Hemingway: An Experiment in Structure and Form.

I was reading a Will Eiser book on graphic story telling and visual narrative and i came across a bit where he talks about the structural difference between comic books and the pannel strips in newspapers. Where comic books have resolutions most of the time. Told like conventional stories or film narratives. Panels could be seen to be most representational of real life. Each strip leeds onto the one next, so there is no closure in the way that comic books do.
I've always liked the idea of doing comic books with no real resolution and just a glimpse into some characters lives. How they live, what they do on a dy to day existence. To be more like life.

Another thing i found interesting in the previously mentioned book, was about the famous Ernest Hemingway idea of the shortest possible story.
The story is:
'For Sale. Baby Shoes. Never Used.'
It's clever because this is all the information you need to let the reader do the rest. It's easier to understand the narrative that could be surrounding these words.
Eisner says 'It would not be hard to write a larger story around this core. The power of this story lies in the skill with which the selection of the "touchstone" points are made. They co-opt the reader and immerse him or her in a sea of memory and experience. Cleverly, it forces the reader to "write" the story.'

He then goes on to provide a three pannel visual to evoke a setting. This gave me an idea of trying my own version of this using the same methods.

My story is simply:
'Flat for let. Haste needed.'

I to provide some visuals...

It would also be an interesting experiment in form to do the some story in different ways. Like as a whole page.
I drew a small thumbnail of how this could work...

Paths to the Absolute.

Famous abstract painter, Kandinsky, once asked himself 'Speaking of the hidden by means of the hidden. Is this not content?' regarding the point of symbolism. When we view his painting we are 'simultaneously looking at what it is concealing. veiling'. (Golding, 2000: p82)

Applied:
What is more prominent in the narrative in terms of emotion or subject matter.
You know it's symbolism so you are looking for meaning in what is hidden/not shown. Aware of looking for what is hidden for meaning. Strange to hide something that you then know the point will be to look for it...

'Kandinsky...achieved abstraction through the proliferation of imagery, through endowing his pictures with such a multiplicity of images that eventually one image cancels out another and the canvus surface becomes a single, throbbing whole.' (Golding, 2000: p83)

For this picture i used the same codes and shapes that i had come up with for the rest of these related pictures. Red scribbly anger, the orange triangle cat, the dead triangle cat with the sign of death. The blue-ness-overwhelming sadness the comic has to it's theme. The murky confusion in the middle and the smaller orange triangles where the cat is recurrently thought about throughout the narrative. The white running through it is the distraction about the freezer defrosting...


The video to the below is anger turning to confusing. Anger is represented in this case as an imposing red square, while confusion is a swirling murky mess.
By filming this moment, the transition becomes the story. An interesting thought in the way of the form of storytelling.