TCF: Homegrown

Homegrown: Timothy McVeigh and the Rise of Right-Wing Extremism
By Jeffrey Toobin

The crime:

On April 19, 1995 (the second anniversary of the end of the Waco siege) Timothy McVeigh detonated a truck bomb in front of the Alfred P. Murrah Federal Building in Oklahoma City. There were 168 dead, including 19 children. McVeigh was quickly apprehended and after being found guilty executed by lethal injection. His associate Terry Nichols, who helped him build the bomb, is serving a life sentence.

The book:

Homegrown is the opposite of a timely book, coming out nearly thirty years after the events it describes and the extensive media coverage it attracted. Ten years ago I reviewed a book on the subject – Oklahoma City: What the Investigation Missed – and Why It Still Matters by Andrew Gumbel and Roger G. Charles – that took a very critical look at the investigation and the question of whether McVeigh and Nichols were working alone. Jeffrey Toobin doesn’t mention Oklahoma City and I don’t know if he even read it, but he takes the opposing side, praising the efforts of law enforcement and arguing that there were no shadowy connections between McVeigh and various right-wing militia movements.

Which is not to say he doesn’t see McVeigh as part of the same tide of extremism that was swelling in America at the time and that later crested in the Capitol riots of January 6, 2021. The connection to the Capitol riots, and “the rise of right-wing extremism” more generally in the wake of the Oklahoma City bombing is the main point Toobin wants to drive home. This he does repeatedly. Flipping to the index I found January 6 referenced over 30 times. It usually sounds like this:

The right-wing extremists of the 1990s employed the same kind of violent imagery that their successors would use more than twenty-five years later. Before Oklahoma City, [Rush] Limbaugh spoke of how close the nation was to “the second violent American revolution,” just as Donald Trump told his armed supporters on the Ellipse on January 6 to march to the Capitol and “fight like hell.” On both occasions, actual violence followed broadcast incitement. Clinton believed that this kind of language had real-life consequences, but that wasn’t the kind of conclusion that could be tested in a court of law. In contrast [Merrick] Garland and others in the Justice Department refused to tie the bombing case to contemporary politics, believing that such analyses could only confuse a straightforward criminal trial. Thanks to the reticence of Garland and his colleagues, as well as the tunnel vision of the journalists covering the case, the impression lingered that McVeigh was an aberration, a lone and lonely figure who represented only himself and his sad-sack co-defendant. This notion, as history would show, was mistaken.

Or:

The events of January 6, 2021 saw the full flowering of McVeigh’s legacy in contemporary politics. McVeigh was obsessed with gun rights; he saw the bombing as akin to the revolutionary struggle of the Founding Fathes; and he believed that violence was justified to achieve his goals. So did the rioters on January 6.

And so on. From their embrace of violence, performative rage (“the fight – was the end in itself”), fetishization of the Second Amendment, invocation of the spirit of ’76, and inspiration drawn from The Turner Diaries (elevated into a kind of sacred text), a clear line runs from McVeigh to today’s right-wing militias. What has mainly changed is the way the Internet and social media now allow for greater mobilization of the “army” that McVeigh could only dream of. McVeigh read books and listened to the radio and shortwave. He wrote letters to the editors of local newspapers and to his representatives in congress. He met up with kindred spirits in the flesh at gun shows. What he “lacked was something that hadn’t been invented.” “The digital radicalization of McVeigh’s descendants,” Toobin notes, “was much faster and more efficient.” “More than any other reason, the internet accounts for the difference between McVeigh’s lonely crusade and the thousands who stormed the Capitol on January 6, 2021.”

I’m in broad agreement with this point of view, as it’s part of a larger question that historians and pundits have been discussing ever since the rise of Trump: to what extent did Trump and his MAGA movement mark a significant break with traditional Republican values, and to what extent was he the culmination of the American right’s long slide into violent insanity? Toobin clearly comes down on the side of continuity, and I think he makes a strong case. There were some places, however, where I thought he pressed too hard. At one point, for example, he tries to rope McVeigh in with “incel” culture:

McVeigh came of age before the term “incel” – involuntary celibate – came into wide use. Like the incels of a later day, McVeigh was unable to attract the sexual interest of women and responded with rage toward them.

