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Doug Fink from Walloping Websnappers, Novel Gaming, Falling with Style, and Skreeonk stops by to take a look at Men in Black II Alien Escape

Attention, galaxy defenders and neuralyzer-dodging citizens! This week on Play Comics, we’re suiting up to tackle Men in Black II: Alien Escape, a title that hit the PS2 and GameCube with all the grace of a cockroach climbing out of a dumpster. We are looking at a game that saw the plot of the second movie, shrugged, and decided that what the franchise really needed was a run-and-gun shooter where Agent K looks less like a grizzled veteran and more like an Elvis impersonator midway through a bad Vegas residency. Joining us to figure out why the Class 7 Ozone Demogrifier sounds like a vacuum cleaner you’d buy from a 3 AM infomercial is the omnipresent Doug Fink. You know him, you love him, and you can hear him on Walloping Websnappers, Novel Gaming, Falling with Style, and Skreeonk, all of which are on the Glitterjaw Podcast Collective. Together, we’re diving deep into a game that proves you don’t actually need the likeness rights to your main characters to ship a product, provided you have enough aliens to splatter across a corridor that looks exactly like the last five corridors you just ran through. So put on your Ray-Bans, check your memories at the door, and prepare for an episode that makes about as much sense as putting a Ballchinian in a post office.

Doc Issues from Capes On the Couch stops by to take a look at Dragon Ball Z Budokai.

The Job #1, written by Patrick Hickey Jr. and illustrated by Steve Cange, is a fast-moving, emotionally grounded comic that examines the tension between performance and survival in the world of independent wrestling. What starts as a familiar look at backstage politics quickly becomes a portrait of identity, ego, and the lengths people go to protect the dreams that define them. Told through the perspective of Delicious Dan Dero, the issue blends action, humor, and vulnerability to show how the illusions of wrestling mirror the illusions people construct just to get through the day.

Cory Byrd from Byrds Eye View Comics stops by to take a look at Naruto Ultimate Ninja for the PS2.

Grab your custom jutsu hand seals and prepare to feel a crushing sense of inadequacy when comparing your reaction time to a ninja's because we're diving shadow clone deep into the first Naruto Ultimate Ninja game on PlayStation 2! This week we're channeling our inner shinobi to explore how Bandai Namco took Masashi Kishimoto's legendary manga about a determined orange-suited underdog and transformed it into a frantic button-mashing tournament fighter that somehow convinced an entire generation of fans that they could recreate iconic Naruto moments if they just hit the attack button fast enough and screamed at their TV harder than Naruto himself. Released during the golden age of anime-to-console adaptations, the Naruto Ultimate Ninja games became the de facto way fans could live out their ninja fantasies—assuming your ninja fantasy involves janky camera angles, occasionally unresponsive inputs, and the kind of special effect visual soup that makes you wonder if you're actually watching a jutsu or if your PS2 is just having a mild aneurysm. With fighters pulled straight from the Hidden Leaf Village and beyond, these games proved that sometimes the best way to honor a beloved manga is to give players the chance to make Naruto fight characters he had absolutely no reason to fight (looking at you, random filler villains). This episode, we're absolutely stoked to welcome Cory Byrd from Byrds Eye View Comics—a fellow enthusiast of all things sequential art and gaming who can probably explain why Naruto's popularity transcended manga, anime, AND video games with the kind of clarity that makes marketing departments weep with envy. Together, we'll investigate whether these games managed to capture the heart, humor, and hyperkinetic energy of Kishimoto's creation, or if they just left us face-first in the dirt like Naruto at the beginning of the series. So synchronize your chakra, practice your most devastating combo, and prepare for an episode that's guaranteed to be more chaotic than a Sand Village invasion and infinitely more entertaining than watching filler arcs about onigiri eating contests.

Steve Morris from Shelfdust stops by to take a look at Rogue Trooper.

