My name is Mark Twain and I approved this jumping frog

That’s one high-jumping frog we see there. “Boing!” indeed. As the crew escape in Mark’s car, what we don’t see here is the conclusion to the B&B invasion. I had to flip back to see if I missed a day…Nope! I suppose that’s one way to keep the story moving along. Just omit the interesting bits.

We are forced to presume the two heavies were knocked cold. But then why the hasty exit? They should have had sufficient time to tie them up, grab their IDs, or even call the cops. Instead, it’s “Brave Sir Robin” time, as they run away. Sorry Diana, but running away won’t get you any answers. And speaking of cars, where is the vehicle those two dudes had to have arrived in?  Mark and crew hopefully slashed their tires to prevent a car chase. I’m guessing there are not too many parking lots in Lost Forest where they can hide out.

On the artistic front, the first panel vaguely reminds me of Allen’s work. Even the car has that “clip-art” feel to it that was common with the vehicles Allen included.

And the beat goes on; yes, the beat goes on, on, on, on, on

After three days of watching Boffo hit Mark, it’s nice to finally see the favor returned. Well, we take our FOJs where we find them. If we can believe our eyes and Rivera’s drawing, a reversal of fortune should result in these two corporate yokels being the ones tied to chairs and getting interrogated. Best leave that to Diana.

But Diana was a bit late getting out the warning and employing her defensive move. She should have had “Heavy-Duty” on her radar the moment he and Boffo barged in. At least the shovel hit doesn’t display a “HIT!” sound effect as it impacts the parietal (or maybe occipital) bone. A good thunk on the back of the noggin should put that dude on the floor for a while.

Now, is Cliff hunting up some rope or hiding and hoping that these two dudes don’t recognize him? I’m still skeptical about his involvement and motivation.

“Just you wait and see! I’ll show YOU. . .just you wait! . . . so, you still waiting?”

(edited) You know, if somebody talks about doing something, chances are that the something won’t get done. I’ve got a hunch that this pointless interlude—which includes explaining the origin of the nickname “BOFFO” which has little or nothing to do with hitting somebody—is a preamble to Diana taking charge while Mark swings his fists in mock anger. The last time Mark exercised his hands it was an exercise in futility. Well, let’s hope that I’m wrong about this, but with that stereotypical guy-brag in panel 4, it is hard not to believe Jules Rivera is setting up Mark to take a dive once again.

And this place is supposed to be Diana’s room? I’m sorry, but they are in the front room of a “bed & breakfast” house, which I presume includes multiple private rooms for boarders, including the owner. Of course, all those people are conveniently someplace else for the day. It simplifies the logistics of the story, of course, so that’s okay. Now, why did Mark open that door?

Let’s all have a boffo good time!

While I like the way Rivera uses the door to define the two spaces in panel 1, and though I wonder if Rivera is being ironic or just hyperbolic in that first message box, I do have to laugh at the silliness of panel 4. Still, faced with this exciting exchange (and you can decide if I’m being ironic or hyperbolic), the only thing I really want to know is “Are we finally going to see Mark’s Fists of Justice live up to their name?

How patient will these bad guys be?

So, what is this sense of mortal fear our brave trio seems to be experiencing?  Mark thinks going up against a cargo ship’s defenses designed to repel a gang of armed pirates is somehow easier than dealing with two middle-aged dudes who like to knock loudly and yell.  Does he think these guys came armed with heavy weapons? Perhaps Mark had nightmares of the now-missing “Mommy Trail” knocking on his bedroom door in the middle of the night, only to find nobody there.

Okay, I’m with those who think it’s time for Mark to quit acting like the too-sensitive lead character in a Hollywood Rom-Com and start taking charge of the situation. The Monty Python song “Brave Sir Robin” comes to mind. Diana never explained why she stole Cherry’s shovel, so she clearly cannot be trusted. Wait… Isn’t anybody over there capturing this drama on video for their big article, or at least for a potential lawsuit? WHERE IS A TEENAGER WITH A PHONE WHEN YOU NEED ONE?

“Quick! Everybody hide. Maybe they’ll stop knocking and leave!”

Gosh, Mark. Maybe you guys should climb out of a window and just sneak away. I suppose some heavy door knocking can be quite disturbing and intimidating . . . if it was going on at 2 AM while you were sleeping, that is! Instead, Mark and his cohorts seem unsure of how to respond. Well, Diana does at least have some kind of an idea, which Mark is keen to squelch with yet another lame pun. Cliff’s silence and doubtful expressions suggests that his military experience did not include any time in special forces.