This appears to be mistaken just on the basis of Toobin’s own reporting. For starters, I wasn’t sure what rage he was referring to, aside from McVeigh’s anger at his mother. But more to the point, McVeigh himself claimed to his lawyers that he’d had eight sexual partners, “three of them the wives of friends” (including the wife of Terry Nichols). A serial cuckolder isn’t an incel, and I wouldn’t have thought having eight partners by one’s early 30s was considered batting at such a low average as to be described as “unable to attract the sexual interest of women.”

Even without knowing anything of McVeigh’s sexual history, my own knee-jerk reaction against calling him an incel had to do with his height. Are there many tall incels? According to dating data, height is a primary (if not the primary) sexual selector, and McVeigh at 6’3” would be considered pretty much ideal in this regard. In comparison, famous killer incels Elliot Rodger and Alex Minassian were both 5’9,” which isn’t short but didn’t make them irresistible.

I’ve noted this dangerous predilection women have for tall men before in these notes, and the point here is that just by being 6’3” McVeigh seems to have had no problem attracting at least some women, despite having no job, living out of his car, and only possessing average looks combined with a rebarbative personality. But he also seems to not have been that interested in women anyway, or bothered seeking them out, which sort of kills your chances. In any event, it’s interesting that he took exception to a New York Times story that considered him to be “asexual” because he did his own dishes – a judgment that shows how facile such analyses can be.

Calling McVeigh an incel though isn’t just another way to tie his case in with more recent cultural trends but is part of the usual pattern, at least among not very good writers, of painting a villain as black as possible every chance you get. McVeigh was an evil man, but having said that, what purpose is served by calling him an incel, or a coward? Here is Toobin trying to explain “the real reason” why McVeigh didn’t shoot Charlie Hanger, the officer who arrested him:

In Iraq, McVeigh could fire a projectile from a Bradley and still strike a target far off in the distance. In Oklahoma City, he could put in his earplugs and set off a bomb that targeted faceless federal employees he would never see. But McVeigh never had the guts to kill a man face-to-face.

This struck me as a really cheap shot, and stupid. Because why does it take guts to kill someone face-to-face? I would have thought that this was just the mark of a psychopath. Would killing Hanger have made McVeigh more of a man?

I guess this is a minor point though, when placed in context. Overall I thought Toobin did a good job here retelling the story, though I was surprised given the amount of material he had to mine (courtesy of McVeigh’s lawyer rather dubiously donating all of his material on the case to a library in Texas) how little here is actually new. But did we not know all about McVeigh before this? What was there to find out? Toobin seems mainly intent on putting to rest ideas that McVeigh had help from anyone other than Nichols and Michael Fortier. This seems pretty convincing, though I wouldn’t be surprised if some of the “clutter” that the prosecution didn’t want to bring into their case might have also included other individuals or even groups who were to some degree in the know.

I also wasn’t as impressed as Toobin by the efforts of law enforcement and the prosecutors. They did their job. But the fact is this was as open-and-shut a case as you could imagine. Toobin frankly calls McVeigh’s defence to be “hopeless.” It’s also true that McVeigh was apprehended by accident, after being pulled over for failing to attach a licence plate to his car (much the same way Peter Sutcliffe, the Yorkshire Ripper, would be caught). Nichols, for his part, would basically turn himself in. Then, after McVeigh was in custody he pretty much gave himself up and wanted to sound a call to arms/become a martyr to his cause. The fantastic sums his lawyers were provided to defend him seems mostly to have been wasted on what were basically just expensive vacations.

The most disturbing thing in the book though is the conclusion Toobin draws: that what was once extreme has become mainstream. The so-called Overton window has shifted. To take just one example:

The McVeigh prosecutors put the “civil war” issue in front of the jury to show how extreme and exotic the defendant’s views were. But a quarter century later, McVeigh’s view was close to the conservative movement norm. This view – about the possibility of civil war – became mainstream as the passions underlying the January 6 insurrection roiled conservatives during the Biden presidency. According to an Economist/YouGov poll in the summer of 2022, 43 percent of Americans believe it’s at least somewhat “likely” that “there will be a U.S. civil war within the next decade.” More than half of Republicans feel that way, and 21 percent of “strong Republicans” believe a civil war is “very likely.” McVeigh’s extremism had spread to much of the contemporary Republican Party.

First you imagine these things happening. Then you calculate their possibility. Then you start talking about them as inevitable. And then they happen.

