They keep horses in pens!?! I thought that was what the “bad guys” did, while Happy Hooves provided safe pasture and personal care for the mustangs. But their negligence is on display, as Clayton admits Artemis has broken out of her pen more than once. Sad!

So the trio—as we may refer to them at this point—are safe for the moment. Diana continues to gloat over the misfortunes of Tad Crass and his now-ruined AI data center. It’s ironic both that Diana feels avenged by the destruction of an AI data center by fire and that Rivera injects an accusation about artificial intelligence creating wildfires(panel 3).

When I run a simple online search, I find numerous real-world experiments and studies dedicated to using AI to help predict and fight wildfires. What would be even more ironic (if not absurdly funny) here is if it turned out that Tad’s AI data center was getting ready to start up its own fire detection study. That might be a plot too far.

So, where this storyline goes from here on is a mystery. Will Mark and Diana be arrested for trespass and criminal mischief? Will Mark, Diana, and the magazine empire that Bill Ellis works for be sued for the destruction of the data center? Is this story really about evil AI data centers, rampaging horses, or horse mistreatment? So far, we’ve seen absolutely no evidence for any of this, except for Artemis’s broken pen.

Now, exactly how did Diana and Mark arrive at Tad Crass’s Plainsight, Inc.? Perhaps in a car left back at the company HQ … where the fire is!

I might be presumptive, but I’m pretty sure Artemis knows the way home on her own, as most horses will. So a better use of Mark’s and Diana’s time might be saving their own transportation. I wonder if anybody called the fire department?

But hat’s off to Artemis, at least, for showing Diana and Mark where the large secret stone arch gateway exit was located. There are probably several readers who were hoping they would not find the exit. Shame on them! 🙂 Newspaper is pretty flammable, and there is the danger that this wildfire could spread to other comic strips.

In fact, I seem to recall a similar incident in Pearls Before Swine, where Rat threw a lantern at Pig, who ducked. The lamp crossed over and crashed into the Gasoline Alley strip setting fire to several automobiles, which in turn spread their flames into other legacy strips, including BC, Mary Worth, Peanuts, and Garfield. Unfortunately, they were all fire-resistant and survived. They still get published.

Today’s dialog and action reminds me of an old Warner Brothers cartoon with the catch-phrase: “Which way did they go, George?” Anyway, I’m not positive how Mark and Diana got misdirected, though I suppose a fire will make almost anybody panic and run off in whatever direction seems to be away from the fire. That oft-mentioned secret path seems to have escaped both Mark’s photography and whatever scouting Diana should have done beforehand.

Unfortunately, Mark’s “Golly, gee whiz!” expression in panel 2 and his stupid pun in panel 3 help undermine the drama building in this story.

Is it just me, or does it not seem like the proverbial overriding fear horses have for fire would have already sent Artemis running for all she’s worth towards the exit, leaving our two bunglers far behind? Is Mark’s legendary animal magnetism on women so strong that it also affects mares and prevents them from acting on their natural instincts until Mark says otherwise?

Art Dept. The visual highlight today (and yesterday) is the attention Rivera gave to depicting native grasses.

First of all, glad to see that Rivera limited today’s strip to two panels to better emphasize the scope of the scene and the action. Now, I’m no energy expert, but wouldn’t dedicated electric transformers usually be in a protective cage of some sort, especially if they are so fragile?

The main plot point here is the brush fire created by the helicopter’s accidental destruction of the transformers. What, exactly krashed? And how is the helicopter is still flying? Whatever the contact, copters are difficult to fly in any situation, much less after an accident like this. Should we believe that a flexible movie screen did all this damage merely by brushing over it?  Did the copilot fall out?

Whatever the answer is, Mark Trail helped bring about this destruction and fire as a result of his trespass. At least, that is how lawyers are apt to put it to a judge if Mark gets arrested.  I reckon Mark has moved on from just destroying boats.

However preposterous the cause of this calamity, a grass fire is a dangerous and serious affair. A flying wind machine seems like the last thing you want to have near it. But, maybe the helicopter’s downdraft could be strong enough to blow out the fire if it is positioned correctly?

Some random observations: Aside from the rather well-drawn image of Mark being buffeted by the copter in panel 3, the rest of the art is pretty sketchy, especially panel 4. Tad looks pretty maniacal in panel 2. And there seems to be another typo, this time in panel 3: “…buy and sell resources of the land!” I’m thinking Rivera meant to write “off”?

Okay, that emerging live feed screen is an interesting idea, but impractical. Where would somebody use such a screen? Given the very high hourly cost of helicopters, it is definitely over-the-top. But, hey! It’s a comic strip, so Rivera can have her dux ex machina for its “James Bond Villain” effect.

And it appears that the story is taking on a bit more drama, after all! Tad Crass and his security were not asleep at the wheel as it seemed, and probably had Mark and Diana spotted the moment they showed up. Mark’s counter quip in panel 3 implies that buying and selling resources is not based on talent. I beg to differ. Successful buying and selling takes real talent. In addition, Crass did put together an AI data center. Finally, Crass anticipated Mark and Diana’s next move and lay in wait. Crass may be unethical and a crook, but he doesn’t lack for talent. Perhaps Mark should look in a mirror and consider what his talents are:  breaking the law, sneaking onto private property, assault, arrogance, and impulsive behavior. Oh, and writing nature articles.