And when did Mark figure out who these cats were, anyway? They didn’t exactly identify themselves or why they are there. As far as Mark knows, they could have been new reporters sent by the magazine to replace him and Diane for their lack of progress and dubious conduct. However, I suppose one must grant Mark some degree of intelligence—even if he rarely shows it—and allow him to deduce the intentions of people who hammer on doors and say they only want to “talk”.  We’ve all seen plenty of crime shows and know how that kind of talk usually plays out. Those guys haven’t even bothered to identify themselves. But this is what we should expect after schools quit teaching social etiquette.

Bam Man! Da-da, da-da, da-da, da-da Bam Man!

Okay, there should be no need to point out the obvious, but why pass up an easy lob? Consider silly details, such as “farmer” enforcers; the shovel that Diana just admitted to conveniently stealing (for no apparent reason); Mark’s punch-drunk expression in panel 1, and “gasping”, as if he was a villain surprised by a police raid; and there is that lame-o pun in panel 4. As I noted from the start, I think some of this over-the-top madness comes from Rivera’s appreciation for the bizarre stories and characters of Florida crime and humor writers.

But if you want to ignore the literary references, just, ignore all of that goofiness and focus instead on story development.

Like, why should they even bother letting these people in, especially as there seems to be only two of them. Not bad odds, if it came to a fight. Mark has his alleged “fists of justice” (it’s been a year and we still have not really seen them). Diana has her purloined shovel. And Cliff has his…uh…well, since he is a fisherman, he can lure the two heavies in the wrong direction to help Mark and Diana gain more advantage.

Or they can just call the police and wait. Still, I imagine how surprised these intrepid investigators will be if and when they find out the actual reason why Duck Duck Goose is taking such drastic measures.


No, this isn’t about misspelling the name of the Rubbles’ son on The Flintstones. But my goodness, does Diana think they’re exposing Iran-Contra or the Pentagon Papers? All they did was take pictures of zebra mussels on a ship’s hull. As a regular critic on CK noted yesterday, shouldn’t these “journalists” be interviewing the Duck Duck Goose owners to get their side of the story? Isn’t that part of what any good, objective journalist would do? Of course!

Instead, we see partisan “advocacy journalism” in progress. I would expect more from Mark. Then again, we’ve never seen any of Mark Trail’s articles, so this could be his standard M.O.

Finally, the hired thugs from Duck Duck Goose arrived, huffing and puffing and banging down the door, ready to do…what? And how did they locate Mark, Diana, and Cliff in the first place?  Usually, this requires help from an informer. Hmmmm . . . .

But at least, a good drawing of Mark in panel 3!

Give thanks that you are in a position to give thanks!

I’m not sure if observing only one ship is enough to make a general statement about an entire fleet. Anyway, at least one turkey is going to be able to look back on this Thanksgiving Day. But then, we have been brought up over the decades to eat domesticated, factory-enhanced turkeys; not the wild bunch. I suppose that is necessary to meet demand. Eating a couple hundred million wild turkeys every year would soon see them only on labels of cheap booze.

So, what else do we see here? Mark is primping his hair as he relishes his anonymity. As Rivera implies in her second message box, she is deliberately making Mark once again a victim of his own pride. I don’t know if that means a military-style assault on the house or a subpoena from a federal court to cease and desist. Yet, I still think the jury is out on Cliff’s true role.

As I wrote before, based on some comments, I’m trying to write more concisely. I’ve edited out about 30% of my post, which means my text just might c

Maybe do the research before the field work…?

As we return to the main story, we find that Mark has left Cherry to her duties and gone back to his own work. Looks like they have set up shop in Diana’s B&B. Given this is Thanksgiving week, I wonder how many Turkeys Rivera will manage to stuff into the strips this week.

Diana’s assessment of Mark’s underwater photography brings up a fair point:  Have we, in fact, ever seen Mark engaged in underwater photography?  As far as I can recollect, we have rarely seen Mark take photos of anything, much less underwater subjects. Correct me if I am wrong, folks!

But is Diana upset about the quality of the photography or the fact that Mark shot photos of barnacles, not zebra mussels? Remember, Diana:  Mark was working under water, under duress, and with a good amount of stress; hardly the conditions for excellent photography. Anyway, we’ll probably find out what she means tomorrow.