Noted in passing:

There’s long been a theory about how the American West has traditionally acted as a kind of safety valve for the discontents of “civilized” modern life. I don’t know if McVeigh was aware of this, but on some level he clearly was tapping into it in his understanding of the kind of American past he wanted to return to: “I want a country that operates like it did 150 years ago – no income taxes, no property taxes, no oppressive police, free land in the West.” The frontier thesis of Frederick Jackson Turner is still in play, at least in some minds.

I’ve written before about the strange way that some cases strike the fancy of the public and stick in the public consciousness more than others. At around the same time as the Oklahoma City bombing trial was going on (in Denver) there were the O. J. Simpson civil trial and the JonBenét Ramsey murder, and it’s hard to say if the bombing will last longer in memory than either of those. That may sound callous and even cruel, but as Toobin points out at one point it may have been technically inaccurate to say, as many media figures and even the FBI did at the time, that the bombing was “the deadliest act of homegrown terrorism in U.S. history.”

It was not; indeed, the bombing was not even the deadliest terror attack in Oklahoma history. In June 1921, a white mob in Tulsa conducted a pogrom and killed about three hundred Black residents of the city’s Greenwood neighborhood. In the aftermath of the Oklahoma City bombing, the Tulsa race massacre was scarcely mentioned.

Actually, before there was a spate of interest thrown up by a book and documentary recently, I think the Tulsa race riots had been almost completely forgotten. Similarly, the Bath, Michigan school bombing of 1929, which killed 44 people (38 of them students) is an event that very few people know anything about today. Or take this list that Toobin provides in talking about the 1994 bill before Congress to ban assault weapons:

Assault weapons – that is, short-stock semiautomatics, with magazines for multiple rounds – had figured in several recent mass murders at the time. In 1989, a teacher and thirty-four children were shot by an intruder in an elementary school in Stockton, California, in 1991, a gunman killed twenty-three people at a Luby’s restaurant in Killeen, Texas; eight people were killed in a San Francisco law firm in July 1993. (Notably, as the roll call of mass shootings continued in subsequent decades, these horrors have been largely forgotten.)

Guilty as charged. I pulled a blank on all of these, though the Luby’s shooting did ring a distant bell.

It really is impossible to say what historical events, or cultural artefacts, are going to stay with us. Here, for example, is a bit Toobin takes from the summation of McVeigh’s lawyer, Stephen Jones:

Forty years ago this very month, there was a major literary event in this country. James Gould Cozzens’ great novel, By Love Possessed, was published. And for people of my generation and my mother and father’s generation, and I’m sure some but not all of you, that novel remains with us today, though its author has long since been forgotten. The book was an instantaneous best seller. It stayed at the top of the New York Times best seller list for over a year. It was a Reader’s Digest condensed book. It won for the author not only the Howell prize but a cover story on Time magazine. And eventually as you might expect, it was made into a movie and then translated into some 14 or 15 languages throughout the world.”

Again, and perhaps with even greater embarrassment, I have to plead guilty. I couldn’t remember ever having heard of By Love Possessed, book or movie, before this, or for that matter of the Howell Prize (technically the William Dean Howells Medal, which Toobin also must not have known anything about). I know I must have at least read Dwight Macdonald’s review, but there’s no memory of any of it now. The author, I can testify, has indeed “long since been forgotten.” This is just the way cultural memory works. Or doesn’t work.

Takeaways:

There’s nothing new about violent right-wing extremism in America. What has changed is how mainstream it has become. A lot of that is probably due to the Internet and social media, as people bring the poison into their homes and their phones, but it’s also due to the rot now spreading down from the top. All of which makes me think that it’s probably impossible now to root out.

True Crime Files

Torso

Torso

Torso is a six-part series based on the Cleveland Torso Murderer investigation. Though the killer was never apprehended, it’s assumed that he killed and then dismembered some 12 victims in the 1930s, leaving their body parts scattered around Cleveland (for fuller accounts of what happened, see here and here). So we’re definitely in true-crime noir territory here, as if you couldn’t tell from the stark black-and-white art inking every face half in shadow.

