STORY LOOP FURRY PORN GAMES C SERVICES [?] [R] RND POPULAR | Archived flashes: 228126 |
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This is the info page for Flash #19366 |
Make Business |
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start film |
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make business introduce yourself |
make business introduce yourself |
make business introduce yourself |
make business greet the boss |
make business greet the boss |
make business make a phone call |
make business make a phone call |
make business meet in the corridor |
make business meet in the corridor |
make business talk business |
make business talk business |
make business say good-bye |
make business say good-bye |
make business leave the building |
make business leave the building |
good evening. |
continue film |
repeat film |
repeat film |
repeat film |
I am Mr.Yoshida from the 'NARC' company. |
Please take my name card. |
I am Mr.Osaka from the 'Sapporo' company. |
so you are the project leader? |
I am glad to meet you. |
I am delighted to meet you. |
view name card |
please follow me this way. |
make business greet the boss |
good evening. |
I am Mr.Yoshida from the 'NARC' Company. |
mr.fukuda. |
i AM VERY DELIGHTED TO BE ABLE TO MEET YOU TODAY. |
this is my name card. |
I am Mr.Suzuki. |
so you are from the 'wheat Breeding Laboratory'? |
make business make a phone call |
make business meet in the corridor |
hello. |
make business talk business |
Please sit down. |
view other seating rules |
thank you for coming here today although you are really busy. |
thank you very much. |
well, the topic of my speech is 'wheat'. |
oh, really? |
that's true! |
is that so? |
thank you for listening to my speech so carefully. |
thank you for your interesting speech. |
make business say good-bye |
Please excuse us for having to leave now. |
you are surely tired. |
thanks for your effort. |
Please excuse me. |
make business leave the building |
end of film |
ActionScript [AS1/AS2]
Frame 1stop(); scrollableText = "The Japanese have a very special definition of what it means to be a businessman. As big cities such as Tokyo are very modern and advanced, Western people often think that the Japanese behaviour has adapted to the Western style. Ways of communicating and defining one's position in a Japanese company, however, are completely different to Western definitions as they are very much based on traditional Confucian and Buddhist values. A foreign businessman or woman who wishes to work in Japan therefore needs to be aware of and adapt to its basic principles if he wishes the business relationship to lead to a successful outcome.\r\rThe social structures prevailing in Japanese companies are extremely tight. In addition, the most important virtue is the striving for mutual harmony. In the company, the Japanese do not consider themselves as individuals but rather as a tiny part of a whole social system and they are very eager to look after the professional and personal duties that lead to the fulfilment of a perfect harmony. Defining themselves as part of a group does not make them feel unimportant, but rather comfortable and sheltered.\r\rIn fact, employers do provide shelter as are very concerned about the professional and personal situation of each and every single company member, which makes everybody feel as if they are part of a big family (in fact, the company is mostly considered as important as the employee's own family). Young graduates are being introduced by their university to the company where they start working, which, at the same time, is the company by which they will get promoted and where they will retire from. If you work in a traditional Japanese company it means that you have to be faithful to it all life long. Taking holidays is therefore considered as disloyal, especially when the break lasts longer than one week. A Japanese business man would never pretend to be ill in order to take a holiday.\r\rThe employer and the colleagues, who excessively care about each other's feelings and are very concerned not to let anybody down, offer lots of help in professional and personal life. They provide financial and personal support when it comes to wedding parties, the birth of a child, retirement, the suffering of personal loss or the death of a family member. It is quite common for businessmen to attend and help organize these events. If a young businessman is still unmarried, sometimes an employer tries to find him a wife.\r\rIf an employee makes a crucial mistake, instead of firing him, the whole company bears the consequences. However, as the social pressure of having to fulfil one's duty is very high, there have been cases when unsuccessful employees have committed suicide because they were feeling ashamed for having disappointed the whole company.\r\rThe Japanese very much distinguish between the inside ('uchi') and the outside ('soto'). They feel deeply obliged to members of the 'uchi' (family members, colleagues and close friends, people who's social rank is higher), whereas people belonging to the 'soto' are commonly ignored and treated without any personal commitment. Only somebody introduced by a person who already is part of the group is able to be considered part of the 'uchi'. This is the reason why Japanese often prefer to stay in their own group instead of establishing new contacts with somebody they do not refer to in any point. The relationship between people belonging to the 'uchi' is based on mutual trust and understanding. It is very important to try not to hurt anybody's feelings.\r\rThe feeling of being sheltered is more important than the urge to be individualistic and strive for your own goals. Decisions are never made without consulting every member of a company. People who just do as they please and who do not consider the company's but their own success in the first place, are considered immature. They are being looked down upon or even ignored and excluded from the group. Modesty and retention are the highest principles and if you obey them, you will be offered support and understanding.\r\rAlthough everybody treats each other with respect and sensitivity, there is a clear hierarchy. A person belonging to a high rank does not have to be too polite to the one belonging to a lower rank, whereas a person with a low rank has to pay close attention of what to say and which words to use. Due to Confucian influence, an employee never questions his employer. People of lower social rank are very considerate to listen to their superior's suggestions and support, as the mutual understanding is based on a teacher-scholar-principle.\r\rInfluenced by western models and reinforced by the recent change of the Japanese economy, some businessmen and women from the younger generation refuse to work at companies which demand highly personal obligations. This process, however has just come into being and it will take a lot of time to change these social structures that are so closely liked to the virtues of the Japanese society and religion.\r\rPaying attention to social obligations is extremely important if you want to work in a Japanese company. There are many books informing western as well as Japanese beginners about how to properly behave. If you are a foreigner, do not try to be individualistic or to impress anybody with your personal strengths, as otherwise you will get looked down upon and the chances for a good business relationship will vanish.";Frame 82stop(); scrollableText = "The Japanese are not fond of spontaneity and they do not like the idea of meeting somebody completely unknown. If there is no familiar connection between you and the company, the Japanese will not consider you as part of the 'uchi', the own group, and will not be willed to cooperate with you. The Japanese rely on a very tight and refined social network and the only possibility to be part of it is by being introduced by somebody who is linked to the company in some way.\r\rTherefore, if you want to establish a business contact with a Japanese company, it is needless to write a letter introducing yourself. You should rather look for somebody you know who might be familiar with one of the company members. If you are a foreigner and there is no connection whatsoever, try to arrange a meeting by asking the consul of your country situated in Japan to make a phone call to the company.\r\rDo not arrange a meeting short hand and do not arrange it for the morning hours. Always be punctual.