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.

I wonder why Rivera likes to put these 2-D animal cutouts in the foreground of her strips. Is it some kind of code-speak for “This is all fake”? I dunno, it’s just a thought.

But the meetup at a picnic table reminds me of a similar meetup they shared a while back, during the Zeeba Mussels adventure. Mark was meeting Diana to apologize for leaving her boat after a fight. So here we are again, with Mark ready to apologize for another bad decision.

One thing to be thankful for today is that Rivera is not blasting the “Two Fists o’ Justice!” phrase. It’s hard to not think that she is overdoing it, as some kind of put-down.

By the way, I’ve been intrigued by the hamburger joint in the
strip. It’s kooky enough to have been based on a real roadside joint. Has
anybody seen anything like that? I did a bit of online searching and
didn’t come up with anything definitive.

Poor, deluded Mark. So provoking, yet so clueless. There he sits, a reporter without a story, trying to convince himself that, while he got kicked out of an interview because of his aggressive approach, at least he could save face and fight his way past some rent-a-cops.

Aside from not concentrating on his assignment, Mark can’t keep his memory straight either. On the way to this burger pit, he already talked on the phone with Diana and she gave him a pass on the interview debacle. So there’s no reason for him to be feeling sorry for himself.

A question thus arises, is Rivera deliberately making Mark act forgetful, or is she just not too concerned with story continuity?

Back-seat driver Dept: Could Rivera have written a more concise narration box in panel 1: “Mark dreads meeting with his boss after the interview went sideways.” There are just too many “his”, as is!

The ancient Latin phrase above (it had a legal significance even in the time of Cicero) generally translates as “who benefits?” (my Latin teachers would criticize this casual definition, I’m sure) Anyway, I believe the expression applies here, as Mark discovers that Diana Daggers fully expected the altercation because of who Mark is and because of how Tad acts.

What is the point, then? How does a failed interview and fight benefit anybody? Will Tad Crass swear out a police complaint against Mark? Maybe Diana is using Mark to flush Tad out in the open so he’ll say something that hurts him. Still, has Tad Crass done anything illegal, aside from possibly bribing some government officials to help him relocate mustangs running on his property?  Surely, Diana is not that interested in just rooting out government corruption. Cui bono?

Art Dept. Hey, how about that statue in panel 1? Well, check it out! Why it has highlights on both sides of the body—while no highlights exist elsewhere in the panel—is a mystery. Then again, this comic strip almost always avoids depicting any kind of atmosphere, where every day is almost always warm and bright. In fact, we rarely see anybody or anything even cast shadows! Clearly, atmosphere is not of central importance to Rivera.