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Preloaders, learn how to use them.

Because this is totally the mature way to respond to negative critique.

You're pathetic.

Yes Eddache, "It's too short" is, indeed, a legitimate complaint. By all means, this should have a lower score for just that exact reason. If the prospect of someone complaining about the lackluster qualities in your movie are enough to scare you off then you're a massive puss. Ericho's review was fair & kind & you regurgitated it as if he kicked you in the balls. I'd hate to see how you'd respond to truly negative critique, which is what I'm about to give to you now:

#1: The animation and artwork are shitty.

First & foremost, why do your characters only ever have three fingers when it's widely known that three fingers is not a stylistic choice of studio produced content but rather a budget cut? Your movies aren't dependent on a budget at all, you make them on your own & in your spare time, that means you don't have to answer to anyone nor do you have an actual deadline, which means that taking such a shortcut is nonsensical & fucking stupid.

Furthermore, why is it that whenever your characters clench their hands into fists they always cup their thumbs underneath their other four fingers? Hell, they even punch other people with their hands clenched like that even though in reality it would break their thumbs; the thumb is supposed to curve over the other four fingers, not under. Hell, that's something that people learn when they're in Kindergarten.

It appears as though you don't even know how to properly use Flash. If you do, then why is that freshly opened soda can bent to shit? Oh wait, I see, you didn't use the Oval tool to create the top of the can with with but rather the paint brush tool, the amateur's animation tool. And are you really so lame as to use a white to transparent radiant gradient to simulate light? I guess you had to, after all the shading on the characters face suggests that light is coming in from behind him rather from the monitor, despite the fact that the monitor is clearly the only light source in the room. I'm not even saying that the use of gradients is the problem, it's how they're being applied that blows; perhaps if you used a linear white to transparent gradient to convey the light beaming at him rather than this miniature star lookin' shit clamped between the monitor and the character's face, then it might be fine. But no, wait, then we'd still have to problem of the nonsensical shading to contend with.

Oh, and motion tweening? Really? It would have taken you only three frames of frame by frame animation to convey him extending his arm forward, but not only that, the way it's done suggests that his forearm is twisted at a 360 angle because it's origin point is jabbing half way into his arm. The monitor stand suggests that we're seeing the monitor from directly behind the screen, but to the right it's angled to look it's facing the character, so which is it? Don't tell me that this guy just has a fucked up monitor that's curved into a hump, that's obviously not what you're trying to convey here. Learn some perspective.

#2: The programming is lame and uninspired.

It's becoming more & more accepted by this point that, unless you're using copyrighted content in your video, if the author doesn't have either CPM Star ads or the NG API ads installed into their movie that the author is relatively ghetto in terms of understanding the absolute basics of action script, even despite the fact that the NG API comes with instructions on how to install it. If you don't care to make a legitimate attempt then why should I care to be nice? There are no controls for operating the movie, that is to say for pausing, rewinding, fast fowarding, returning to the menu ect. Hell, even I program keyboard commands in some of my shittier Flash submissions and I'm regarded as one of the shittiest authors on this site. At least you have a preloader set up, but I wouldn't be surprised if that were an uphill struggle for you to pull off with all things considered.

#3: Inb4

Before you try to retort my critique by critiquing my content, please note that ad hominems do not a solid argument make.

Eh...

The concept of humanizing a zombie is intriguing, but I find that all the good ideas and dynamics are quickly overpowered by the negative aspects. For one thing, you're not truly humanizing a zombie, you're just conditioning it's mood so that it doesn't feel like eating human flesh; should it's mood level drop by 1%, it'll start eating human flesh again. That's not humanization, it's not even conditioning it to perform specific commands, you're just making it not feel like eating people by keeping it completely satisfied; you're not actually teaching it to resist temptation because you're just removing the temptation aspect itself.

Humanizing a zombie would look more like hand and eye coordination exercises because you're trying to jog it's cognitive faculties so that it can begin to grasp moral concepts, not just handing it shit and hope that it associates it with an emotion; that might get it to develop affection for that particular object, but not affection with anything else, not that cross association is even an availability anyway; it would be difficult to get it to associate a specific object with an emotion to begin with mainly because this dynamic of associating emotions with moral standing relies on the flimsy assumption that the test subject might have a vague idea and/or memory of what the object even is because it very well may not even have the mental power to recognize the object to begin with considering how it's brain died periodically and was reanimated.