\r\rWhen making a business call, wear a navy or dark grey business suit of fine tailoring and a dark neck tie. Never wear short trousers and avoid black, as it is associated with funerals.\r\rIf you are a woman, wear a navy, grey, green, brown or dark purple suit and skirt and a high-collared white, cream, pinstriped or conservatively patterned blouse. Do not wear shoes with high heels or open toes, tight-fitting and low-cut dresses and at all costs avoid flashy colours, especially red, which is considered too provocative. If you want to wear jewellery, reduce it to no more than a silver or pearl necklace and a simple ring. Always tie your hair back and do not use nail polish, perfume and too much make-up. As, if you look too feminine, you will hardly get recognized as a businesswoman. Expensive brand-name bags which are simple in design are keys to status.\r\rWhenever you meet a business colleague, speak softly and avoid physical contact. Clapping somebody's shoulder, as it is common in western countries, would make your Japanese colleague feel extremely uncomfortable. Generally, try to keep your distance. Western people commonly stand apart 45 to 60 centimetres, whereas the Japanese keep a distance of 90 centimetres.\r\rOnce you have entered the building, open the office door slightly and enter. If there is a receptionist, introduce yourself to her. Otherwise, wait for a company member to pick you up. Once you enter, lightly bow several times in short intervals.";Frame 518stop(); scrollableText = "The Japanese language system is very complex and the way of speaking as well as the expressions used very much depend on the rank of the person opposed to you.\r\rThere are hundreds of ways to ask one and the same question. The more polite you have to be, the longer and more elaborate the expressions are. Women use different words and phrases than men. People of high rank need not to use polite expressions when addressing somebody of a lower rank. A young businessman, on the other hand, needs to be extremely polite when speaking to his boss. Young people need to speak in a more polite way then old ones.\r\rBecause of that, people feel extremely uncomfortable if they have to speak to somebody whom they have not yet identified as socially superior or inferior. Most Japanese people therefore prefer not to speak too much before they can identify the rank of the person opposite.\r\rIn order to prevent such embarrassing moments, Japanese businessmen excessively use business cards ('meishi'). Business cards are the most important device for identifying yourself, so you should always carry some with you.\r\rThe common size of a 'meishi' is 91X55 mm. The card should have your name, the name of the company with which you are affiliated, your position ('katagaki') and the company's address and telephone number written on it. To make a good impression, use quality paper and do not display eccentric designs or typography.\r\rIf you are a foreigner, get bilingual cards printed, one side written in Japanese characters and the other side in English. It is advisable to get the cards printed before you leave. Very often, Japanese airlines provide a free service to print name cards for its passengers. For a one-week stay, it is advisable to get about 100 cards printed, as you will have to present it to each and everyone you meet.\r\rPresent your card as soon as you meet, do not wait until you settle down for a formal meeting. In order to hand over your name card with a certain ceremony, use both your hands to hold it at the top left and right corner grasped between the thumb and index finger, bow slightly and hold it so the Japanese side is exposed to the person opposite.\r\rWhen you receive a card, take it with both hands and bow slightly. Read the card carefully and, in order to show your interest, make a statement about the person's name (never use the first name), position, company or the area where the company is located.\r\rIt is polite to keep the card in your hand and not put it away immediately after you have received it. If you are on the move, however, it is acceptable to slide it into a specially manufactured card case. Never, however, slip the card into your shirt or back pocket, as this is considered rude. Do not bend it, drop it or leave it behind. A 'meishi' is considered as the 'passport' of one's personality and therefore needs to be treated with respect.\r\rFurthermore, the presentation of a card symbolizes at least the beginning of a personal relationship. Thus, a name card should be passed out selectively and only when a formal relationship is wanted. The person who holds somebody's card has some claim to its owner.\r\rSimilarly, offering a name card that you have just pulled out of your pocket looks impolite. Have a clean and crisp card ready before you meet.\r\rIf you forget to take a card with you, the person opposite might interpret it as a sign that you lack interest in establishing a good business relationship.\r\rIf you did forget, however, and you want to express your sincerity, you can send your 'meishi' to the office the next day, thanking the company members for their kind reception.\r\rIf you are not able to arrange a meeting you might leave your name card at the receptionist's desk. In that case, it is proper to write down a note in the front, asking the person addressed to have a look at the back side of the card. Write the details of your favour and message on the back of the card and sign it at the bottom or place your personal stamp on it.\r\rThe same method is used when you are being introduced by somebody who is familiar with the company. If he wants to ask the company's boss whether you might be likely to work for him, he writes a note on your card, puts his stamp on it and asks the receptionist to leave it on the boss's desk. The note might be as follows: 'I am herewith introducing my friend Takashi Osaka to you. Please excuse my rudeness in disturbing you at those busy times, but I would be delighted if you were able to arrange a meeting for him.'\r\rThe mediator has an important responsibility and the offer to introduce people is not undertaken lightly. A card with a message guarantees the bearer, and a Japanese who makes such an introduction is offering an important favour.\r\rSometimes special name card 'mail boxes' can be found at cemeteries. Visitors can drop their card into a small slot in a stone, so that the relatives of the deceased know who has been looking after the grave.";Frame 754stop(); scrollableText = "When you lead your guest through the hallway, walk one or two steps ahead, staying to his left or right, rather than walking directly in front of him. Even if there is a lot of space, as a guest, always follow slightly behind your host.\r\rWhen you open a door for your guest, enter first and hold it open, if it opens inward (away from you). If the door opens outward (towards you), open it and hold it for your guest before you follow him into the room.\r\rThe calendar on the wall displays a photograph of 'Mount Fuji' ('Fuji-san'), the highest mountain in Japan (3,776 metres) and probably one of its most distinctive landmarks.\r\rIts present shape was created over three generations of volcanic activities. The 'Fuji-san' is believed to have been active between approximately 100.000 and 10.000 years ago, its last and largest of all eruptions in recorded history being in 1707.\r\rThe spiritual connotation linked with its existence is rooted in a long tradition. The name 'Fuji' probably derives from the word 'fire' or 'deity of fire.' As the mountain was associated with a god of great power, in A.D. 806 a local official built a shrine near the foot of the volcano to keep it from erupting. Nevertheless, 'Fuji-san' erupted with great violence in 864, causing much damage in a nearby province.\r\rThe fiery god of the mountain became at a later date the more peaceful Shinto goddess 'Konohana Sakuya Hime', the 'Goddess of Flowering Trees.' Today she is worshipped by dozens of visitors at the shrine originally built for the older deity.