After helping instigate this destructive fire, Mark and Diana have the moxie to actually return to the  site and review the results. I have to say that panel 1 has the oddest smoke I’ve seen, assuming that is what those weird light blue shapes are.

Well, the other shapes are a bit weird, too. The narration box mentions a plain fire and I’m not sure what that means, unless it suggests comparisons with a fancy fire, perhaps?

Moving on, how do you think will this week play out? Will Tad Crass show up with police reinforcements? Will we have a week of Mark and Diana apologizing to Bill? If I was Bill Ellis, I’d have a whole lot of questions for those two. I’m sure you do, too. Why not post a few?

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.

[Edited and Revised] “He’s building an AI data center!”, as in Not Yet Finished? How can you tell it’s not finished? Anyway, I don’t see why this would have to be some kind of secret. There are data centers around the world. Their use of electricity and water, alone, make them easy to discover. So we have Jules Rivera continuing her campaign against Big Data (see the Oregon Trails adventure, and a side-issue with Diana in the Zeeba Mussels story).

As for the current adventure . . . maybe, just maybe, Crass is being kind to the horses! Perhaps he’s removing them from his land to protect them from any harmful aerosol or chemical traces resulting from the operation of the AI data center. That would be something to be proud of, not get upset or secretive. I don’t think this is how this story will play out, but it would be an interesting result, if true, and add some depth to the character of Tad Crass.

By the way:  Is anybody else having troubles maintaining favorites and logging in to the new Comics Kingdom web site?

And yeah, I know that edits should be done before I post. I really do spend a lot of time up front. But sometimes when I read a post of mine, it is hard to not want to revise my thoughts. I think if I waited, I’d never get anything put up. Still, the edits today are just clarifications and a bit of expansion; not changes in direction. Or, I’ll just quit reading my entries once they are posted.

[Revised] Art Dept. In spite of the fact that Rivera decided to go with a two-panel layout again, the panels look crowded. On the other hand, Rivera alters our viewpoint from panel 1 to panel 2, reinforcing the narrative as we move from the observers’ location to what is observed (the AI data center). It’s a small detail we might take for granted, but it is good visual storytelling technique.

Now, is that building really an AI data center or maybe just a company workout gym? Hard to say and I don’t really see how Diana can make that identification without getting into the building, itself. Unless that building has a sign that reads “Tad Crass’ Secret AI Data Center.”

I reckon we’ll have to watch the story play out more. It should be just about time for Mark and Diana to get discovered by roaming guards who will bring them into the data center where Tad Crass will tell them they were expected and have been tracked by AI-driven security cameras all along. Or something like that. I’m also starting to wonder whether the wild horses really have anything to do with Diana’s mission, other than to gain Mark’s assistance.

I got caught up watching my house get a new set of shingles, gutters, etc., thanks to last year’s hail. Now, I’m catching up on today’s strip.

If this covert investigation is supposed to be taking place at nighttime, I wonder why everything is so easy to see? Did they pick a night with a full moon? Well, simply choosing a darker color palette is not enough! Here is how it actually looks in the daily newspaper:

Oooh, what darkness! A lot of cross-hatching would have helped the intended effect.

Anyway, I don’t think Diane Daggers (Rivera) quite grasps the meaning of undercover. Sneaking into a building might be done under cover of night, but Diane and Mark are not pretending to be employees. I do have a quibble with their nighttime sneak attire, especially Diane’s sunglasses, which can’t be very helpful at night. Still, I hope they have a way to avoid guards, sensors, and possible guard dogs.

Do we blame the influence of James Bond movies for those sarcastic one-liners from Mark? That might account for the cynical expression on the great horned owl.

To keep this assignment a mystery, Rivera does not reveal to us what Diana spots in the photos. But some undercover work is now called for. Whew! This story seems to change every other day. But maybe that’s deliberate.

Let’s review: The initial point of this story was Bill Ellis assigning Mark to investigate rampaging wild around Salt Lake City. Bill went on to clarify that the assignment had to do with limited land resources under threat from growing numbers of invasive and hungry wild horses. Mark worried over moral and practical issues. Yet, it turned out that both Bill and Mark were misinformed.

Arriving on scene, Diana Daggers (Mark’s boss for this assignment) began revealing that the assignment was not investigating rampaging wild horses, but taking on greedy land entrepreneurs like Tad Crass—now head of a land development company—in cahoots with corrupt government agents to remove the mustangs from his properties. Mark was given to understand that his job was investigating corruption and unethical behavior.

Nevertheless, Diana and Mark spent time at a local wild horse rescue ranch to get informed about the plight of these mustangs. Was this to keep Mark misdirected? Who knows!?! Diana sent Mark to interview Tad Crass at his headquarters, but he was quickly chased off the property after things got violent. Mark’s subsequent meeting with Diana led to more revelations: She admitted to misleading Mark about the assignment and the purpose of the interview. Diana’s true mission seems to be to discover why Tad Crass wants wild horses removed from lands near or on his property. We also just learned that Daggers had Mark take photos of Crass’s building to see if something kept there that might explain what was going on.

And that brings us to today’s strip.

So, although the execution of this story might be criticized, the apparent confusion makes sense if the idea of keeping Mark—and us readers—off balance is deliberate. Drama often works better when readers have no more information than the story’s protagonist.

Yesterday’s strip ended with Mark amazingly figuring out that his photos could be useful to help locate something hidden on Crass’s property that might create an unfortunate reaction by the wild horses. Amazing deduction, Mark, considering that nothing on that point had been mentioned before.

But today, Mark acts as if he had not made that discovery at all, but suddenly realized he was being used by Rivera to take the photos for an unknown reason. Which is it, Rivera?

So why even keep Mark in the dark about the purpose of these pictures? And why keep us in the dark about their existence? Rivera chose to not show Mark taking photos, thus missing an opportunity to illustrate a dramatic sequence of panels of Mark working his camera under the unsuspecting eyes of corporate security.

I’m just a simple guy from Virginia, so I hope somebody can explain this to me. First, if Diana needed photos of Tad Crass’s campus, couldn’t she have already captured images with a camera and an extended zoom lens from the main road? Or maybe she could have deployed a drone with a camera to take photos?

Next, what is Mark talking about in panel 4? Is he seriously deficient in understanding that he thinks some photos are going to reveal something that he couldn’t see as he walked to the building? Wait, of course he could miss seeing something! Was security so slipshod that Mark was able to walk all the way around the building taking pictures without being seen or stopped?

Finally, why does Mark think that whatever is being secretly stored at Tad’s campus is being stored outside? It must be a secret nuclear reactor, right? Come to think of it, I recently pointed out what I see as a general incompetence in Mark’s villains. It’s possible that Tad Crass did store it outside, whatever it is.

Hmm, more story padding. I was going to entitle this post “Nothing to see here, people. Move along”, but I noticed we have used variations of that phrase many times in the past. You know, Obi Wan Kenobi liked that phrase as well, now that I think about it. Not sure why I thought about it, though.

So, what’s the point of provoking a fight? Why does Diana need Mark to knock heads? Wouldn’t some sharp investigators do better? I reckon I’m waiting to hear what Diana’s game plan is, as this week has so far just been walking in place.