Elly is not so much a stand-in for LJ herself but Lynn expressing her anxiety over the threatening outer world and its ungroovy tendency to expose her to discomfort. The suffering and anxiety of others is always good for a chuckle, however. Witness Mira Sobinski, walking, talking ethnic joke and the cartoon ogre Kelpfroths.
John is Lynn expressing the forbidden and possibly evil emotions of doubt and introspection. (I mean, why ask questions when you already have the answers?) Michael is a stand-in for her seemingly infinite resentment at the minor inconveniences and disappointments the rest of us simply shrug off. Case in point: most of the plot lines since the early nineteen-nineties have been a transparent attempt on her part to edit events to her liking, simply because SHE doesn't aprove of the script as laid out by an infinitely greater author (Hint: the Artist who created her, you, me and the rest of the freakin' Universe. That's right kiddies, I think Lynnie is trying to blue-pencil GOD!!) I'll get to what her other child represents in my next post, but today I'd like to discuss what part of Lynn Elizabeth is: Elizabeth is Lynn when she's being an arrogant, self-absorbed swine. This hateful tendency eternally ricochets between two, count 'em, two manifestations: Cocksure Ignorance and Victimism. Ever since Nizziepoo could fill out a bra, she's being stringing Milborough menfolk along left, right and centre, all the while mewling about what a poor, misunderstood victim of male selfishness she is. This stems from her (read, Lynn's) belief that other people only exist to cater to her whims and must never subject her to even the least amount of discomfort. Is this moral? No, but the Lizardbreaths of this life haven't got much patience for morality that might subject THEM to inconvenience.
This also explains Johnston's disaffection for organised religion a lot more than the pervert in the vestry with the present in his pants. Even though she doesn't see it that way, her life has been one long exercise in psychically shoving people out of her way, yelling "MOVE! MOVE! MOVE!". The man on the cross, though, he don't play fair. When she was growing up, she read his words and figured out he was sayin' somethin' mean and cruel to her: "No, Lynn. *YOU* move."