\r\rA romantic story, attributed to the fifth century AD, explains the eruptions of the volcano after its emergence: one day an old couple with no children found a beautiful baby girl in a bamboo grove near the foot of Mount 'Fuji'. They named her 'Kaguya Hime', or 'She Who Lights up the Area.' The girl grew up to become the most beautiful woman in the region, attracting the attention of the local governor, who made her his wife. After a number of years of blissful marriage, she told her husband that she was, in fact, the Immortal Lady of Mount Fuji and that she was returning to the Palace of the Immortals on top to the sacred mountain. To alleviate his distress, she gave him a magic mirror in which to see her image and then she vanished. Unable to bear life without her, he followed her up to the crater of Fuji. Finding no trace of her and having nowhere else to go, he clutched the mirror to his breast and leapt off a precipice. The love that burst from his heart set fire to the mirror, and the smoke that rose from it is the smoke that used to issue from the summit of Fuji itself.\r\rThe image of the 'Fuji' is displayed on innumerable woodcuts, picture scrolls and photographs. Today the mountain is a very popular place to visit.\r\rThe calendar in the 'Sapporo' office shows the month of October. The 10th of October is dedicated to the 'National Health-Sports Day' and therefore marked red.";Frame 1058stop(); scrollableText = "Most modern Japanese offices have adapted to the system of the open-plan office. Although everybody works in the same room, the Japanese concept of business is based on a strict hierarchy, with it being expressed in a number of unspoken ways. The most crucial thing to take into consideration in this respect is the seating order.\r\rThe person with the lowest rank (a young office lady or a 'Rank-and-File') always sits closest to the door. The desk of the department manager is therefore usually located at the very end of the room, followed by the seat of the section manager who sits to the rear facing forward. This custom is derived form the old tradition of the Samurai culture. As the samurai were cosidered as very honourable persons, they were to sit furthest away from the door, facing it. This way they were able to protect themselves from sudden attacks.\r\rWhen you walk towards the boss's desk, formulate a greeting or excuse yourself for disturbing him, lightly bowing several times in short intervals.";Frame 1092stop(); scrollableText = "Generally, either the person with the lowest rank or the guest introduces himself and presents his card first. When a number of people are to exchange cards, the order starts with the senior persons and proceeds to those less senior. If a higher ranking person from the group you are meeting mistakenly goes to present his card to a lower ranking person from your group, the lower ranking person should be alert enough to step back a bit to let his superior exchange cards first.";Frame 1435stop(); scrollableText = "Company members of very high positions often do not carry a card. Their card is usually presented by a colleague of much lower rank.\r\rBowing is the most important way to show your respect to somebody. All salutations are expressed by bows. It is the way the Japanese greet their friends, pay respect to each other, express thanks, congratulate, apologize, ask favours and say good-bye. It is said that company employees bow one hundred to two hundred times a day, whereas employees in department stores saluting the customers (about in a forty-five degree angle if a customer has made a purchase) do it two thousand or three thousand times a day. Bowing is a way to communicate and to express your wish to be treated well.\r\rThere are four degrees of bowing: the 'saikeirei', which is basically not used anymore today, the ordinary salutation, the light bow ('eshaku') and the informal nod.\r\rThe 'saikeirei' is made very slowly and deeply, expressing profound obedience. This bow was traditionally used for the Emperor only, as it was him who was to be paid the most respect. Until the Second World war, the Japanese were even supposed to express their respect by bowing in front of images displaying the face of the Emperor. After the Second World War, however, this kind of bow was abolished.\r\rOnce you want to make an ordinary salutation, keep your feet together, stand upright and look forward, then bend the body to about a thirty to forty-degree angle while lowering the hands, palms down, to the knees. And after a short pause, lift the head quietly. As for the ladies, the hands should be placed on the knees while bowing, so that they slightly touch. Care should be taken not to bend at a sharp angle at the hips or to lower the head only. It is most important that the bow be made quietly.\r\rIn former times, people who met on the street used to take off their coat before saluting, and they had to bow after every few words. However, this custom was replaced by the ordinary bow ('eshaku'), because it was considered too exhausting. The 'eshaku' is made in a fifteen-degree angle.\r\rWhen to use which bow very much depends on the situation and the intention behind it. If you meet a superior first time in the day, bow at a thirty-degree angle, execute it from the waist and remain in that position for about three seconds before leaning back up. If you meet him again the same day, you no not need to bow as deeply.\r\rIf you meet a person of lower rank you usually bow not as low and long as he does. If you apologize for a mistake or express your thankfulness, the degree of your bow depends on how grave the mistake or how big the favour has been.\r\rIf you meet a person who's rank is much lower than yours, you do not need to bow extensively. A short informal bow, similar to a nod with your head, is enough. Same applies to close friends.\r\rAfter you have exchanged your card and you can distinguish the rank of the person opposite, bow once again. This time your bow is meant to confirm your business relationship, and it has to be adapted to the rank of the person in front of you. If the person opposite you holds a higher position, bow first, longest and lowest. If your bow is too informal and does not suit the occasion, your Japanese colleague might interpret this as a sign that your company does not pay enough respect. A short and quick bow can signify the end of a conversation.\r\rWhen meeting western businessmen, the Japanese often feel insecure about how to introduce themselves. For some it has become common to shake hands. If you shake hands with a Japanese, however, keep in mind that the grip should not be too tight (his will seem extremely loose) and that it should not last for too long. Japanese businessmen avoid body contact (unless when they are drunk) and therefore feel extremely uncomfortable if you shake hands extensively. It which might leave the impression that you are a stubborn and demanding person.\r\rSome shake hands and bow at the same time, when they meet a western person. If you constantly work in a Japanese office, however, your colleagues will accept you as part of the group, so you should adapt to their traditional greeting style. Not bowing is equally offensive as refusing to shake somebody's hand.";Frame 1472stop(); scrollableText = "Take care that, when hand over your card, no items, such as garbage bins or plants are in between you and the person who is to receive the card.";Frame 1712stop(); scrollableText = "If you hold a lower position than the person opposite you and you unintentionally keep the bowing position shorter than him, lean forward again as if to apologize yourself and hold it a few seconds longer than he does.\r\rWhen someone in a superior position offers his card while seated, you should stand to receive it.";Frame 1949stop(); scrollableText = "When you leave the room, bow to each member of the company individually. If the employees present hold a very low position and yours is very high you do not need to bow.";Frame 2069stop(); scrollableText = "As a businessman receives thousands of name cards throughout the years, it is very important for him to keep a filing system in order not to get confused. The so-called 'meishi horuda' (name card holders), are sold in stationary shops and are essential to arrange and label the cards you collect. To keep it simple, you can make notes on each card indicating when you met the specific person and how you got introduced to him.\r\rNever make notes on the name card when its owner is present, however, as this is considered extremely rude. Try to avoid red ink in any case, as this indicates that you want to end the relationship. In former times in China red ink was used to note down the names of people who were sentenced to death.";Frame 2197stop(); scrollableText = "When you make a phone call, straighten up und smile. As the impression you leave with a customer is very important, your voice should sound pleasant in order to express your cooperativeness.\r\rAs to express their true intention, most Japanese businessmen even bow when they apologize on the phone.