I didn’t spot any machine guns on the copter, so I wonder if Crass has ground security about to make their appearance.

Do they have to stop running to deliver their one-liners? Hoo boy! I forgot that Cherry’s story just completed a few weeks ago, so she gets a week off as Rivera continues Mark and Diana’s adventure. Mark’s comment in panel 2 is a bit surprising. Thinking does not seem to be one of Mark’s major concerns, and he doesn’t spend much time or energy on it, as we’ve seen. But in panel 3 Rivera/Diana takes another jab at the government for their apparently inhumane use of helicopters to herd horses.

Left unsaid here is that ranchers also use copters to supervise and manage their cattle herds. But as I noted before, the mustangs may just be public misdirection for Tad Crass’s other questionable activities.

Today’s quiz: Do you think today’s  helicopter is the same as Saturday’s? I know I’m being a bit pedantic and I’m not in any way knowledgeable on helicopters. I just see details and differences. So, Rivera probably had two different resources for her images and wasn’t too concerned with accuracy. That’s hardly unique in comics. Thus, I reckon the proper response to me is “So what?”

Well, this isn’t much of a dramatic cliffhanger for a Saturday.  Mark calls that chopper a “roundup helicopter,” suggesting it is used by the Bureau of Land Management to gather wild horses. Mr. Mark Know-It-All could be jumping to conclusions:  That chopper might simply be a civilian Bell helicopter dropping off a VIP or some special supplies in the middle of the night. Hmmm….

Interestingly, the chopper does not display any running or landing lights. Of course, when drawn for the small-scale of a comic strip, artists have to make decisions about what to include.  For example, if this copter was actively searching, I’d expect to see its search light.

But this bit of melodrama is how the week ends. If Rivera follows her customary practice, she’ll focus on Cherry for a week before returning to the mane story of Mark, Diana, and Artemis. See: I can write those bad puns, too.

Art Dept. Much of the artwork today is rather dodgy and sketchy. However, I’ll give Rivera marks for at least some measure of attention. In panel 2, a tree in the background strongly leans away from the chopper, as it should when hit by the strong wind force (or downwash?) of the copter’s blades.

I wonder if Jules Rivera discusses her stories with trusted confidants or editors when she is planning and writing them. It sometimes seems as if sections of storyline have been overlooked, ignored, or just missing. Maybe it’s just me; I’m sometimes ignored and I often overlook or miss things.

So, how does Diana know that Artemis loves eating the grass on Sass’s property (panel 2)? First of all, when has she been eating it? Sure, Diana holds a stalk of grass up to Artemis in panel 2, but Artemis is not eating it. It could be that Artemis just appreciates the aesthetic appearance of the grass; or perhaps she has a thing for Diana.

After all, the Greek goddess Artemis was absorbed into the persona of the Roman goddess, Diana. Coincidence, you say? Perhaps not, Grasshopper!

Second, was Artemis really locked in a pen (panel 2)? That sounds like what they were accusing the Bureau of Land Management of doing. In fact, according to Clayton of Happy Hooves, Artemis and her peers were kept in a well-cared-for pasture, where she would have good room and board.

If Mark thinks Artemis may be smarter than him (panel 3), they are in real trouble. As their visit was supposed to be a sneak-and-peek operation, why are Mark and Diana just standing around if they are at a dude ranch? That certainly doesn’t seem smart. Or clever. Is the building’s security staff really so lax that they would not notice them next to the AI Data Center, during a well-lit night!?!

But as to whether Artemis is more clever or smart than Mark and Diana, we’ll have to wait and see what Saturday’s strip brings us. I’m figuring it will be Security. Anybody else want to hazard a guess?

I don’t usually make merry with simple text mistakes, such as the absent-minded misspelling in panel 1. But this is the second such mistake in recent time. Unfortunately, I forgot where the prior one was, rendering my initial statement moot. Somebody out there must have better memory than I do. Anyway, it’s interesting to ponder what the initial “F” in “FOF” might have stood for. Most likely, it was a simple process of losing a train of thought as the ink went down.

Moving on, it is so interesting that a horse that can apparently see behind itself (regarding the textbox in panel 1). Anyway, after their quick look-see at the AIC data center, Mark and Diana are on the move.  But what’s with the horse, anyway? Artemis was in safekeeping when Mark met it. Looks like pretty sloppy security at Happy Hooves. Or maybe Clayton the Caretaker rode the horse over to Tad Crass’s building and let Artemis graze a while, as he talked with Tad. This supposition would present an interesting wrinkle in the story, if it plays out that way.

By the way, keep in mind that Mark’s hokey alliteration in panel 4 is partly based on the name of the Happy Hooves rescue ranch. Mark’s greeting is still smarmy, of course. I suppose we should thank Rivera for not showing Diana Daggers gagging as she hears Mark’s babble.

Art Dept. And speaking of drawing, some of the artwork today is pretty dodgy, especially Artemis. While Rivera can create imaginative and unusual compositions, panel 4 does not come up to scratch. Attempting to show most of Artemis’ body is a mistake, as it upsets the proportions and space with Mark. It almost seems as if Mark is touching a statue or stuffed equine (e.g. Trigger, the stuffed horse). A better design solution could have been expanding panel 3, keeping Artemis in the same position relative to the panel, and having Mark stand alongside as he offers up his corny greeting.