There’s also a documentary feel to the proceedings, underscored by cityscapes backlit with vintage photos. And for the most part, at least in the early going, creators Brian Michael Bendis and Marc Andreyko stick fairly close to the record, even including a gallery of newspaper archive clippings and pictures with this edition (though there’s no bibliography or suggested further reading; even 300 had suggestions for further reading!). On the other hand, some names have changed and made-up characters have been introduced. The drama is heightened and compressed. And at the end a climactic shootout in a burning human abattoir that is very Hollywood is wholly invented. But overall it’s not bad on that front. Just remember that it is a fictionalization, a historical graphic novel.

The presentation plays off different tensions. The separate chapters begin by taking us in and out of focus and commercial stippling. As with the shadow – and there is a lot of shadow in this book! – it seems the harder we look the less we see. Another tension is between static and dynamic. Stencil-like figures are repeated identically throughout the book, sometimes throughout entire scenes of dialogue and sometimes reappearing in different scenes in different chapters. But this stationary feeling is given a spin by a layout that zigs and zags around the page, or that requires you to turn the book on its side to read. One scene, Eliot Ness’s interview with the killer “Gaylord Sundheim,” even forces you to turn it all the way around as it’s written in a spiral.

That spiral page (or double-page spread) will annoy some people, but I thought it had a thematic point and worked well playing off the circling movement with the way figures are repeated over and over. Plus, it’s a one-off.

This is a stylish but not artificially artsy book that I rated very highly, though I’ll concede that it’s probably not for everyone. Don’t get hung up on it being an accurate account of the Cleveland torso murders and just enjoy it for the dark entertainment that it is.

Graphicalex

Erasing the past

“Typewriter Eraser, Scale X” by Claes Oldenburg and Coosje van Bruggen (1999).

I was watching a documentary last week on modern art and at one point the discussion turned to pop art and the sculpture of Claes Oldenburg. I was familiar with a few of Oldenburg’s works, but I hadn’t seen the one they splashed on the screen: Typewriter Eraser, Scale X.

What really took me aback though was that without the title I wouldn’t have even known what this was a (giant-sized) sculpture of. Something about it triggered a very vague memory. I’m sure I’d seen erasers like this somewhere before, but I couldn’t tell you where or when. And I learned to type on a classic Underwood that was as heavy as an engine block, complete with a long silver arm that you swatted back for carriage return. But I never used a typewriter eraser. I think there are few people alive who have, and fewer every day. And yet this was a 1999 sculpture (albeit one Oldenburg had apparently been thinking about doing since the 1960s).

The reason this struck me as meaningful is that Oldenburg’s sculpture, like a lot of pop art, was based on representations of instantly recognizable, everyday objects. He made giant clothespins and giant cheeseburgers. So what happens to pop art when the objects it represents have become so alien? I mean, a giant typewriter eraser might even be an alien, with the spindly brush a shock of blue hair coming out of a round pink cyclopean head. Less imaginatively, it’s a wheeled pizza cutter with a handle that’s come apart.

It seems like an interesting question for art appreciation. If the point is to have you recognize an object that is immediately identifiable even when it’s presented on a different scale and in a different setting, but you don’t know what the object is supposed to be in the first place, then the whole effect of the piece has changed. It hasn’t been lost, mind you. Just changed. I think there’s an analogy that can be made to how we respond to current events when we’ve lost so much historical understanding and perspective. Events lose their meaning, or their meaning changes, when they no longer have any generally understood context. The giant eraser becomes a metaphor.

What happened to YouTube?

Back in 2020 I had a post asking What happened to Amazon? What inspired it was my observation that the behemoth online retailer’s prices had gone up, way up, during the pandemic, while their search function had gotten so overgrown with sponsored links that it was nearly useless. Their ability to deliver packages quickly and efficiently was (and still is) impressive, but the shopping experience has gone to the dogs.

A couple of years after this Cory Doctorow came up with the label of “enshittification” to describe the death spiral of platforms: “Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die.”

I don’t know enough about the operation of the big platforms to judge how close to death they are, but from a user’s point of view I can certainly testify to how shitty they’ve become. As I said in my earlier post, Amazon took a steep dive into the shit at the time of the pandemic (a time when it was also raking in the cash). More recently, however, I’ve been noticing a similar trajectory being followed by YouTube.

I like YouTube. I watch a lot of stuff on it, from shorts to half-hour lectures and podcasts, to full-length documentaries. I’m often impressed at the production values of a lot of the videos I see, if not always as impressed at the content. But there are lots of things to click on and have playing in the background while I get something to eat.

