previous missions - but if you ignore the fact that the ship and crew were brand new eighty-something episodes ago, it's all okay.
	Episode 088. Burke and Kenny prepare to meet Smock. Little more than filler, this one, and another potential Kenny death setup! Some of the drawing is a bit rushed; the only part I like is the ship in the first frame, which was a new drawing (previous episodes have used the rear view).
	Episode 089. The away team encounter a mysterious portal. For fans of the original series, this parody portal should be recognisable. I paid close attention to the details here, following the original source as accurately as I could. I'm very pleased with the look of it, especially the glowing effect.
	Episode 090. Smock explains the nature of the Guardian. Again, I'm pleased with the artwork here; the first frame is almost entirely traced from a DVD screenshot. The rest of the episode is black and white photos that I found. Oh yes, things are going to get interesting...
	Episode 091. Checkout destroys the Guardian of Never. This one was fun to draw, and the phaser in the last frame was researched properly so that it looked good enough. I do like those old style phaser pistols. Don't make 'em like they used to...
	Episode 092. Speck scans the wreckage of the Guardian. This last episode set on the ancient planet uses a couple of new backgrounds, but nothing strenuous. First ever showing of the bulky over-the-shoulder tricorder here.
	Episode 093. Speck explains where Smock has disappeared to. Further attempts to build recognisable characters here result in a technobabbling Speck, a sarcastic Kenny and an idiotic Checkout. That works for me.
	Episode 094. Speck proposes a retrieval mission. I was worried about drawing a whole room full of admirals, but I really enjoyed it and it turned out perfectly. Using a smaller brush size always helps with more detailed pictures. Speck's plan is, of course, inspired by Star Trek IV: The One With the Whales.
	Episode 095. Kenny and Checkout observe the Eggsandfries' return home. I have to admit, I don't know anywhere on the original ship that has such a large window. It's more of a TNG thing, but whatever. The illusion of glass was made by creating a reflection of the characters and lightly painting over the area. Fun stuff!
	Episode 096. The Eggsandfries returns to Earth Space Dock. It made a nice change to draw the Earth rather than an alien world, even if it was just a small section of it. The space station is a direct copy of the one from the Star Trek movies and Next Generation. The joke is terrible - I'm sorry.
	Episode 097. Speck explains the complex theory of the warp slingshot. Not much to add here; the background was already drawn from a previous episode and most of the character art is repeated. Had some fun scribbling some vague formulaic symbols.
	Episode 098. Solo pilots the ship through danger! Heh, I've been wanting to do an 'asteroids on the viewscreen' gag for ages but could never find the room for it. Here it is, at last!
	Episode 099. The Eggsandfries leaves Earth for its adventure through time. Originally I had planned to recite that section of the script from Home Alone word-for-word, but when I realised it wouldn't fit into the space constraints, I had to trim it down. One last chance to draw the Earth here. Adventure awaits....
	Episode 100. It had to be done. Following the tradition, #100 is animated, this time featuring sound and voices, lip-synched by hand (I've never done that before). The sound, you may guess, is from somewhere else, and the drawings were imported from Photoshop rather than drawn with the (painful) Flash vector tools.
	Episode 101. The crew find themselves in the past! The 'parallel dimension' is our reality, which means filling in the blanks with whatever photographic elements I can find. Everything else is drawn as normal here. I particularly liked placing all the props from episode 100 on the floor of the bridge.
	Episode 102. In orbit, the crew prepare to disembark. The drawing was a bit lazy here; I've reused that corridor so many times, I think I'm beginning to wear out the pixels. The shading on the ship was cool to draw. The photographic element was scoured from the web - I've never been to outer space myself.
	Episode 103. The away team prepare their 21st century disguise. I like this one - it's just so silly. I had some real fun designing the costumes, which I did once for the final frame before finishing frames 2 and 3. It's just quicker if I work on-the-fly like that. More photos off t'internet.
	Episode 104. Burke and Kenny discuss the crew. It always bothered me how the majority of the crew is always human on Star Trek. It's only budget cuts, of course, so it was fun to do this episode... and the 'person-is-really-a-broom' theme is inspired by the funniest TV show on Earth.
