howtheduck (howtheduck) wrote in binky_betsy,
howtheduck
howtheduck
binky_betsy

Friday, May 12

Panel 1: Please note, the last time a Patterson said “Thanks” to Lovey was in 2003. Almost 3 years later, it finally happens again, but Elly is the one who has to say it. The moral of the story is: Don’t use Pattersons as example of good manners.

This panel is an interesting contrast in perspectives. It looks like Elly is sitting in a rocking chair next to a china cabinet with a vase on top of it. The last time we saw this room was just last Sunday, and that is where the rocking chair is placed. The proportion of Elly’s body relative to Robin’s and Lovey’s encourages this perspective. However, a careful examination of the panel shows there is a wall obscuring the view of the china cabinet, which means the cabinet is behind that wall. We’ll call it wall #1. Elly’s feet are on the floor in front of wall #1, so she is not actually sitting next to the china cabinet, but in front of wall #1. There is yet another wall behind Elly, judging from the wood paneling toward the ceiling behind Elly, and the china cabinet is in front of that wall. We’ll call it wall #2. Behind wall #2 to Elly’s right is one more wall. We’ll call it wall #3. It is presumably very far back, since the wood paneling where it hits the ceiling is about even with Elly’s head from our perspective. Here’s the interesting part. Wall #3 hits the floor at a point lower in the panel than the point where wall #1 hits the floor. So just looking at where the walls hit the floor, the farthermost wall appears closer than the closest wall. If we add Elly into this mix, then based on her legs and feet placement, she is closer, but based on her tiny head and torso, she is farther away. M.C. Escher would be so proud of this panel. It just makes me dizzy.

Panel 2: This is what I call the placement shot, where we see the outside, so we know where we are on the inside, and it also serves the purpose of obscuring action going on in the scene which we do not want to see. First look at the original first appearance of the houses with Weed and Carleen’s place noted. 3 windows to the right (or 1 attic window to the right) is Mike and Dee’s place. You can see it more clearly in this strip from last October. So, we know that the action is occurring at Mike and Dee’s. This is pretty obvious considering Elly is there with Robin, so the real question is: What action was being obscured? Let’s look at the next panels for clues.

Panel 3: Elly must have read my analysis of panel 1 and decided to move in right on top of Lovey and her second head, which is growing off the left side of her chin. Please note the following clues:
1. Lovey is now drinking out of her coffee cup and not playing with Robin.
2. Lovey only mentions her “good” tenants by the names of the men. No Carleen, no Deanna, no Merrie and in particular, no Robin (despite his maleness). They are clearly rated by Lovey somewhere in between the “good” Mike and Weed to the “pain”-inducing downstairs neighbours.

Panel 4: Some more clues to what was obscured in panel 2. Please note the following things:
1. Lovey’s skirt, which was nicely below her knee in panel 1, is now well above her knee.
2. Baby Robin is taking his girl doll by the back of the head and pushing the doll head down to bend it over the coffee table, so the girl doll’s dolly backside is heading directly toward Robin’s frontal diaper area. I wonder where he learned that trick.

Given where Robin was headed in panel 1, and the clues in panels 3 and 4, it is pretty obvious what our naughty Robin was up to with Lovey, which was obscured in panel 2. Lovey must have changed his diaper and the perspective was changed out of modesty for Robin. It’s so obvious, and so practical too.

Panel 5: Elly has a surprised look on her face as she stands in front of the ceiling leading into wall #3 and realizes that Lovey has gotten the final pun of the strip 2 days in a row. Either that or Elly is thinking, “Holy moley” as she gets a close up look of Lovey’s face. I know that is what I was thinking.

Elly is shockingly quick to go to eviction as a suggestion. Not much of a negotiator, is she? But the real question is: Why can’t Lovey evict? Back in October , she said the eviction notice was for smoking on the property and damage to the building and the solution was the Kelpfroth’s “butting out” and fixing their ceiling. I know Deanna’s monthly letters have said that they haven’t “butted out” so I would think Lovey would have grounds for eviction. However, if I am just reading the strip and not the monthly letters, then at this point I am thinking, “7 months later, the Kelpfroths are still in their apartment, so they must have complied with the complaints of the eviction notice.” Lovey’s objection to the Kelpfroths then has to be that they got mad when Robin was crying at night or when the Kelpfroth’s hit their ceiling during the Sobinski’s visit last January due to Robin beating a pan on the floor like a drum. We have seen no evidence of ceiling hitting during the entire Robin sick and crying sequence this week. It’s all moot anyway. Robin will be choking and lying close to death in Kelpfroth smoke by tomorrow.
Tags: elly supermom, howtheduck, kelpfroths, lovey, patterspawn, previous strips
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  • 39 comments

  • Sunday, January 27

    "An'"s: Two. "Quotes": One. Panel 1: Merrie says "cool," which I find surprising; she seems more like a Precious Moments kid. Her face is exactly…

  • Sunday, January 6

    Panel 1: Freakishly Advanced Merrie (not to be confused with Freakishly Advanced Francie or Scarily Regressed Robin) plays with her kid-bling.…

  • Monday, December 24

    Panel 1: Oh lord. Oh lord almighty. Where is Lynn going with this. Is this because they think of April as a child? Or is she seen as a quasi-adult…