But there are ads. There have always been ads. These cut in, unannounced, sometimes at really annoying moments that can’t be predicted (I’m sure on purpose). If it’s handy I just click to skip these when they start up, but since a lot of them are short (5 to 15 seconds has long been a standard) I often let them play.

What I’ve noticed happening just in the past month though is that not only do there seem to be more ads, but the ads themselves are getting longer. Much longer. Much, much longer. Ads that run for a minute and a half are now not uncommon. But I’ve also seen them run 4 and 5 minutes, and (this was the record) one a couple of days ago that was 8 minutes and 30 seconds! That’s not an ad, it’s a full infomercial. This goes beyond being annoying, to the point where it actually has had the effect of driving me away.

It’s no secret why they’re doing this. They want you to pay for a premium service where you don’t have to see ads. Or so they say. I don’t know how true that is (sponsored ads, I assume, are still included), or how long it’s likely to last. I can remember when cable TV became a big thing and it was known as Pay-TV and the deal was you paid a subscription and you got to watch everything with no ads. That’s not cable TV today.

Still, I’m scratching my head at advertising that’s so deliberately alienating. Who wants to watch an eight-and-a-half-minute ad? Absolutely no one. That isn’t an irritant, it’s a nuclear bomb being dropped on the platform. It’s a message to everyone that if you’re not paying for a subscription they don’t want you there at all. That seems self-defeating to me. But Amazon is still going strong despite its enshittification and I suspect YouTube will still be in business even after it’s become so overwhelmed with advertising it’s barely functional. There’s a lot of room for things to get shittier yet.

TCF: American Demon

American Demon: Eliot Ness and the Hunt for America’s Jack the Ripper
By Daniel Stashower

The crime:

Between 1935 and 1938 at least twelve people are believed to have been the victims of an unidentified serial killer in Cleveland, Ohio. The bodies were found in a dismembered state, mostly in the area of a shantytown known as Kingsbury Run. Eliot Ness, Cleveland’s Public Safety Director at the time, was in charge of the investigation.

The book:

I’m surprised that the case of the Cleveland Torso Killer, or Mad Butcher of Kingsbury Run, isn’t better known. But it’s an interesting question – one I’ve addressed before and will again – as to why some crimes grab hold of the public imagination and have more staying power in the culture than others. As an unsolved series of murders with the highest possible gore quotient – “those two qualities guaranteed to compel enduring fascination,” in the words of James Jessen Badal – you’d think it would have attracted greater attention than it has. As it is, American Demon takes its place on my shelf alongside Badal’s In the Wake of the Butcher: Cleveland’s Torso Murders and the comic adaptation Torso by Brian Michael Bendis and Marc Andreyko, but that’s all I have and I don’t think there’s a whole lot else out there.

Maybe, in part, it’s the absence of good information. As Badal reports (and his book remains the authoritative account), the original case files have vanished and it’s not clear they’d add much anyway. The victims mostly were, and to this day remain, unknown, and the couple we can name we can’t say very much about. Nor is the killer easily pigeonholed. He (assuming it was a he, which seems to me a pretty safe bet) killed men and women, making the sexual nature of the crimes, if there was one, hard to figure. Usually unsolved crimes give us a little more to go on. Here, even the leading suspect – a disturbed ex-doctor named Francis (Frank) Sweeney – seems only the most likely candidate in a thin field.

That said, there was a lot of forensic evidence, from the actual body parts to their distinctive wrappings. I don’t think it’s just the so-called “CSI effect” that makes me think such murders would be easy to solve today. The police at the time were hard working, but before the invention of the term “serial killer” no one seemed sure how to proceed, or what they were looking for. “Is there someone in Cuyahoga county a madman whose god is the guillotine?” a Cleveland newspaper asked. “What fantastic chemistry of the civilized mind converted him into a human butcher?” As Stashower points out, “This was a question that the Cleveland police of 1936 were ill-equipped to answer.” You can tell just from the way the questions were put, the sort of language used (“fantastic chemistry” of the mind), that they had a problem. And when Ness’s external help came in the form of “the first policeman in America with a PhD,” who also happened to be one of the people credited with inventing the pseudoscientific “lie detector” machine, then you get some idea of the lack of professional expertise available.