The game's dynamic isn't based around challenge, so once you've seen most of the basic reactions, the game starts to lose it's only entertaining quality, variety, and it becomes banal busy work because you're whole objective is to ascertain reactions based on emotional, physical and mental status' and most of your time is spent altering those aspects by abusing a single item until you're either penalized for it or you reach your target percentage. Soon the amount of busy work starts to outweigh the quantity of new reactions and the game goes from being interesting and entertaining and it escalates into becoming boring, tedious, banal and eventually vapid.

The only challenge aspect that ever comes into play is when you have to impress your commanding officer with a specimen you've trained, which if you've done all the busy work by this point, this point in the game should not be a problem regardless of what quality of specimen you're using.

I also agree with DiMono, I hate how the game has no true conclusion. You kill off the remainder of the surviving party and continue your research; what have you accomplished? Sure you avoided death but at least dying would be something. Continuing to perform tedious tasks repeatedly is nothing because you've already explored every possible reaction you could trigger, meaning that there are no new surprises to be had; without being able to advance forward in research, research ceases to have a point and so does the game. There's no closure to be had so there's ultimately no satisfaction in playing the game. It's not even an open ending where you can guess what happens to him next; the game never ends; we can't guess what he's gonna do next because we still control him and all there is to do in-game is to test more and more zombies and hit the wall of limitations constantly. The ending is not open because there is no ending to be had at all.

I really, really hate the animation; it's all motion tweened. Who animated the animatics in this game? Was it SickDeathFiend? It looks like his artwork; if so, then I'm severely disappointed because I thought he was starting to ween away from motion tweening and going with FxF animation.

Between the motion tweening, the sheer constant ongoing, time consuming busy work and shit for closure, this makes for a game with a lot of potential but with little substance and for what substance there is, the designer took something that ultimately should have only been a 30 minute game and dragged it out as far as he could.

All Achievements

DAILY DRIVER: Drive into / shoot a civilian on a segway.

TRUCKSTOPPER: Destroy an armored truck [the round boss.]

ATHEIST: When Jesus appears & summons zombies, dodge every zombie on the field and never hit a single one.

UNDERTAKER: When Jesus appears & summons zombies, ram your car into every zombie on the road; no it doesn't matter if one manages to hop onto the car and attack Deimos, that one also counts, provided you knock it off the hood of the car at some point.

SHARPSHOOTER: An "Unstoppable" kill combo requires you to kill off all of the agents on the road in one sweep; there cannot be any stragglers left behind by the time a new swarm of agents appear to attack you. You need to score this combo while using and only ever using the pistol; you won't score this achievement if you swap off from using the automatic rifle with the pistol during a sweep. Do not fret if you miss one agent before a new swarm appears, if you kill off the straggler in addition to the new swarm, you'll score this achievement. If you actually make a serious attempt at getting the Improbability Drive achievement, the Sharpshooter achievement is essentially a package deal in conjunction to that; you'll eventually get it without really trying by that point.

IMPROBABILITY DRIVE: This achievement basically requires you to beat the game, that means I have to write a strategy guide detailing the games entirety.

In order to score this achievement, you have to disregard all of the other achievements, because by this point they serve as nothing more than distractions that'll eventually sap your health to nothing by the time you reach the 6th round. This means that you have to disregard; hitting civilians, dodging/hitting zombies or getting an unstoppable kill combo with the pistol.

You'll also have to learn to neglect targeting anyone, don't concentrate on one agent and stalk it until it dies; this is a good way to get other agents to jump onto the car and beat dents into it, or worse, fire bullets at it. Whoever's in front of you is in front of you; no exceptions, not even with the armored vans.

The reason why is because you'll need to pay the majority of your attention to dodging zombies, parachuting agents, agents leaping off of their bikes, agents leaping out at you from the back of armored vans, boulders, road blocks, yellow barrels & bullets.

Dodging parachuting agents is somewhat tricky, but remember, just as long as their parachutes are attached, you can pass under them freely without trouble. However, the point in which they detach their parachutes & begin free falling is the point in which you need to avoid them like the plague.

The Zombies are less trouble because they really don't do anything harmful beyond disabling Deimos' ability to shoot. As long as you don't directly drive into them, they'll either pass by or catapult into the far distance. But should the Y axis of the car align with the Y axis of the zombie, prepare to shake your mouse vertically.