	Episode 105. Three teams prepare to depart for Earth. Never have I drawn so many characters in one episode - it took quite some time! As for the shuttle bay: I must commend the efforts of CBS Digital for recreating the interior with modern CGI. Without their recent work, I'd have had very little reference to draw this one.
	Episode 106. The captain's team fly towards Europe. Photographic material for this episode was limited, so I had to restrict what I could show or write. As the youngest of the main characters, I figured Checkout should be the one to get excited over visiting monuments and such.
	Episode 107. Speck educates the away team during their decent. I wanted a transition phase from space to ground, and the only way I could think to fit that into the comic was to have some funny references on the way down. Finding the right photographs for this episode was quite tricky.
	Episode 108. The shuttlecraft lands stealthily. The 'small craft landing on Earth' idea is another of Star Trek IV's influences. I took the idea of a cloaked vessel and made a more primitive disguise for the shuttle! Interestingly, this episode marks the start of using my own photographs. The featured park is conveniently local.
	Episode 109. Spotty uses a tracking device to find Smock. This one is a visual gag more than anything, and just helps to set the scene before they move on. There's not much more to say; the characters' shadows on real grass was the only challenge here. The next episodes feature more intricacy.
	Episode 110. Burke tells the away team what to do. This episode features the first proper interaction between photographic elements and art. To show the bush in front of Burke, I drew around each leaf individually with the pen tool, then layered it over the top.
	Episode 111. Checkout and Kenny attempt to contact the authorities. Merging the drawn shadows of the characters with the real shadows on the pavement was a challenge, as was getting the look of Checkout in the booth just right - however, the end result is really effective with some good lighting effects.
	Episode 112. Spotty tries to get some information. Not much more than a couple of puns here ('teller', 'pin'). The hardest part was not the drawing, but finding an actual free cashpoint to photograph from two angles. I ended up photoshopping one onto a blank wall.
	Episode 113. Burke subtly requests some information from a policeman. None of these photographs were mine. I should probably thank whatever kind souls of Flickr.com took them. That's pretty lazy of me, actually; it wouldn't have been too far to go to snap some good ones myself!
	Episode 114. The crew consider moving on. This is a very, very silly joke but I'm not at all sorry I resorted to it. Sometimes you've just got to be a little bit silly, you know? Visual humour has its place.
	Episode 115. The shuttle gets clamped. I had some plans to show what the other teams were up to, but I decided it was impractical. Instead, I mocked the state of parking vehicles anywhere in London. Curse those wardens!
	Episode 116. Burke learns that Smock has been tracked down. This is about as far as showing the other parts of the world as I got. I had the idea of Smock being up to all sorts of mischief around the world, but led it all back to another tea joke. Sorry.
	Episode 117. A history lesson, courtesy of Speck. As the characters learn about what might be going on, it was time to invent a bit of history, closely based on the real Star Trek history (Cookman = Cochrane, etc.). More drawing was involved here, but it was fun to do, especially the montage. Say, he looks familiar...
	Episode 118. Smock's target is identified, while Solo is reminded of a movie. Yes, I went there. The most important figure in the history of space exploration is none other than... me! Well, who else could it be? I had fun making the initial cartoon version of myself and then ageing it.
	Episode 119. The crew wait for a bus. Relatively little drawing here, the episode relying instead on the dialogue. I like to think of it as a commentary on the state of today's public services... rather than a knob joke.
	Episode 120. The crew explore town. Obtaining photographic material for this episode was a relatively painless procedure; there aren't that many people around at half past eight in the morning. I wanted to do a 'non-automatic doors' gag for a while, but could never seem to fit it in. Well, here it is. Meh.
	Episode 121. Kenny asks around the pub. Continuity splice! The pub depicted in the previous episode is not the same one as this interior. Nor are they even remotely taken at the same time or anywhere near. Thanks to Mr. Allen for the poses.
	Episode 122. The crew finally meet Zachary Cookman. In order to get full-frame shots, these photographs had to be taken on the other side of the road. Many thanks to the wonderful and patient Miss Parker for the steady hand employed in these shots. Sadly lacking are my acting skills.
	Episode 123. Cookman recaps the story so far. A swift introduction to the character and the perfect chance to recap on my convoluted and very weird storyline... just in case anyone was lost. Still with us at the back?! Good, good! Moving on, then!
