Hills like White Elephants
I admired Hemmingway’s ability to imply a lot about the characters, their circumstances and their lopsided relationship almost entirely from dialogue. Lines such as “Oh, yes. But I don’t care about me. And I’ll do it and then everything will be fine” (Hemmingway 231) give a strong sense of the girl’s sense of inferiority to the American and shows how she is disgusted with herself. The situation in question seems to be an abortion (I wasn’t sure, so I googled it). If this is the case, then the “hills” may be there to suggest the purity of the baby. What makes the dialogue so potent is that there is little description or action, thus forcing us to concentrate solely on the interactions between the two characters. Using similar techniques, such as hesitation, commands and avoidance of the subject should help give life to the next project. I could try using a minimalist interface and/or color palette in order to achieve the same effect Hemmingway did with the lack of description.
Chapter 3: Face
What I was most interested in this chapter was the way that we use expressions as visual clues to learn about the world. I wonder what would happen in a society in which no one could make expressions, and to what degree it would make learning things more difficult. In Sequential Narrative, I presented designs of birds, and someone mentioned the unsettling effect that animals are given some human characteristics (such as speech, sentience) but not given others (such as facial features). I was also interested in the way that games like Windwaker create positive feelings in the player by repeating positive facial expressions and minimizing negative ones.
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