![]() They talk to each other in the way that non-talkative people sometimes do: they leave important things unspoken, understated and assumed. Yang doesn't tell you directly that the boys have made up, but you can figure it out because of the way the dialogue between the two builds from near silence to Wei-Chen's takedown of the pearl milk tea. To which Jin responds: "'That'd be cool'" (9.124). Then Wei-Chen launches into a short critique of the terrible pearl milk tea at the restaurant, and he tells Jin that he'll take him to a better place in the future. The frames that do have dialogue don't have much dialogue (no more than a short sentence). In fact, out of the last twelve frames, five of the frames have no words at all (these pictures show Wei-Chen considering Jin's apology). Take the last four pages of the book for example: Jin and Wei-Chen are at a booth in a restaurant drinking pearl (or boba) milk tea. In this case, the dialogical and concise style work with Yang's pictures to create gaps in understanding that you-lucky you-get to fill in with your inferences. ![]() Ask your English teacher: there's always a larger meaning. And when we're not reading dialogue, we're hearing from a concise and understated voiceover narrator who, under the limitations of space, really can't have that many words in any given frame.īut just because space becomes a practical issue doesn't mean there isn't a larger meaning to these writing styles. Why? Because the book is a graphic novel and dialogue takes up the majority of the writing. These three words really only work together. ![]()
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