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.