Lock your squad into formation, charge your bolters, and prepare your genetically-enhanced blue skin for a parade of panzer-busting action because this week on Play Comics we're putting boots to dirt in the grim, industrial wastelands of Rogue Trooper, the 2005 third-person shooter that took Gerry Finley-Day and Dave Gibbons's iconic tale of a genetically engineered super-soldier and transformed it into a cover-based combat experience that somehow managed to capture the grit, the fury, and the desperate isolation of being a lone warrior against overwhelming odds. Originally deployed across PS2, Xbox, and Wii, Rogue's had more platform changes than a soldier has armor repairs, eventually landing a remaster invasion on PS4, Xbox One, and Nintendo Switch, proving that some grimdark British sci-fi concepts just refuse to stay buried in the trenches. Speaking of refusing to stay down, we're genuinely thrilled to have Steve Morris from Shelfdust joining us for this deep dive. When he's not busy operating as the marketing manager for 2000 AD itself, essentially being the guy who decides which corner of Judge Dredd's dystopia gets the spotlight treatment, he's the critical voice behind one of comics fandom's most thoughtful, hilarious, and incisive podcast ecosystems. Steve brings both the insider knowledge of how 2000 AD operates AND the fan's perspective that makes him the perfect guide through this particular adaptation's journey from glossy magazine pages to console warfare. Together, we'll investigate whether this hyper-violent squad-based adventure managed to capture what makes Rogue Trooper such an enduring character, a soldier stripped of everything but his wits, his weapons, and three AI companions implanted directly into his equipment. Does the game understand the existential dread of being created solely as a weapon? Can it convey the isolation that defines the character while also providing the kind of multiplayer mayhem that defines the era? And perhaps most importantly: does this game explain why blue skin became the ultimate badge of being expendable in the far future? Grab your tactical visor, synchronize your biometric links, and prepare for an episode that's more explosive than a Rogue Trooper ambush and considerably more thoughtful than you'd expect from a game about murdering aliens on a lifeless planet.

Jarett Tyree from Has to Do With Spider-Man, I think stops by to help break down Spider-Man Battle For New York.

Welcome, web-slinging console warriors and handheld hop-scotchers! Prepare your cartridges and grab your controllers, because this week on Play Comics we're diving into the gloriously chaotic streets of New York with Spider-Man: Battle for New York, the 2005/2006 portable powerhouse that took Brian Michael Bendis and Mark Bagley's Ultimate Spider-Man universe and somehow crammed all of Manhattan's mayhem into a GBA and DS-sized punch-up bonanza. Because apparently, someone looked at one of the most beloved comic runs of the 2000s and thought, "You know what this needs? A brawler where Spidey spends most of his time frantically hammering the same three buttons while dodging increasingly ridiculous villain attacks." Released across Game Boy Advance and Nintendo DS, this wasn't your typical web-slinging adventure—it was more like someone distilled all of Ultimate Spider-Man's most explosive moments into a side-scrolling arcade experience where the city itself becomes just as much of an enemy as Green Goblin ever was. With a roster of villains pulled straight from the comics and more "beat stuff up" objectives than you can shake a web at, this game proved that sometimes the best way to honor a beloved comic series is to completely reinvent what it means to be Spider-Man. This week, we're absolutely thrilled to welcome the phenomenally knowledgeable Jarrett Tyree from Has To Do With Spider-Man I Think, who brings an encyclopedic understanding of all things Arachnid and animated to help us untangle whether this game managed to capture the kinetic energy of Bendis's run or if it just left our webbing all tangled in the wrong places. Jarrett's the kind of Spider-expert who can probably explain exactly why this game makes the choices it does, while also gently reminding us that sometimes video game adaptations are more "inspired by" than "faithful to" the source material. So strap in your web-shooters, prepare for some serious button-mashing mayhem, and get ready for an episode that explores whether this dual-platform adaptation is a hidden gem of portable gaming or just another case of "well, we had to do SOMETHING with this license." Let's see if Battle for New York is worth defending!

Marcus Stewart from Game Informer stops by to talk Yu-Gi-Oh Dungeon Dice Monsters.

Crack open your Millennium Puzzle and prepare to roll some incredibly awkward polygonal dice, because this week on Play Comics we're delving into one of the most bewildering spin-offs to ever stumble out of the Yu-Gi-Oh universe! We're talking about Yu-Gi-Oh Dungeon Dice Monsters for the Game Boy Advance—a game so determined to turn Kazuki Takahashi's trading card phenomenon into a dungeon crawler that it somehow forgot to ask if it should. Joining us for this delightfully confusing journey through Dungeon Dice Monsters is none other than Marcus Stewart from Game Informer, who's armed with the kind of gaming knowledge that only comes from actually playing this thing. Whether he's here to defend it, destroy it, or just figure out what the heck is happening on a 240p screen, we're thrilled to have his voice in the mix as we attempt to understand why anyone thought "card game meets roguelike dice mechanics" was the logical next step for the King of Games. So lock your monsters in the vault, prepare your dice for rolling, and get ready for an episode that's far less about card strategy and far more about watching two people gradually lose their minds over a game that inhabits some kind of strange liminal space between "ambitious experiment" and "fever dream at a game arcade." The dice have been cast. The dungeon awaits. Our sanity? Well, that's negotiable.