Okay,
Things I think work really well:
The overarching plot: Kind of amazing for a time-travel plot (particularly a 'can we stop the big-bad of the series from ever coming to power?' plot) actually works pretty well. Obviously I don't know how it will play out (and it's entirely possible that the author is having a George RR Martin-esque 'I know where I want to go, but not how to get the different actors to get to where they need to be' issue, although that remains to be seen), but the pieces we have are compelling and inventive. I particularly like that one major issue that stopped team hero from solving this problem before it became a problem was an information transfer issue (without going too spoilery: someone had vital information, but did not know it was vital and the people who knew it was vital didn't know it had come to light).
The Worldbuilding in general: The rise of the Anarchist states is fascinating (as are the ways that they form a stable-ish society and keep themselves from just being a bunch of survivalists in shacks taking potshots at each other when they get too close). Their explanation of how they developed, how they see things, and of course how they are dupes to the Oracle (which really is true for everyone) more than actually a society of evil makes them an interesting antagonist organization. The disintegration of the US into Core, Texas, and Anarchist enclaves is interesting (although here you can really feel how this was dreamed up by a Brit in the ~200-2005 era. I can't actually go into anything about it on this forum, but you can really feel Bush-Blair dynamics in all of it). The technology (often included in cutaway one-strip lectures on specific subjects) is well-thought through, if not always scientifically spot-on (Fullerene is used as a magic 'armor becomes so good that weapons have to be re-thought' explanations; Fusion reactor backpacks are used to power plasma weapons, but all the downstream consequences of, y'know, backpack-sized fusion generators, do not show up). That first one (fullerene makes modern weapons obsolete) is actually pretty interesting in that it sets up rock-paper-scissors scenarios and 'safe, effective, convenient: pick at most two' scenarios with weaponry. Also explains some interesting melee-oriented warbots, and other such things. Spaceships are equally well developed, both in terms of technology and living on one and in terms of space warfare. Cybernetics as well.
AI and Robots: Robots in this universe are interesting. Most of them are strong and resilient, but they can have wildly differing capabilities in terms of whether they can survive getting shot, being in space, being without maintenance, heat dissipation, etc. Their AI brains are also interesting (the author went the same route as Schlock Mercenary, where excepting the notable exception, they can't change hardware and will eventually die with their original physical CPU. The Core, Anarchist, and Maytec AI don't interface well (except the oracle, who of course can hack anyone the plot needs it to), and often don't get along either. Most interestingly, the Anarchist non-Oracle AIs (who have a chessboard theme) have a lovely interplay, where they vie for control or autonomy, try to avoid having to kowtow to the Oracle, care about their underlings, take principled stands, and other such things. It goes a long way toward making the Anarchists not-mindless/faceless antagonists.
The Shades of Gray (er, Grey): I keep calling the Anarchists antagonists, but that's mostly the framing of the Oracle (and its' pawn, Gates) trying to conquer the world in the future timeline and the other side having to try to stop them from coming to power after having come to the present. In reality, none of the societies are really all that great -- especially the leadership, which range from incompetent to grossly incompetent to malevolently incompetent. Honestly, if they weren't dupes to a megalomaniac AI (and anarchists only when ignoring some significant self-facing lies), anarchists would have a pretty good point. Also, given how much the Oracle has either infiltrated everyone else, or is just fifteen steps ahead of them and thus leading them around by the nose, it isn't really fair to say that the Anarchists are the only dupes or pawns.
Tessa in the Core: We don't know too much about Tessa as she is in the future, but we get to know her both in the present day (having travelled there from the future), and also in the not-so-future where she is joins the Core military to get out of criminal charges and evolves from a careless malcontent youth snarking and just hoping to do her time into a serious soldier who cares about her teammates and wants to make them proud. Oh, and since we know she ends up alone we are waiting to find out who dies and who just won't talk to her anymore, whether it is her fault or she just has survivor guilt, and what is up with Maytec and Anarchist AI infiltrating her implants and pulling her into VR-scapes (that she misinterprets as lucid dreams). It is interesting, engaging, exciting (honestly better than the future versions of her to which this is all prequel). I want to know more about her various squadmates, about the different dream actors (there's a romance she fosters with a female character that is effectively 'okay, it's just a dream' which had me thinking "You know, Alan, you're the cartoonist. You can draw two women making out at any time (probably get more traffic that way), you don't need to come up with this cockamamie storyli...oh, it's actually good! Color me surprised!"). If this was the one and only storyline, it would be a good one.
Norman, Richard, and Kingston: The three are childhood friends, with Norman and Richard meeting in an orphanage, finding bored-and-ignored rich boy Kingston and moving in with him in the old gatehouse of his family estate (they'd caused enough trouble that people didn't really try to get them back). That works. Each of their childhood trauma's works, each of their issues with their family (as kids and now) and authority work, their ambivalence/struggles with wanting to move on with adult lives and goals/keep things in their dysfunctional delayed adulthood stasis works. If the strip was simply about this, it' would be a good one.
The Furry-dom worldbuilding: Not being specifically a furry enthusiast, I'd be content with a straightforward 'look, drawing foxes and rabbits is more fun for me. They're just people with funny heads (re: Goofy)' but Foreman has a well laid out logic and storyline. Apparently post-apoc, with humans having wiped themselves out (and then animals having had all our historical beats, as there are modern history and pop culture/landmark references, etc.). Each type of animal breads true (foxes and dogs possibly could bread with wolves, but they are extinct and kind of fill the same cultural role that Neanderthals do for us). Interspecies romance (or even sex) is considered unusual, but more at the 'kinky' level than any kind of racial purity level (again, sterile). I don't really remember if there are animals of the varieties that there are anthros. Apparently they are biologically fit to replicate the diet of the animals they resemble, with a recent storyline about a rabbit who has been eating bacon and the fox he's with being upset because his body can't process cholesterol and he's gonna end up dead before he's 50and him talking about having 'dreams about cheese' and stuff (this is likely a retcon, as another storyline had a fox sending another rabbit out to pick up milk because he used up the last of the carton).
