Alan Bolte wrote:Yesss...but it sometimes helps to examine the matter without fully suspending disbelief. One must be careful not to misinterpret patterns, their cause is not always the simplest known correllation. Besides, it never hurts to have more data points.
As Wong says above, it's really more about if you want to take it literally or just call it a movie. If you fudge around inbetween and say this image is to be taken as literal but that one is not literal, and they're all on screen sharing the same space, then you come into problems. For the purposes of discussing the effects they seem to have in movies, therefore, you need to take them all literally or all not.
Otherwise the movie evidence is irrelevant, since you're tossing out the anomolies anyway. It's not precise, and it may lead to odd conclusions, but it's similar to having a character with a handgun that is pictured shooting a beam of energy straight through a ship. If you were to analyze the properies of such a gun you'd be forced to accept that it is something insanely powerful, regardless of all of the intent and context clues, or ignore the only time the device is used and assume it's something else. One is writing logic around a phenomenon, the other is rewriting the phenomenon itself. Tossing it out becomes especially problematic if it's exhibited as often as the time of damage and time of impact discrepancy, the odd way they interact with lightsabers, and the exotic beam weapon firing mechanism employed by the death star.
If you do that you might as well toss it out completely.
So while normally I'm all for looking for a variety of explinations for things and not making any serious attempt at shoehorning it into reality, if you -do- wish to find a way for it to fit, it should at least fit all the available indisputable canon. Analyzing newer SFX is good, since it not only allows for several technical and budgetary limitations to be removed--such as letting them do CG graphics instead of models, something a Sci-Fi novel does not have to work within to explain it's fiction--but it also gives them a chance to go back and correct errors.
If the "visible portion slower than real portion" effect consistantly holds throughout a DVD or Film copy of the newer movies and special edition originals, then it's still canon enough to merit debate. If it's been removed as an artifact of ILM's imperfect syncing system (or done intentionally for various practical reasons not germane to the discussion) then going back and re-analyzing it might be in order. It would be a retcon.
I hope that all made sense. I'm trying to offer the opinion that it's important to consider it literal, or figuritive, but not both at once,
without trying to sound like I do take it seriously. In this case I don't, which is why I offered my colorful explination on Wednesday rather than strictly adhere to well-covered ground.