\r\rIf you call somebody, start the conversation by asking whether it is alright for the person to take ten minutes to speak about a particular topic.\r\rWhen you need to keep somebody waiting and it turns out that the person he wanted to speak is not available, apologize and politely explain why.\r\rFinish a phone call by always thanking the person who has called.\r\rNever eat or smoke while you are on the phone, raise your voice or carry on a loud conversation next to someone speaking on the phone.";Frame 2391stop(); scrollableText = "When you meet somebody who's position is equal to yours and who you are rather close to, you do not need to bow. You either nod your head or raise one hand and informally say 'domo', meaning 'hello'.\r\rWhen you meet a superior in a narrow hallway, stop, bow formally and let him pass by before you continue walking.\r\rSame applies to when you are outside and meet a superior on the street. Generally bows made on the street are a little higher than those indoors.";Frame 2654stop(); scrollableText = "As for stairways, always wait for your guest to go first when going downstairs but lead him when going upstairs.\r\rWhen you meet your superior at the stairway, turn back to the bottom of the stairs, wait and let him pass before you go.";Frame 3002stop(); scrollableText = "Usually one of the company members will lead you into the conference room. If you are not being assigned to a seat, sit down on the chair which is closest to the door in order to signify that you do not consider yourself as the most important person.\r\rWhen waiting do not spread your belongings as if you were at home. If it is helpful to you, place your collected name cards on the table or on the arm rest of your chair. This way you are able to have a look at them from time to time in case you forget somebody's name or position. Do not forget to collect the cards and put them in your card holder before you leave.\r\rBusiness meetings ('kaigi') in Japan are very lengthy. Although the Japanese tend to work very hard, decisions are made extremely slowly.\r\rDecisions are not made by a small group of people but rather involve every member of the company, so that nobody feels excluded. This process of decision making is called 'ringi seido'.\r\rFor the Japanese it is not merely important to professionally achieve something but rather to establish a good and healthy relationship with their colleagues. Patience is the highest virtue in this respect. Western businessmen who want to get things settled and contracts signed as quickly as possible are considered cold, egocentric, stubborn and ruthless. A western businessman with that mentality is referred to as 'dorai', from the English 'dry'. 'Uetto' ('wet') is used for a businessman who cares about the feelings of the other party.\r\rIt is therefore important to take your time and not force decisions. If your Japanese colleague feels pushed, he might loose his interest in cooperating with you.\r\rDuring a business meeting, one should not arbitrarily try to impress with one's cleverness or express one's abilities of leadership. It rather is important to give everybody the feeling that he or she is involved in the decision making process and that you wish to achieve an outcome that everybody is satisfied with.\r\rAvoid unexpected questions as well as heated discussions, as the Japanese will not be prepared for such a thing and feel surprised, helpless and hurt. If you want to make a statement, express it clearly but smile, keep your voice down and your mind open for everybody's advice.";Frame 3127stop(); scrollableText = "When approaching a conference room as a group, let your superiors enter and sit down first and do not sit down until all members of the group are present.\r\rThe most honourable person or the guest sits furthest from the door and the person with the lowest rank sits closest to it. Guests usually sit facing the door with the most important person sitting in the middle, directly facing the host. In this case the person with the lowest position sits at the very end of the table and closest to the door.\r\rSame holds true for restaurants and business lobbies, no matter if the table is round or rectangular shaped. Keep in mind that sofas and chairs with arm rests are reserved for the most honourable persons.\r\rIn restaurants, the host usually sits closest to the cashier, as he is the one who will pay the bill.";Frame 3322stop(); scrollableText = "Whenever you hold a business meeting, offer something to drink. Do not take your own used cup of coffee into the conference room, but rather have a fresh one together with your guest. You can either offer coffee, black or green tea or soft drinks. There is no need to ask your guest which he would prefer, as expressing your personal preferences is considered immodest. The guest would feel uncomfortable when being asked, anyway. Keep in mind that it is the most superior person who is allowed to drink his tea first.";Frame 3538stop(); scrollableText = "Start your speech with an apology about keeping the other party busy or with a positive statement such as a comment on the 'beautiful and convenient' office building. Do not begin with a joke or funny remark, because the Japanese will feel that this does not suit the occasion.\r\rKeep your speech short, do not be philosophical and always provide paper material such as charts and technical drawings, as the Japanese very much rely on written information.\r\rGenerally speak softly, do not raise your voice or laugh out loud, as this connotes loss of control. When laughing, however, especially if you are a woman, cover your mouth. Showing one's teeth is considered aggressive. Due to that, old women even sometimes cover their mouth when they speak.\r\rDo not be a clumsy foreigner ('majime') who uses his hands while speaking. Excessive arm and hand movements focus everybody's attention on you and are therefore considered immodest, rude or even threatening.\r\rWhen you speak while standing, keep your hands clutched in the front or keep them at your side. Do not leave your hands in your pocket and do not lean on a wall or table.\r\rWhen you sit keep your back up straight, leave your hands on your lap or put them on the table in front. Keeping them on the table shows that you are listening carefully. Do not lean back if you sit on a tipped chair.\r\rGenerally smiling is very important. A smile is not meant to express happiness but rather to tell the person opposite that you acknowledge his feelings. Even on funerals you can see people smile, so if you need to tell anybody about a sad incident, try to do it with a smile in order not to burden him with your own sorrow.\r\rWhen your business partner makes a suggestion that you do not agree with, do not make a funny face. In such a situation it is very important to put on the 'heijo-shin', a facial expression that reflects an 'ordinary state of mind'. The 'heijo-shin' derives from the Zen philosophy and helps a person overcome embarrassing or painful situations.\r\rDo not keep eye contact for any longer than a few seconds, as otherwise the Japanese feel that you are being provocative or that you are a somewhat aggressive and obtrusive person. It is considered more polite to look at somebody's throat or chest. If you hold a speech, look down on your manuscript or to one side. Especially if you are a woman, you will find that your Japanese male colleagues feel embarrassed to look you straight into the eye, as they fear that their gaze might seem too implicit.\r\rGenerally western people speak twice as much as Japanese do. Listening is considered more polite than speaking, especially if you are quite young and hold a rather low position.\r\rSilence is not regarded as a break in conversation but rather as an essential part of the communication. When remaining silent, the Japanese communicate which their thoughts, emotions and intuition, which is referred to as the 'language of the belly' ('haragei').\r\rWhile speaking to a Japanese superior it might occur to you that he will remain silent for seconds or even minutes. Do not feel irritated about that, as it can be a positive sign: maybe he wants to put himself into your spiritual aura to try and understand what you feel or to test whether you are a trustworthy person. When confronted with this kind of situation, attempt to do the same as he does and guess what he might be thinking or feeling. At all costs do not break the silence by words or sounds, even if you feel extremely uncomfortable. If you speak too much you are believed to be hiding something.