▁Pérez , ▁this ▁is ▁a ▁challenge ▁to ▁readers ▁to ▁understand ▁the ▁characters . ▁ ▁In ▁the ▁append ix ▁to ▁the ▁" New ▁Def init ive ▁Edition ", ▁Brown ▁decl ares ▁the ▁dialog ue ▁is ▁filtered ▁through ▁his ▁memory ▁and ▁likely ▁did ▁not ▁occur ▁as ▁recorded , ▁and ▁that ▁locations ▁and ▁other ▁details ▁are ▁also ▁subject ▁to ▁la ps es ▁of ▁memory . ▁ ▁To ▁academic ▁Elisabeth ▁El ▁Re fa ie ▁this ▁trans par ency ▁on ▁Brown ' s ▁part ▁is ▁" a ▁deeper ▁and ▁more ▁s inc ere ▁form ▁of ▁authentic ity ". ▁ ▁Rev iewer ▁C .   Max ▁M age e ▁found ▁the ▁tone ▁of ▁awk ward ness ▁and ▁emot ional ▁em pt iness ▁compar able ▁to ▁works ▁by ▁contempor aries ▁such ▁as ▁Daniel ▁C low es ▁and ▁Chris ▁W are . ▁ ▁The ▁story ▁unf olds ▁in ▁v ign ettes , ▁with ▁little ▁setup ▁or ▁context ▁given ▁to ▁any ▁scene . ▁To ▁Hat field , ▁they ▁"[ pop ] ▁out ▁of ▁now here ▁as ▁a ▁dream like ▁series ▁of ▁p uls es   ... ▁The ▁effect ▁is ▁sometimes ▁eer ie   ... ▁despite ▁the ▁ground ing ▁of ▁the ▁story ▁in ▁m und ane ▁every day ▁stuff ." ▁ ▁Un like ▁in ▁his ▁previous ▁graph ic ▁novel , ▁The ▁Play boy , ▁Brown ▁makes ▁limited ▁use ▁of ▁a ▁narr ator ▁in ▁I ▁Never ▁L ik ed ▁You . ▁ ▁The ▁story ▁is ▁told ▁almost ▁entirely ▁through ▁its ▁pictures ▁and ▁sparse ▁dialog ue . ▁ ▁The ▁page ▁layout s ▁are ▁also ▁sparse