What does not work (or has issues with the execution):
The Oracle: it is just too capable. Mind you, it is part of the villain premise (supercomputer AI so good at predictive modelling that it is practically precognition and omniscience), and the idea of a super-genius that is playing 4-D chess while everyone else is at best playing checkers (perhaps blindfolded) is great at establishing a threat level. That said, it is just a little too good at this. Until very recently, we haven't seen a situation where it doesn't have enough information to draw a solid conclusion. Previous, it has gotten a little too close to magic for my liking. That, plus it having the amazing habit of being able to hack anything (sometimes having nano-tendrils seep in from somewhere and making a connection to an otherwise isolated machine. It's just a little too good at its' villain role to make the heroes not already losing seem a little far-fetched.
Richard and Anne's Sexual epiphany (and Richard as he relates to the adult world): Slightly spoilery: Richard and Anne discover that they are into polyamory, (real spoiler: they do so when Richard asks Anne to use her feminine whiles to get information out of the new renter. She ends up going too far and cheating with the guy. When Richard is offered some exorbitantly large sum for the property he owns if he'll bang their kinky rabbit lady friend, he is about to decline because it would be cheating, only for her to come clean and say "I can't live with myself if you gave this up for a slut like me!" Cue them realizing they are okay with it so long as they are honest with each other about it right in time for him to get exactly what he'd want to do but couldn't because of ethics., and this is discovered in a way that lets Richard experience a male fantasy about getting to have one's sexual experience cake and eat it too and be the good guy for having done so (along with a woman having transgressed and been forgiven by the guy they betrayed). Richard is also handsome man with a giant <ahem> whom all men want to be and all women want to be with (including women who are otherwise with other women). He has the cool story cachet of a tough childhood and being orphaned, but also ends up having property (and income via the renting thereof) fall into his lap via family connection (his white color criminal dad--who didn't come get him out of the orphanage when his mom died--used his identity as a shell to hide assets). Mind you, you wouldn't actually want to be Richard (he is pretty messed up by his childhood trauma, and some of that 'gets to be the good guy' is stuff we the audience experience, not him), but he really seems like a wish fulfillment character we or Foreman get to live vicariously through. In a strip with mostly engaging storylines, these stories tend to feel very self-gratifying.
Sex in general: A friend of mine calls overly gratuitous web art as being 'sexuality by or for people who either have never've gotten it or no longer get it.' That's harsher (and more presumptive) than I would put it, but there is definitely a sense that the sex storylines are written with the expectation that they are a stepping stone to someone opening a browser to more... unfamily-friendly furry material. All women want men with big packages, lesbians want nothing more than a hot man to join in (gay men mostly carry on offscreen), women can't wait to get out of their cloths, lots of cut aways with heads moving toward other character's crotches and references to sore jaws. It all seems very much like a copy of one of those R-rated men's magazines from the late 90s/early 00s. I don't love it.
Norman (Current) becoming Norman (Supervillain): Even with the caveat that we know that Supervillain Norman is just a puppet to the Oracle, we simply haven't seen anything that would suggest movement from cagey-but-not-genius manchild low-level thug and anti-establishment misanthrope to leader of people in a violent revolt leading to the overthrow of world governments, much less a tyrannical sociopath. If anything, Normal has mellowed, become more sympathetic, and spent less time performing random acts of destruction (and the focus has been on how he hasn't gotten over his childhood trauma and is clinging to his buddies who are trying to move on with their adult lives, causing friction). Sure after a talk with Richard he thinks maybe he should get involved in politics around his worldview (which honestly is a lot more anarchist than the actual Anarchic State ever seems to have been), but we haven't seen any reason why he'd have a talent for it. Baring an as-of-yet-not-unfolding plotline where the oracle of now orchestrates the whole thing (including Norman's successful rise to fame) and takes over or wildly modifies who he is, I can't connect the Norman of now to the one of the future.
The Future Heroes in current timeline: this is less 'story isn't working' and more 'is story working?,' because we simply don't get a lot of this story arc. Foreman clearly prefers exploring Tessa as a young soldier in a squad full of people either soldiering, transiting (in orbital spacecraft, which are also interesting to explore), or in Core cities (including an awesome floating city which is cool to show the audience and also can be threatened). The other characters -- Cook, Adams ('Smith' in the past), Tin-Head, and Sticks aren't nearly as developed and don't get a lot of introspective analysis of who they are or what makes them tick (excepting Tin-Head who mostly gets to be really bored as a hacker/spymaster/current-era Maytec sysadmin, and one story where he gets to try to rescue a future-era anarchist combat bot from modern American military trying to dissect it and we find out that he's also really lonely). For the most part, they (and they being mostly Michael) are just around to try (and thus far fail) to stop the Oracle from being created and rising to unstoppable juggernaut of the future.
The faction pileup/Keeping Track: At various times during this write-up, I have had to rethink "oh, wait, that's Cook, not Adams" or "is that guy working for Maytec or the Core?" or "was Michael from the future? What about Naps?" There are too many characters, may of which spend much of the time out of focus, often pulling double duty between timelines (and occasionally having identical grandchildren, just to throw another wrench in things), entirely too many of which are red or orange foxes, and it becomes really hard to keep track of all the moving pieces.
More to come, this is taking longer than I anticipated.