\r\rVery often, silence is used as a tool to create a positive tension. Sometimes, however, sudden silence combined with a blank or bored facial expression can express disagreement or refusal. The interpretation differs from occasion to occasion and you have to be very attentive to get the point.\r\rCommonly the most superior person talks least and last in a business meeting. It might even occur to you that he closes his eyes or even nods off during the meeting. If this happens to the boss of a company it is not considered rude and it rather displays his tiredness caused by overtime than his lack of interest.\r\rWhen listening to somebody speaking it is common to constantly support the speaker by using small words called 'aizuchi'. This signifies that you are carefully listening to what he says. 'Aizuchi', however, do not guarantee the listeners agreement, but rather imply that he respects your way of thinking.";Frame 3880stop(); scrollableText = "After your speech, express your thankfulness or apologize. Japanese businessmen apologize excessively. Apologizing does not necessarily mean that you have made a mistake, it rather implies that you did not want to disturb or that you could have put more effort into something than you actually did (even if you did very well).\r\rWhen you apologize, bow, speak slowly and clearly and say it with feeling as to show your sincerity.\r\rIf you apologize because you have made a mistake, do not offer excuses. Japanese businessmen are expected to vouch for what they did. Looking for an excuse is immodest and makes the other person feel he is not respected by you.\r\rAfter a business meeting, wait until your superiors have gone, then leave the room.\r\rSometimes it is very difficult for western people to judge about whether the Japanese company was convinced by your visit. It is very important to be able to interpret the reaction from the Japanese side, as otherwise you might fly back to your home country with a positive feeling, but later find our that the Japanese company is not interested at all.\r\rThe Japanese language is very complex and highly ambiguous. As in Japan, bluntly expressing your feelings and individual thoughts is considered rude, clumsy and immature, one uses very vague, indirect and abstract expressions and often leaves sentences unfinished. Mostly the listener has to guess and feel what the speaker means. He has to be very attentive to able to read between the lines and understand the whole context.\r\r'Say one, understand ten', is a Japanese saying which indicates that you need to guess ten aspects out of one mentioned. Often the most important part of a conversation remains unspoken. Be sensitive enough find out what somebody really means.\r\rIn order not to hurt anybody's feelings, very often how you behave is very different from how you really feel. The Japanese have two words to express this phenomenon: 'honne', meaning what you really feel, and 'tatemae', which is how you act to please somebody else's wishes.\r\rOther than the Christian-Jewish standard of moral which strictly divides good and bad or right and wrong, the Buddhist and Shinto philosophy allow and combine contradictory patterns of behaviour and more than just one truth. The Japanese do not consider the 'honne-tatemae' behaviour a double standard of morals. They rather conceive it necessary in order to preserve the harmony of the 'uchi', the inner group.\r\rListen carefully to find out whether your colleague is thinking about accepting your offer or not. Do not interpret the Japanese word for 'yes' ('hai') as an acceptance. 'Hai' simply means 'I am listening', or 'I understand how you feel'.\r\rBluntly refusing an offer, on the other hand, is considered as to hurt somebody's pride. The Japanese never directly say 'no' ('iie'), as it sounds as if they reject the person, not the proposal. In order to deny an offer, they rather apologize and ask about your reason for offering the proposal.\r\rSynonyms for denials can be as follows: 'we have not accepted offers of that kind in the past', 'we will have a close look at the details of your offer and do whatever we can', 'we will talk to the boss about it', 'we will think about it', 'it is a bit difficult' or 'we are not quite sure'.\r\rClosely study Japanese non-verbal communication in order to find out whether or not your colleague is pleased by your proposal. When he leans his head to one side, narrows his eyes, puts his hand on his neck, stammers 'saaaaaaaa' or hisses by sucking in air through their teeth, it means that he has a problem supporting your thoughts. A blank facial expression, sudden unwillingness to make eye contact, repeated glances at the watch, sudden silence as well as impatient smiling or nodding connote the same.\r\rAsking is a positive sign: the more questions your Japanese colleague asks, the more interested he is in cooperating with you.\r\rGenerally listen carefully, try to read vague replies. Then wait patiently and sense if an atmosphere of mutual trust is developing. If not, rather postpone the discussion instead of forcing the issue.";Frame 4274stop(); scrollableText = "At the end of a work day when saying good-bye to the colleagues who remain in the office, one bows several times in short intervals and apologizes for having to leave early. The colleagues who stay in the office (usually the young workers or ladies, who commonly do not accompany their colleagues to the bar) express their understanding. Never leave the building before your seniors.\r\rBefore leaving, the person most superior expresses his thankfulness for the work done. Praising is very important but it should not be overdone, as people might think you are flattering.\r\rIf you want to praise someone individually, be careful not to do so in front of others, as it might make them feel inferior. Furthermore, if you praise somebody, do not praise his personality but rather the fact that you have learned a lot from him (if he is superior to you) or that he has played an important role in the development of a project (if you are superior to him).";Frame 4830stop(); scrollableText = "When you use the elevator be careful to keep the right order. The person with the lowest rank commonly presses the button and enters last. The least superior person operates the control, second is the one standing right next to him in front of the door, third the one behind in the back of the elevator. The most superior person stands right behind the person who controls the panel.\r\rAs the numbers four ('shi', synonymous to 'death') and nine (synonymous for 'suffering') are suspicious numbers, some buildings in Japan, especially hospitals, lack the labelling of those floors and rooms.";Symbol 5 MovieClip Frame 1stop();Symbol 5 MovieClip Frame 2currentScroll = /:scrollableText.scroll; if (Number(currentScroll) < Number(/:scrollableText.maxscroll)) { /:scrollableText.scroll = Number(currentScroll) + 1; }Symbol 5 MovieClip Frame 3gotoAndPlay (2);Symbol 6 MovieClip Frame 1stop();Symbol 6 MovieClip Frame 2currentScroll = /:scrollableText.scroll; if (1 < Number(currentScroll)) { /:scrollableText.scroll = currentScroll - 1; }Symbol 6 MovieClip Frame 3gotoAndPlay (2);Symbol 10 Buttonon (press) { tellTarget ("/scrollUp") { gotoAndPlay (2); }; } on (release) { tellTarget ("/scrollUp") { gotoAndStop (1); }; }Symbol 11 Buttonon (press) { tellTarget ("scrollDown") { gotoAndPlay (2); }; } on (release) { tellTarget ("/scrollDown") { gotoAndStop (1); 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Symbol 2 Font | Used by:3 4 132 189 228 291 300 351 358 396 404 430 466 519 533 580 595 669 755 791 841 878 | |
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Symbol 4 EditableText | Uses:2 | Used by:Timeline |
Symbol 5 MovieClip | Used by:Timeline | |
Symbol 6 MovieClip | Used by:Timeline | |
Symbol 7 Graphic | Used by:10 11 | |
Symbol 8 Graphic | Used by:10 11 | |
Symbol 9 Graphic | Used by:10 11 | |
Symbol 10 Button | Uses:7 8 9 | Used by:Timeline |
Symbol 11 Button | Uses:7 8 9 | Used by:Timeline |
Symbol 12 Graphic | Used by:29 | |
Symbol 13 Font | Used by:14 16 17 18 19 20 21 22 23 25 66 70 73 79 82 87 90 95 98 103 106 111 114 119 122 131 135 138 140 142 175 177 180 184 186 188 195 226 285 289 345 347 349 389 391 393 426 513 517 574 578 597 667 746 748 750 752 754 787 790 827 831 834 836 839 875 879 | |
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Symbol 15 Graphic | Used by:29 | |
