dreadedcandiru2 (dreadedcandiru2) wrote in binky_betsy,

The Podcast for 25 October 2011

Given that we had another installment of the "Please, Please, Pleeeeeeeeeeeease Love Anthony" show last week, I'm expecting her to tell us to either please hate Thérèse or Mira or please stop thinking that April got treated like shit during the Housening this week. 

It's actually five minutes and change telling us about how Lynn's process of creating the strip has supposedly changed through the years; since the only addition to "Never erase, never proofread, stick in buttcracks to screw with the editors" is the means by which it's colored, we could have had a two-minute long one.

As the video letter begins, we find ourselves in Lynn's kitchen; she introduces a local businessnman named Scott Clark who does the interviews for the podcasts so we can see who she's been talking to this past year. Mr Clark  reminds her that there have been a lot of questions about storylines and characters but now we're going to learn a little bit more about the process. (This, of course, means that Lynn doesn't want to answer any more annoying questions about what happened to the characters after the Settlenuptuals or how a lot of people think that April got shafted during the Housening.)

Lynn starts in with her stupid analogy about weird fantasy capsules wherein she can cocoon herself away from inconvenient truths that she needs to escape from before gushing about how she creates by sitting on her couch and going into a sort of trance wherein the Gods of Creativity can give her her super-extra-special inspiration that is so very, very rare. Upon sitting on her Magic Couch Wherein Her Muse Doth Visit Her, she takes two pads of paper out of a satchel and allows as how that's how she comes up with the dialogue. (Given the number of strips wherein the dialogue only makes sense if you assume that she came up with the punchline first and made a ham-fisted attempt to work backwards, she's just told her friend a flat-out lie.) She then talks about the features of her writing bag before talking about the calendar on which she coordinated the weekly strips; Clark's comment about how good an idea having that is so that she can meet her deadlines even if the Gods are stiffing her elicits another gobbet of arm-flailing Schulz-worship and blathering about being in a zone.

She starts talking about the art by brandishing a copy of The "I've Got One More Washload" Blues
 and admitting that she had forgotten what her characters used to look like; since Mr Clark is a good sport, he doesn't ask inconvenient questions about model sheets or keeping coherent records. What he does do is indluge her balthering about how big a rush she gets from barely meeting her deadlines. She ends the piece by inviting him to see where she drew the strip.

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