If you get a more powerful gun such as the shotgun or the grenade launcher, don't waste it frivolously on the regular red agents, use it sparingly on either the A.T.P. agents or the armored vans. The red agents can be knocked off simply by ramming into their ass ends or by driving into their sides [X axis] until they collide with the wall/pit. The A.T.P. agents however, cannot be killed off so easily; although they really don't pose much of a threat until they align with the car's X axis, they cannot be killed unless you use a fire arm. Avoid using shotguns, automatics and grenade launchers on them as much as possible when the armored van appears on your meter at the top left, because when they do finally appear, they're a bitch to kill and they make it harder for you to survive by either opening fire on you, throwing red agents at you or by dropping explosive barrels onto the road.

REVIEW: My only real complaint is how much longer the rounds get as you progress, which would be fine if there was save points or checkpoints, but I'm expected to beat all 10 in just one sitting. BS.

It was helpful.

But I noticed that when the enemy dies and if you keep shooting at his transparent body it jumps back to the first frame detailing his death scene. I figure that after he's shot and fades away he should be gone forever. Now I know based on the action script examples you provided that there's a way to bring Movie Clip symbols into frame by clicking or via the bullet holes that generate when you click down, then surely there's got to be a way to get the Move Clip symbol of the enemy to go away after it reaches the end frame of his death scene.

I love this song

But you're not Tomoya Ohtani or Hunnid-P. It's not like it's even understandable considering how there's thousands of download sites where I can get this song and this is not the only place to obtain it.

I really wish that you were the one who composed this song, which would mean that you'd probably have the power to remove Hunnid-P's terrible lyrics.

I hold nothing against Hunnid-P, I love his lyrics in "Space Trip Steps", but I really just whish I could find copies of these songs where it's just Tomoya Ohtani's instrumental work alone, as in, without Hunnid-P, so I could listen to it without hearing these obnoxious, ridiculous, headache inducing lyrics.

I'm going to give you a ten anyway despite the fact that this was stolen just to give proper respect to Tomoya Ohtani.

Interesting.

Reminds me alot of The Nightmare Before Christmas.

This would suit Freddy Krueger well actually, I think I'll use this theme.

I dunno what this is but...

It reminds me of somthing Pink Floyd might do. Just for it's strangly distorted approach, props.

Do like

Yes.

Meh.

Lots wrong with this one. I believe that art is a craft and should have a good amount of time invested into it, not just 40 minutes because now it's rife with flaws.

For example, her right hand has five fingers, one index, one ring finger, one pinky and two middle fingers. That's fucked up. Not to mention that her rib cage is pulling a 180 degree turn and as a result her hips and ass don't connect properly together as they're both in completely different positions, as if you drew both half's at different perspectives, spliced them together and used her left arm as a method to cover up the inconsistency. Her index finger on her right hand is also drawn at a different angle than the rest of her hand, pretty obvious that it's actually an add on and not a part of the original sketch. In before you use the excuse that's shes a ghost and therefore can bend her body beyond any given physical limitations conceivable to human anatomy.

The outlining is shaky and rife with inconsistency, making the characters proportions jarring and incomplete looking. I think there's an overemphasis on coloring rather than the actual artwork here. It appears as though you're using Fireworks or Photoshop or Illustrator for your artwork, for the sake of cram art I'd recommend using Flash as opposed to the former, it has a much cleaner and less complicated interface than Photoshop.

Once you get down to all the flaws, the piece really ceases to be sexy.

Proportions are all fucked up.

I know that people are pretty impressed simply because of the stylization of the artwork, the gradient shading and all that. But I certainly am not.

Her right arm is long enough for her hand to reach her knees. I don't mean in the position she's in, I mean even if she stood up her hand could reach her knees without having to bend her body to do so while her left arm, the arm that should seem bigger by comparison because it's closer to the viewer, is perfectly proportionate with her body.

Her hips are weird, they gouge out as if you drew her upper body separate from her lower body and then pasted them together; they bend at two different angles. If you remove her upper body from her lower body, the uncompleted artwork of her lower body would imply that the rest of the character is supposed to be leaning forward, not back. Apparently her ilium/pubis can mirror the position of the rib cage.