	Episode 124. The crew suggest leaving immediately. One of the challenges of mixing drawn characters with real people is getting the sizes right. The proportions are totally different (cartoons have bigger heads) so it's tough to get them to not look like giants. Cutting and layering in Photoshop helps the overall illusion here.
	Episode 125. The crew get into Cookman's car and Checkout makes himself at home. The illusion of characters within the car is quite solid and I'm pleased at least one of the frames looks decent. Unfortunately the last frames don't look so good as the photos came out poorly defined due to the lighting conditions.
	Episode 126. Cookman is taken to a safe location. More fun with mixing photographic imagery wtih drawings here. I've started to give the drawn characters a slight blue tint as it better matches the naturally blue-ish colour of the photographs. My first and only hand-written captain's log occupies the first frame.
	Episode 127. The crew prepare to beam up to the ship. Inevitably, the red shirt (or pink shirt, in this case) has to cop it. I thought it was funny to have everything instinctively turn around to face him at the same time. Decent blending of drawn characters here; just little things like adding the shadows make a difference.
	Episode 128. The Eggsandfries is in safe hands. I hadn't considered who would still remain onboard during this adventure! Back to drawn environments now, as it will remain for the rest of the story. It's a bit weird getting back into the normal procedure after all those photo backgrounds.
	Episode 129. The transporter chief beams up 'Kenny'. I like this episode, even though it's not a funny one. Misdirection, camera tricks and a surprise cliff-hanger! Annoyingly, I stuffed up a bit of background continuity (the door position and which pad was being used), but it still fun to do all the perspective stuff and blurring.
	Episode 130. Cookman requests a uniform. It's a fair bit easier to do the photo stuff when the background is being put in afterwards. Oh, I thought the idea of mocking my own drawing/writing skills in an episode featuring me was too good an opportunity to pass up, so there you go.
	Episode 131. Smock reveals himself at last. Not much to add here, but it's interesting to point out that, due to these photos being taken so long apart, I'm not actually wearing the same clothes I started in. They're close enough, though. Who's gonna know, eh? Continuity, schmontinuity.
	Episode 132. Cookman is captured... or is he? This episode required a level of interaction unseen up to now. The challenge was getting me in line with the drawing of Smock, when I'm much taller, without it looking like I'm tiny... and then merging the next pictures with shadows and masking and stuff. Fun, though.
	Episode 133. Smock starts to explain his motives. I didn't want to expalin the entire situation in one episode, as it would be too much to take in. The big reveal needs its own space, and that's coming right up. In the meantime, there's plenty of time to slag off Checkout for being stupid... again.
	Episode 134. Smock reveals his true identity. It seems Burke had simply assumed that Smock was from a certain side of the family... presumably because he'd seen Star Trek V and gone along with the same idea! If you already realised (or didn't care), I guess this is a bit wasted on you. More explanations to follow.
	Episode 135. Speck explains the family history a bit better. Considering this was supposed to be a story centered around Speck, he's not had much direct involvement. So, here's his mother. Well, he did say she had a beard, remember?
	Episode 136. The story is explained in full. I know I've made a convoluted mess of this story, so these are the basics laid out in full. Obviously, Checkout still doesn't understand, but I don't blame him. On another note, I was getting a bit bored with drawing the same group of characters over and over. Moving on, then...
	Episode 137. Speck contacts his mother. I felt I needed to draw the story to an end with more of Speck and his mother, so I came up with this little filler. I had to work around the setup that they were in a parallel dimension with a quick explanation. The fuzzy image was a neat effect.
	Episode 138. The Eggsandfries' special guest doesn't want to leave. Well, with a 'holo-chamber' on board, would you? The first frame was originally going to be a blank log screen, but I thought one last look at the big 'E' was appropriate before the story came to an end. The last frame was... interest to make.
	Episode 139. Cookman finds a suitable job aboard the ship. So, there you have it. My character's not going anywhere, and his talents are being exploited to their fullest! Some simply drawing going on with the captain's box-like table, but... meh.
	Episode 140. The Eggsandfries goes back to the future! That's it, the third Start Wreck story is over, and ends with an homage to my favourite non-Star Trek film. This was fun to do; hopefully it's fun to read as well. Stay tuned for more exciting adventures.