Guest_simfamUP_*
Then how can you like KLK? I wouldn't use either "smooth" or "coherent" to describe it.
Because KLK's pacing is steady through out the series. It doesn't stop one episode to decide it's going to be a 15 minute flashback nor does it go and hold back from its fast paste on the get go.
A movie/series can be slow from point a to b and still have great pacing, just as well as a fast movie can go from a to b without any problems. KLK is one of them. Now fast doesn't mean 'all out action' which you still seem to be confusing with what a fast pace is.
KLK transitions from one plot point to the other with no filler in between. It gives us the information we need to tie the pieces together and the motives of each character on the dot. It doesn't linger on one thing or another, it just moves on.
Even my favourite anime ever, FMA:B suffers from AoT's flashbacks, but it puts them all in the beginning to actually develop the characters. You don't put stuff like that in the middle of your story, which is what AoT did.
Pacing is subjective. Period.
What if I told you that I have absolutely NO problem with your example whatsoever? Maybe the entire point IS to break up the action scene. Maybe the contrast IS the point?
There is no such thing as "though must do this this way" and this is the ONLY was it should be done and must be done. I reject that notion utterly.
You cannot say that until you actually watch it. It's like me saying I'd have no problem in jumping from a to b until I actually get there.
Still.
I suppose you are correct with how pacing is subjective, or at least, to the extent on how it effects the entertainment value of the medium. A classic, Great Expectations, is one of the most boring books I've ever read because of its middle section. It has 19 chapters of little development in the story other than the day-to-day life of Pip the Plonk.
Regardless, it's considered as a classic.
But then again, so is Bleach and that has horrible pacing.
Subjective or objective my stance remains. Pacing is vital to the narrative, to have good pacing is key to how enjoyable a story is. I think this is why G.R.R Martin is one of those effortless reads because his pacing is great. He understands when to speed up or slow the story, he knows when to put in background information and when to let the characters do their own thing. He never goes off into a tangent and leaves you there thinking "when the hell am I going to get back to the main plot?"
Fight scenes, car chases and explosions have nothing to do with it. Pacing is the building blocks of narrative: suspense, dialogue, climax and development. If all the 'youngsters' were into that and that alone, how do you explain the immense popularity of Breaking Bad? That isn't about action at all.
And of course theatre isn't as popular today when there are plenty of other mediums to stand in its place. But plays are still read like novels and there are other things like manga and comic books that do a good job at it too. I'm still surprised that I haven't found out a manga/comic adaptations of great plays like Death of a Salesman or Streetcar named Desire.
P.S
Another fascinating example is the movie with Samuel L Jackson and Tommy Lee Jones called The Sunset Limited. It's not a film for everyone, since all it is is two men discussing the nature of God and atheism. Jackson saved Lee from committing suicide, takes him home and there they argue.
It's a slow film, of course, but it's a good case for great pacing because the conversation itself develops and sucks you in. They don't talk around in circles nor do they reminiscent about their past half way through. It's a tug of war between rationalism and spiritualism but there is never a point where both sides are at a moot point.
THAT'S the key to good dialogue, and that's all this film is. Dialogue.
Again, it's not for everyone, and so that supports your case on it being subjective as a base for entertainment. However, objectively it shows what pacing is really all about.
Retour en haut
Which reminds me...