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Symbol 17 Text | Uses:13 | Used by:29 |
Symbol 18 Text | Uses:13 | Used by:29 |
Symbol 19 Text | Uses:13 | Used by:29 |
Symbol 20 Text | Uses:13 | Used by:29 |
Symbol 21 Text | Uses:13 | Used by:29 |
Symbol 22 Text | Uses:13 | Used by:29 |
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Symbol 25 Text | Uses:13 | Used by:29 |
Symbol 26 Graphic | Used by:29 | |
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Symbol 28 EditableText | Uses:27 | Used by:29 |
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Symbol 30 Graphic | Used by:31 | |
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Symbol 32 Graphic | Used by:33 | |
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Symbol 35 Graphic | Used by:38 | |
Symbol 36 Graphic | Used by:37 | |
Symbol 37 MovieClip | Uses:36 | Used by:38 |
Symbol 38 MovieClip | Uses:35 37 | Used by:64 224 284 299 343 357 403 512 530 573 744 785 826 874 |
Symbol 39 Graphic | Used by:64 173 224 573 | |
Symbol 40 Graphic | Used by:64 | |
Symbol 41 Graphic | Used by:42 | |
Symbol 42 MovieClip | Uses:41 | Used by:64 173 224 |
Symbol 43 Graphic | Used by:44 | |
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Symbol 45 Graphic | Used by:64 173 224 284 299 334 343 357 385 387 403 530 573 594 665 744 785 826 874 | |
Symbol 46 Graphic | Used by:64 | |
Symbol 47 Graphic | Used by:64 | |
Symbol 48 Graphic | Used by:64 | |
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Symbol 52 Graphic | Used by:64 224 284 403 512 530 573 594 785 826 874 | |
Symbol 53 Graphic | Used by:64 224 284 403 512 530 573 594 785 826 874 | |
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Symbol 55 Graphic | Used by:64 171 173 224 284 299 343 357 387 403 512 530 573 594 665 744 785 826 874 | |
Symbol 56 Graphic | Used by:64 173 284 343 387 744 785 826 | |
Symbol 57 Graphic | Used by:64 224 284 403 512 530 573 594 785 826 874 | |
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Symbol 59 Graphic | Used by:64 173 224 284 299 343 357 387 403 530 573 594 665 744 785 826 874 | |
Symbol 60 Graphic | Used by:64 173 224 284 299 343 357 387 403 530 573 594 665 744 785 826 874 | |
Symbol 61 Graphic | Used by:64 173 224 284 343 387 403 530 573 594 665 744 785 826 874 | |
Symbol 62 Graphic | Used by:63 | |
Symbol 63 MovieClip | Uses:62 | Used by:64 173 224 284 299 343 357 387 403 530 573 594 665 744 785 826 874 |
Symbol 64 MovieClip | Uses:31 33 34 38 39 40 42 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 63 SS1 | Used by:Timeline |
Symbol 65 Graphic | Used by:Timeline | |
Symbol 66 Text | Uses:13 | Used by:Timeline |
Symbol 67 Graphic | Used by:Timeline | |
Symbol 68 Graphic | Used by:77 85 93 101 109 117 125 | |
Symbol 69 Graphic | Used by:77 | |
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Symbol 71 Graphic | Used by:77 | |
Symbol 72 Graphic | Used by:77 | |
Symbol 73 Text | Uses:13 | Used by:77 |
Symbol 74 Graphic | Used by:77 | |
Symbol 75 Graphic | Used by:77 | |
Symbol 76 Sound | Used by:77 85 93 101 109 117 125 | |
Symbol 77 Button | Uses:68 69 70 71 72 73 74 75 76 | Used by:Timeline |
Symbol 78 Graphic | Used by:85 | |
Symbol 79 Text | Uses:13 | Used by:85 |
Symbol 80 Graphic | Used by:85 | |
Symbol 81 Graphic | Used by:85 | |
Symbol 82 Text | Uses:13 | Used by:85 |
Symbol 83 Graphic | Used by:85 | |
Symbol 84 Graphic | Used by:85 | |
Symbol 85 Button | Uses:68 78 79 80 81 82 83 84 76 | Used by:Timeline |
Symbol 86 Graphic | Used by:93 | |
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Symbol 88 Graphic | Used by:93 | |
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Symbol 94 Graphic | Used by:101 | |
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Symbol 96 Graphic | Used by:101 | |
Symbol 97 Graphic | Used by:101 | |
Symbol 98 Text | Uses:13 | Used by:101 |
Symbol 99 Graphic | Used by:101 | |
Symbol 100 Graphic | Used by:101 | |
Symbol 101 Button | Uses:68 94 95 96 97 98 99 100 76 | Used by:Timeline |
Symbol 102 Graphic | Used by:109 | |
Symbol 103 Text | Uses:13 | Used by:109 |
Symbol 104 Graphic | Used by:109 | |
Symbol 105 Graphic | Used by:109 | |
Symbol 106 Text | Uses:13 | Used by:109 |
Symbol 107 Graphic | Used by:109 | |
Symbol 108 Graphic | Used by:109 | |
Symbol 109 Button | Uses:68 102 103 104 105 106 107 108 76 | Used by:Timeline |
Symbol 110 Graphic | Used by:117 | |
Symbol 111 Text | Uses:13 | Used by:117 |
Symbol 112 Graphic | Used by:117 | |
Symbol 113 Graphic | Used by:117 | |
Symbol 114 Text | Uses:13 | Used by:117 |
Symbol 115 Graphic | Used by:117 | |
Symbol 116 Graphic | Used by:117 | |
Symbol 117 Button | Uses:68 110 111 112 113 114 115 116 76 | Used by:Timeline |
Symbol 118 Graphic | Used by:125 | |
Symbol 119 Text | Uses:13 | Used by:125 |
Symbol 120 Graphic | Used by:125 | |
Symbol 121 Graphic | Used by:125 | |
Symbol 122 Text | Uses:13 | Used by:125 |
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Symbol 126 Graphic | Used by:Timeline | |
Symbol 127 Graphic | Used by:Timeline | |
Symbol 128 Graphic | Used by:Timeline | |
Symbol 129 Graphic | Used by:Timeline | |
Symbol 130 Graphic | Used by:Timeline | |
Symbol 131 Text | Uses:13 | Used by:Timeline |
Symbol 132 EditableText | Uses:2 | Used by:Timeline |
Symbol 133 Graphic | Used by:134 198 229 292 301 352 359 397 405 431 467 520 534 581 600 670 756 792 842 | |
Symbol 134 Button | Uses:133 | Used by:Timeline |
Symbol 135 Text | Uses:13 | Used by:136 |
Symbol 136 MovieClip | Uses:24 135 | Used by:Timeline |
Symbol 137 Graphic | Used by:144 199 230 293 302 353 360 398 406 432 468 521 535 582 601 671 757 793 843 881 | |
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Symbol 141 Graphic | Used by:144 199 230 293 302 353 360 398 406 432 468 521 535 582 601 671 757 793 843 881 | |
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Symbol 143 Graphic | Used by:144 199 230 293 302 353 360 398 406 432 468 521 535 582 601 671 757 793 843 881 | |
Symbol 144 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 145 Graphic | Used by:173 | |
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Symbol 147 Graphic | Used by:148 | |
Symbol 148 MovieClip | Uses:147 | Used by:173 343 387 573 744 |
Symbol 149 Graphic | Used by:173 343 387 | |
Symbol 150 Graphic | Used by:151 | |
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Symbol 152 Graphic | Used by:173 343 387 | |
Symbol 153 Graphic | Used by:173 | |
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Symbol 156 Graphic | Used by:173 224 403 573 665 | |
Symbol 157 Graphic | Used by:173 224 403 573 665 744 826 | |
Symbol 158 Graphic | Used by:173 | |
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Symbol 160 Graphic | Used by:173 | |
Symbol 161 Graphic | Used by:173 343 387 | |
Symbol 162 Graphic | Used by:173 224 826 | |
Symbol 163 Graphic | Used by:173 | |
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Symbol 166 Graphic | Used by:173 | |
Symbol 167 Graphic | Used by:173 | |
Symbol 168 Graphic | Used by:173 | |
Symbol 169 Graphic | Used by:173 | |
Symbol 170 Graphic | Used by:171 | |
Symbol 171 MovieClip | Uses:31 33 170 55 | Used by:173 |
Symbol 172 Graphic | Used by:173 | |
Symbol 173 MovieClip | Uses:39 145 42 31 33 59 55 60 44 45 49 50 56 146 63 61 148 149 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 171 172 SS2 | Used by:Timeline |
Symbol 174 Graphic | Used by:Timeline | |
Symbol 175 Text | Uses:13 | Used by:Timeline |
Symbol 176 Graphic | Used by:Timeline | |
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Symbol 178 Graphic | Used by:Timeline | |
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Symbol 180 Text | Uses:13 | Used by:Timeline |
Symbol 181 Graphic | Used by:Timeline | |
Symbol 182 Graphic | Used by:Timeline | |
Symbol 183 Graphic | Used by:Timeline | |
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Symbol 185 Graphic | Used by:Timeline | |
Symbol 186 Text | Uses:13 | Used by:Timeline |
Symbol 187 Graphic | Used by:Timeline | |
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Symbol 189 EditableText | Uses:2 | Used by:Timeline |
Symbol 190 Graphic | Used by:194 596 | |
Symbol 191 Graphic | Used by:194 596 | |
Symbol 192 Graphic | Used by:194 596 | |
Symbol 193 Graphic | Used by:194 596 | |
Symbol 194 Button | Uses:190 191 192 193 | Used by:Timeline |
Symbol 195 Text | Uses:13 | Used by:196 |
Symbol 196 Button | Uses:195 24 | Used by:197 |
Symbol 197 MovieClip | Uses:196 | Used by:Timeline |
Symbol 198 Button | Uses:133 | Used by:Timeline |
Symbol 199 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 200 Graphic | Used by:224 | |
