[transcript of a conversation]
G: Anna, you’ve been looking over my shoulder at this strip for a while. What’s your take on how things stand?
A: Frankly, George, I just don’t get why Jules is slacking off and padding the story with this repetition and irrelevant actions. Is it supposed to be a soap opera? After the bees, Rivera again links Cherry into Mark’s zebra mussel storyline. But it depends upon a very minor issue with no immediate danger. And it seems to be wrapping up today. Yesterday you wrote that Mark was over-acting like a soldier in battle calling for air support, or whatever. Panel two certainly looks like that. Why is he so animated?
G: Hmm, I get that. Maybe the connection is bad and he has to yell?
A: I think Cherry is clearly smart enough to keep her knuckle-dragging husband at phone length so she can communicate directly with Violet in a way only women can comprehend. Mark would probably show up with a shovel.
G: Hey, no fair! And Mark’s arms don’t go that far down. He’s just passionate and highly engaged in his work, as you know.
A: Sure. If it was the other way around, you’d write that Cherry was being excitable and hyperbolic.
G: Okay, okay. So what about the art? Why does Violet’s face keep changing? Why is the hat yellow in panel 1 and purple again in panel 4?
A: Why ask me? I’m not Jules Rivera and I’m not someone vain enough to post personal reactions on a comic strip, as if you were composing essays for Harper’s. Do other people really read this stuff?
G: Oh, look at the time! The NewsHour is almost on, so I’ll let you go. Thanks for your input, Anna.