Still, you would have expected the police to come up with something more. As it is, they couldn’t even identify the “tattooed man” – whose tattoos were far from generic. Nor was forensics up to the job. One coroner mistook a classroom skeleton for a victim of the Butcher, while a couple of others might have missed the fact that the body of one of the later victims had been embalmed. These were not little mistakes.

This general lack of fitness for duty went right to the top. Ness himself had no experience in chasing after killers, and what’s more didn’t see it as his job. “The director of public safety [Ness’s actual title] wasn’t expected to hunt murderers any more than he was expected to put out house fires or rescue cats stranded in trees.” Instead, he saw his mission as busting vice networks and cleaning up police corruption while modernizing the force. And in that he had some success. He apparently wanted nothing to do with the murder investigation and only finally got involved when the job was thrust upon him. That’s not a likely recipe for success.

Did his failure to apprehend the killer contribute to his subsequent breakdown? Or was the golden boy of Untouchables fame just another example of celebrity burnout? Given that this book is as much about him as it is about the Butcher’s killing spree you get enough information to make up your own mind. Whether you actually want this much Ness material mixed in is another question, as I felt it didn’t add much to the story. Ness had an interesting life story, but as this isn’t a biography a lot of it feels out of place and doesn’t add much.

As a final note I have to call out the supporting apparatus. There are no maps provided (and they would have been useful), and only a poor selection of photographs. There actually are a lot of good photos relating to the torso killings available, many of them reproduced in Badal’s book. They aren’t included here, and instead what we get are mainly pictures of Ness, some of them looking like publicity shots. Plus photos of all of Ness’s wives. These were unnecessary, and the way the photo section is tucked away at the back is another thing I didn’t care for.

It’s a good read, but I wouldn’t call it either the best book out there on the Cleveland killings, or the best book available on Ness. As an introduction to these subjects though it doesn’t hurt.

Noted in passing:

Soon after the killings stopped and Ness’s life started to circle the drain he was involved in a car accident in which he was intoxicated. He left the scene and might have got away (he hadn’t identified himself to the other driver) but for the fact that someone had taken note of his distinctive license plate: EN-3.

I think it was about thirty years ago that a thoroughly disreputable person (not a friend) told me to never get vanity license plates. When another person I was with asked him why not he simply replied “Too easy to identify.” So I guess he had a point.

Takeaways:

In the 1930s having six small tattoos about your body was enough to make you a “tattooed man,” and most likely a sailor or ex-con. Today it just means you’re a guy with some ink.

True Crime Files

Plants vs. Zombies: Zomnibus Volume 1

Plants vs. Zombies: Zomnibus Volume 1

Sometime around about the year 2000 it became clear that videogames were taking over the movie business. You could say comic books were too, and in many ways it comes to the same thing. Lots of CGI and narratives structures built around the idea of progressing through various levels before facing off against a main bad guy at the end, then resetting or rebooting and doing the whole thing over again on an endless loop.

Plants vs. Zombies is a popular and very simple videogame that basically has the player using various weaponized plants to beat back an outbreak of zombies. Somehow they figured there was a comic book in there. And not just one book, but a whole series!

It’s all very bright and colourful, but as you could probably guess it’s spread pretty thin. A pair of eleven-year-old chums, Nate Timely and Patrice Blazing, team up with Patrice’s inventor-uncle Crazy Dave to stop the zombie army of Dr. Edgar Zomboss (he’s a doctor of thanatology) from taking over the town of Neighborville. Seeing as this is for kids there’s no real violence aside from the odd zombie limb falling off, and the day is always saved.

This “zomnibus” edition collects three story arcs, Lawnmageddon (an introduction to the basic storyline), Timepocalypse (using a time machine to collect various pieces of one of Dr. Zomboss’s evil inventions) and Bully for You (the best of the bunch, with a gang of college zombies getting revenge on Dr. Zomboss for having bullied them years earlier).

A comic for kids who would rather be playing a videogame doesn’t offer much for the rest of us. The standard zombie refrain of “brains” quickly gets tired, but not quite as quickly as Crazy Dave’s gibberish, which has to be translated throughout by Patrice. Meanwhile, the story just sort of jerks around with little in the way of connecting tissue between the various episodes, to the point where several times I had to check to see if any pages were missing. I guess it was worth sticking my head in the door, but it’s not a series I’ll be bothering with anymore.

Graphicalex