Symbol 201 Graphic | Used by:224 | |
Symbol 202 Graphic | Used by:224 | |
Symbol 203 Graphic | Used by:204 | |
Symbol 204 MovieClip | Uses:203 | Used by:224 |
Symbol 205 Graphic | Used by:224 | |
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Symbol 220 Graphic | Used by:224 | |
Symbol 221 Graphic | Used by:224 | |
Symbol 222 Graphic | Used by:224 | |
Symbol 223 Graphic | Used by:224 | |
Symbol 224 MovieClip | Uses:39 200 42 31 33 59 55 60 44 45 151 146 63 61 156 157 34 38 201 202 204 205 206 51 52 53 54 57 58 207 208 209 210 211 212 213 214 162 215 216 217 218 219 220 221 222 223 SS3 | Used by:Timeline |
Symbol 225 Graphic | Used by:Timeline | |
Symbol 226 Text | Uses:13 | Used by:Timeline |
Symbol 227 Graphic | Used by:Timeline | |
Symbol 228 EditableText | Uses:2 | Used by:Timeline |
Symbol 229 Button | Uses:133 | Used by:Timeline |
Symbol 230 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 231 Graphic | Used by:284 | |
Symbol 232 Graphic | Used by:233 | |
Symbol 233 MovieClip | Uses:232 | Used by:284 826 |
Symbol 234 Graphic | Used by:284 | |
Symbol 235 Graphic | Used by:284 826 | |
Symbol 236 Graphic | Used by:284 | |
Symbol 237 Graphic | Used by:284 | |
Symbol 238 Graphic | Used by:284 299 321 343 357 368 384 387 403 530 594 665 744 785 826 874 | |
Symbol 239 Graphic | Used by:240 | |
Symbol 240 MovieClip | Uses:239 | Used by:284 299 321 343 357 368 384 387 403 530 594 665 744 785 826 874 |
Symbol 241 Graphic | Used by:284 299 321 343 357 368 384 387 403 530 594 665 744 785 826 874 | |
Symbol 242 Graphic | Used by:284 | |
Symbol 243 Graphic | Used by:284 | |
Symbol 244 Graphic | Used by:284 | |
Symbol 245 Graphic | Used by:284 | |
Symbol 246 Graphic | Used by:284 826 | |
Symbol 247 Graphic | Used by:284 | |
Symbol 248 Graphic | Used by:284 | |
Symbol 249 Graphic | Used by:284 | |
Symbol 250 Graphic | Used by:284 | |
Symbol 251 Graphic | Used by:284 | |
Symbol 252 Graphic | Used by:284 | |
Symbol 253 Graphic | Used by:284 | |
Symbol 254 Graphic | Used by:284 | |
Symbol 255 Graphic | Used by:284 | |
Symbol 256 Graphic | Used by:284 | |
Symbol 257 Graphic | Used by:284 | |
Symbol 258 Graphic | Used by:284 | |
Symbol 259 Graphic | Used by:284 | |
Symbol 260 Graphic | Used by:261 | |
Symbol 261 MovieClip | Uses:260 | Used by:284 299 343 357 387 403 425 463 826 |
Symbol 262 Graphic | Used by:263 | |
Symbol 263 MovieClip | Uses:262 | Used by:284 299 343 357 387 403 425 463 |
Symbol 264 Graphic | Used by:284 | |
Symbol 265 Graphic | Used by:284 | |
Symbol 266 Graphic | Used by:284 | |
Symbol 267 Graphic | Used by:284 | |
Symbol 268 Graphic | Used by:284 | |
Symbol 269 Graphic | Used by:284 | |
Symbol 270 Graphic | Used by:284 299 343 403 530 594 785 826 874 | |
Symbol 271 Graphic | Used by:284 299 343 403 530 594 785 826 874 | |
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Symbol 274 Graphic | Used by:284 425 594 785 826 874 | |
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Symbol 277 Graphic | Used by:284 425 594 785 826 874 | |
Symbol 278 Graphic | Used by:284 299 343 357 387 403 530 594 665 744 785 826 874 | |
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Symbol 280 Graphic | Used by:284 343 357 387 403 594 665 744 785 826 874 | |
Symbol 281 Graphic | Used by:284 299 343 357 387 403 425 463 594 665 744 785 826 874 | |
Symbol 282 Graphic | Used by:284 299 343 357 387 403 425 463 594 665 744 785 826 874 | |
Symbol 283 Graphic | Used by:284 | |
Symbol 284 MovieClip | Uses:231 233 234 235 236 237 238 240 241 242 243 244 245 246 51 31 33 52 53 54 55 57 58 34 38 247 248 249 250 251 252 253 254 255 256 257 258 259 261 263 264 265 266 267 268 269 44 45 270 271 59 60 49 50 272 56 146 63 273 274 275 276 277 278 279 61 280 281 282 283 SS4 | Used by:Timeline |
Symbol 285 Text | Uses:13 | Used by:Timeline |
Symbol 286 Graphic | Used by:Timeline | |
Symbol 287 Graphic | Used by:Timeline | |
Symbol 288 Graphic | Used by:Timeline | |
Symbol 289 Text | Uses:13 | Used by:Timeline |
Symbol 290 Graphic | Used by:Timeline | |
Symbol 291 EditableText | Uses:2 | Used by:Timeline |
Symbol 292 Button | Uses:133 | Used by:Timeline |
Symbol 293 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 294 Graphic | Used by:299 | |
Symbol 295 Graphic | Used by:299 | |
Symbol 296 Graphic | Used by:299 | |
Symbol 297 Graphic | Used by:299 | |
Symbol 298 Graphic | Used by:299 343 357 387 403 425 463 594 665 744 785 826 874 | |
Symbol 299 MovieClip | Uses:294 261 263 295 31 33 278 238 240 241 281 282 59 55 60 44 45 296 297 34 38 270 271 298 146 63 SS5 | Used by:Timeline |
Symbol 300 EditableText | Uses:2 | Used by:Timeline |
Symbol 301 Button | Uses:133 | Used by:Timeline |
Symbol 302 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 303 Graphic | Used by:343 | |
Symbol 304 Graphic | Used by:343 | |
Symbol 305 Graphic | Used by:343 | |
Symbol 306 Graphic | Used by:308 | |
Symbol 307 Graphic | Used by:308 | |
Symbol 308 MovieClip | Uses:306 31 307 | Used by:343 |
Symbol 309 Graphic | Used by:343 785 826 | |
Symbol 310 Graphic | Used by:343 785 826 | |
Symbol 311 Graphic | Used by:343 785 826 | |
Symbol 312 Graphic | Used by:343 785 826 | |
Symbol 313 Graphic | Used by:343 | |
Symbol 314 Graphic | Used by:343 | |
Symbol 315 Graphic | Used by:343 387 | |
Symbol 316 Graphic | Used by:343 387 | |
Symbol 317 Graphic | Used by:343 387 | |
Symbol 318 Graphic | Used by:343 387 | |
Symbol 319 Graphic | Used by:321 | |
Symbol 320 Graphic | Used by:321 | |
Symbol 321 MovieClip | Uses:31 33 319 238 240 241 320 | Used by:343 387 |
Symbol 322 Graphic | Used by:343 387 403 530 | |
Symbol 323 Graphic | Used by:343 387 403 530 | |
Symbol 324 Graphic | Used by:343 | |
Symbol 325 Graphic | Used by:343 | |
Symbol 326 Graphic | Used by:343 | |
Symbol 327 Graphic | Used by:343 | |
Symbol 328 Graphic | Used by:343 | |
Symbol 329 Graphic | Used by:343 463 | |
Symbol 330 Graphic | Used by:343 | |
Symbol 331 Graphic | Used by:343 | |
Symbol 332 Graphic | Used by:343 | |
Symbol 333 Graphic | Used by:343 | |
Symbol 334 MovieClip | Uses:31 33 44 45 | Used by:343 |
Symbol 335 Graphic | Used by:343 | |
Symbol 336 Graphic | Used by:343 | |
Symbol 337 Graphic | Used by:343 | |
Symbol 338 Graphic | Used by:343 | |
Symbol 339 Graphic | Used by:343 | |
Symbol 340 Graphic | Used by:343 | |
Symbol 341 Graphic | Used by:343 | |
Symbol 342 Graphic | Used by:343 | |
Symbol 343 MovieClip | Uses:303 261 263 304 31 33 278 238 240 241 281 282 59 55 60 44 45 305 34 38 49 56 50 146 63 298 280 148 149 151 152 308 309 310 311 312 61 313 314 270 271 315 316 317 318 321 161 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 SS6 | Used by:Timeline |
Symbol 344 Graphic | Used by:Timeline | |
Symbol 345 Text | Uses:13 | Used by:Timeline |
Symbol 346 Graphic | Used by:Timeline | |
Symbol 347 Text | Uses:13 | Used by:Timeline |
Symbol 348 Graphic | Used by:Timeline | |
Symbol 349 Text | Uses:13 | Used by:Timeline |
Symbol 350 Graphic | Used by:Timeline | |
Symbol 351 EditableText | Uses:2 | Used by:Timeline |
Symbol 352 Button | Uses:133 | Used by:Timeline |
Symbol 353 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 354 Graphic | Used by:357 | |
Symbol 355 Graphic | Used by:357 | |
Symbol 356 Graphic | Used by:357 | |
Symbol 357 MovieClip | Uses:354 261 263 355 31 33 278 238 240 241 281 282 151 59 55 60 44 45 280 34 38 298 146 63 356 SS7 | Used by:Timeline |
Symbol 358 EditableText | Uses:2 | Used by:Timeline |
Symbol 359 Button | Uses:133 | Used by:Timeline |
Symbol 360 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 361 Graphic | Used by:387 | |
Symbol 362 Graphic | Used by:387 | |
Symbol 363 Graphic | Used by:387 | |
Symbol 364 Graphic | Used by:387 | |
Symbol 365 Graphic | Used by:368 | |
Symbol 366 Graphic | Used by:368 | |
Symbol 367 Graphic | Used by:368 | |
Symbol 368 MovieClip | Uses:365 31 33 366 238 240 241 367 | Used by:387 |
Symbol 369 Graphic | Used by:387 | |
Symbol 370 Graphic | Used by:387 744 | |
Symbol 371 Graphic | Used by:387 744 826 | |
Symbol 372 Graphic | Used by:387 744 826 | |
Symbol 373 Graphic | Used by:387 744 826 | |
Symbol 374 Graphic | Used by:375 | |
Symbol 375 MovieClip | Uses:374 | Used by:387 665 744 826 |
Symbol 376 Graphic | Used by:387 | |
Symbol 377 Graphic | Used by:387 | |
Symbol 378 Graphic | Used by:387 | |
Symbol 379 Graphic | Used by:387 | |
Symbol 380 Graphic | Used by:387 | |
Symbol 381 Graphic | Used by:387 403 530 | |
Symbol 382 Graphic | Used by:387 403 530 | |
Symbol 383 Graphic | Used by:384 | |
Symbol 384 MovieClip | Uses:31 33 383 238 240 241 | Used by:387 530 |
Symbol 385 MovieClip | Uses:31 33 44 45 | Used by:387 |
