The Passion of The Christ. I'm not quite sure what to make of Mel Gibson's latest directorial effort, a two-hour focus on the final moments of Jesus of Nazareth. It was...nice. There's some tried-and-tested Hollywood touches that added interest to this timeless story, (When was the last time you saw CG and cinematographic effects in a Jesus movie?) and the use of Latin and Aramaic lent a lot to the realism and atmosphere. The much-talked about inhuman punishment inflicted on Jesus is... well, you have to watch it. I must admit it was difficult to sit through it all, which may perhaps be the intention of Gibson. As a whole, though, there was something about the experience and the film that wasn't quite right, like pancake batter that's lumpy despite its sweet taste. The Passion of the Christ may find its place as one of the most important Catholic films ever made, and it's already broken into the top ten all-time US box office list, but you have to be in a certain zone to get to the heart of it. Oh, and please do not believe the PG13 rating.
How To Pace Comics
We took a peek at compression and decompression in comics in the previous blog post . Now, let's look at pacing, or how to pace comics. Pacing is simply how fast a reader reads your comics. Much like compression and decompression, pacing allows you to highlight pivotal events in your story. And this is primarily done by influencing how long your reader stays on a panel. The longer the reader stays on the panel, the reading place slows down. The faster the reader stays on a panel, the reading pace speeds up. 1. By default, the amount of text you place on a panel dictates pacing. The more text, the slower the pace. Chris Claremont is known for having verbose panels during his acclaimed run on Uncanny X-Men . 2. When the size of the panel is small, the pacing quickens. Conversely, large panels slow down the pacing. 3. Then the amount of visual information (details) you have inside a panel dictates pacing. The more visual information, or the more a reader has to look at, the
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