Symbol 386 Graphic | Used by:387 | |
Symbol 387 MovieClip | Uses:361 261 263 362 31 33 278 238 240 241 281 282 151 59 55 60 44 45 363 298 49 50 56 364 148 149 146 63 152 368 369 280 370 371 372 373 375 61 376 377 315 316 317 318 321 161 322 378 379 380 381 382 384 385 323 386 SS8 | Used by:Timeline |
Symbol 388 Graphic | Used by:Timeline | |
Symbol 389 Text | Uses:13 | Used by:Timeline |
Symbol 390 Graphic | Used by:Timeline | |
Symbol 391 Text | Uses:13 | Used by:Timeline |
Symbol 392 Graphic | Used by:Timeline | |
Symbol 393 Text | Uses:13 | Used by:Timeline |
Symbol 394 Graphic | Used by:Timeline | |
Symbol 395 Graphic | Used by:Timeline | |
Symbol 396 EditableText | Uses:2 | Used by:Timeline |
Symbol 397 Button | Uses:133 | Used by:Timeline |
Symbol 398 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 399 Graphic | Used by:403 | |
Symbol 400 Graphic | Used by:403 | |
Symbol 401 Graphic | Used by:403 | |
Symbol 402 Graphic | Used by:403 | |
Symbol 403 MovieClip | Uses:399 261 263 400 31 33 278 238 240 241 151 281 282 59 146 63 60 44 45 51 52 53 54 55 280 298 57 58 61 156 157 34 38 401 270 271 381 382 322 323 402 SS9 | Used by:Timeline |
Symbol 404 EditableText | Uses:2 | Used by:Timeline |
Symbol 405 Button | Uses:133 | Used by:Timeline |
Symbol 406 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 407 Graphic | Used by:425 | |
Symbol 408 Graphic | Used by:425 | |
Symbol 409 Graphic | Used by:425 | |
Symbol 410 Graphic | Used by:425 | |
Symbol 411 Graphic | Used by:425 | |
Symbol 412 Graphic | Used by:425 | |
Symbol 413 Graphic | Used by:425 | |
Symbol 414 Graphic | Used by:425 | |
Symbol 415 Graphic | Used by:425 | |
Symbol 416 Graphic | Used by:425 | |
Symbol 417 Graphic | Used by:418 | |
Symbol 418 MovieClip | Uses:417 | Used by:425 573 594 665 744 785 |
Symbol 419 Graphic | Used by:425 | |
Symbol 420 Graphic | Used by:425 | |
Symbol 421 Graphic | Used by:425 | |
Symbol 422 Graphic | Used by:425 | |
Symbol 423 Graphic | Used by:425 | |
Symbol 424 Graphic | Used by:425 | |
Symbol 425 MovieClip | Uses:407 261 263 408 281 298 151 31 282 409 410 276 277 273 274 275 411 412 413 414 415 416 418 419 420 421 422 423 424 SS10 | Used by:Timeline |
Symbol 426 Text | Uses:13 | Used by:Timeline |
Symbol 427 Graphic | Used by:Timeline | |
Symbol 428 Graphic | Used by:Timeline | |
Symbol 429 Graphic | Used by:Timeline | |
Symbol 430 EditableText | Uses:2 | Used by:Timeline |
Symbol 431 Button | Uses:133 | Used by:Timeline |
Symbol 432 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 433 Graphic | Used by:463 | |
Symbol 434 Graphic | Used by:463 | |
Symbol 435 Graphic | Used by:463 | |
Symbol 436 Graphic | Used by:463 | |
Symbol 437 Graphic | Used by:463 | |
Symbol 438 Graphic | Used by:463 | |
Symbol 439 Graphic | Used by:463 | |
Symbol 440 Graphic | Used by:463 | |
Symbol 441 Graphic | Used by:463 | |
Symbol 442 Graphic | Used by:463 | |
Symbol 443 Graphic | Used by:463 | |
Symbol 444 Graphic | Used by:463 | |
Symbol 445 Graphic | Used by:463 | |
Symbol 446 Graphic | Used by:463 | |
Symbol 447 Graphic | Used by:463 | |
Symbol 448 Graphic | Used by:463 | |
Symbol 449 Graphic | Used by:463 | |
Symbol 450 Graphic | Used by:463 | |
Symbol 451 Graphic | Used by:463 | |
Symbol 452 Graphic | Used by:463 | |
Symbol 453 Graphic | Used by:463 | |
Symbol 454 Graphic | Used by:463 | |
Symbol 455 Graphic | Used by:463 | |
Symbol 456 Graphic | Used by:463 | |
Symbol 457 Graphic | Used by:463 | |
Symbol 458 Graphic | Used by:463 | |
Symbol 459 Graphic | Used by:463 | |
Symbol 460 Graphic | Used by:463 | |
Symbol 461 Graphic | Used by:463 | |
Symbol 462 Graphic | Used by:463 | |
Symbol 463 MovieClip | Uses:433 281 31 282 261 263 434 151 298 435 436 437 438 439 440 441 442 443 444 445 329 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 SS11 | Used by:Timeline |
Symbol 464 Graphic | Used by:Timeline | |
Symbol 465 Graphic | Used by:Timeline | |
Symbol 466 EditableText | Uses:2 | Used by:Timeline |
Symbol 467 Button | Uses:133 | Used by:Timeline |
Symbol 468 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 469 Graphic | Used by:512 | |
Symbol 470 Graphic | Used by:471 | |
Symbol 471 MovieClip | Uses:470 | Used by:512 530 |
Symbol 472 Graphic | Used by:473 | |
Symbol 473 MovieClip | Uses:472 | Used by:512 530 |
Symbol 474 Graphic | Used by:512 594 785 826 | |
Symbol 475 Graphic | Used by:512 594 785 826 | |
Symbol 476 Graphic | Used by:512 | |
Symbol 477 Graphic | Used by:512 | |
Symbol 478 Graphic | Used by:512 | |
Symbol 479 Graphic | Used by:512 | |
Symbol 480 Graphic | Used by:512 | |
Symbol 481 Graphic | Used by:512 826 | |
Symbol 482 Graphic | Used by:512 | |
Symbol 483 Graphic | Used by:512 | |
Symbol 484 Graphic | Used by:512 826 | |
Symbol 485 Graphic | Used by:512 | |
Symbol 486 Graphic | Used by:512 | |
Symbol 487 Graphic | Used by:512 | |
Symbol 488 Graphic | Used by:512 | |
Symbol 489 Graphic | Used by:512 | |
Symbol 490 Graphic | Used by:512 | |
Symbol 491 Graphic | Used by:512 826 | |
Symbol 492 Graphic | Used by:503 512 823 826 | |
Symbol 493 Graphic | Used by:512 826 | |
Symbol 494 Graphic | Used by:512 826 | |
Symbol 495 Graphic | Used by:512 826 | |
Symbol 496 Graphic | Used by:512 826 | |
Symbol 497 Graphic | Used by:512 826 | |
Symbol 498 Graphic | Used by:512 | |
Symbol 499 Graphic | Used by:512 | |
Symbol 500 Graphic | Used by:503 512 823 826 | |
Symbol 501 Graphic | Used by:512 | |
Symbol 502 Graphic | Used by:503 | |
Symbol 503 MovieClip | Uses:500 31 492 33 502 | Used by:512 |
Symbol 504 Graphic | Used by:512 | |
Symbol 505 Graphic | Used by:512 530 | |
Symbol 506 Graphic | Used by:512 | |
Symbol 507 Graphic | Used by:512 | |
Symbol 508 Graphic | Used by:512 | |
Symbol 509 Graphic | Used by:512 | |
Symbol 510 Graphic | Used by:512 826 | |
Symbol 511 Graphic | Used by:512 826 | |
Symbol 512 MovieClip | Uses:469 471 473 51 31 33 52 53 54 55 57 58 474 475 34 38 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 503 504 505 506 507 508 509 510 511 SS12 | Used by:Timeline |
Symbol 513 Text | Uses:13 | Used by:Timeline |
Symbol 514 Graphic | Used by:Timeline | |
Symbol 515 Graphic | Used by:Timeline | |
Symbol 516 Graphic | Used by:Timeline | |
Symbol 517 Text | Uses:13 | Used by:Timeline |
Symbol 518 Graphic | Used by:Timeline | |
Symbol 519 EditableText | Uses:2 | Used by:Timeline |
Symbol 520 Button | Uses:133 | Used by:Timeline |
Symbol 521 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 522 Graphic | Used by:530 | |
Symbol 523 Graphic | Used by:530 | |
Symbol 524 Graphic | Used by:525 | |
Symbol 525 MovieClip | Uses:524 | Used by:530 |
Symbol 526 Graphic | Used by:527 | |
Symbol 527 MovieClip | Uses:526 | Used by:530 |
Symbol 528 Graphic | Used by:530 | |
Symbol 529 Graphic | Used by:530 | |
Symbol 530 MovieClip | Uses:522 471 473 523 525 527 31 33 270 238 240 241 271 51 52 53 54 55 57 58 34 38 278 59 60 146 63 381 382 384 528 505 529 322 323 44 45 61 SS13 | Used by:Timeline |
Symbol 531 Graphic | Used by:Timeline | |
Symbol 532 Graphic | Used by:Timeline | |
Symbol 533 EditableText | Uses:2 | Used by:Timeline |
Symbol 534 Button | Uses:133 | Used by:Timeline |
Symbol 535 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 536 Graphic | Used by:573 | |
Symbol 537 Graphic | Used by:573 | |
Symbol 538 Graphic | Used by:573 | |
Symbol 539 Graphic | Used by:540 | |
Symbol 540 MovieClip | Uses:539 | Used by:573 594 665 744 785 |
Symbol 541 Graphic | Used by:573 | |
Symbol 542 Graphic | Used by:543 | |
Symbol 543 MovieClip | Uses:542 | Used by:573 594 665 744 785 |
Symbol 544 Graphic | Used by:545 | |
Symbol 545 MovieClip | Uses:544 | Used by:573 594 665 744 785 |
Symbol 546 Graphic | Used by:573 | |
Symbol 547 Graphic | Used by:573 594 619 665 744 785 | |
Symbol 548 Graphic | Used by:573 | |
Symbol 549 Sound | Used by:573 | |
Symbol 550 Graphic | Used by:573 | |
Symbol 551 Sound | Used by:573 | |
Symbol 552 Graphic | Used by:573 | |
Symbol 553 Graphic | Used by:573 | |
Symbol 554 Graphic | Used by:573 | |
Symbol 555 Graphic | Used by:573 | |
Symbol 556 Graphic | Used by:573 | |
Symbol 557 Graphic | Used by:573 | |
Symbol 558 Graphic | Used by:573 | |
Symbol 559 Graphic | Used by:573 | |
Symbol 560 Graphic | Used by:573 | |
Symbol 561 Graphic | Used by:573 | |
Symbol 562 Graphic | Used by:573 | |
Symbol 563 Graphic | Used by:573 | |
Symbol 564 Graphic | Used by:573 | |
Symbol 565 Graphic | Used by:566 | |
Symbol 566 MovieClip | Uses:565 | Used by:573 665 785 |
Symbol 567 Graphic | Used by:573 | |
Symbol 568 Graphic | Used by:573 594 665 744 785 | |
Symbol 569 Graphic | Used by:573 | |
Symbol 570 Graphic | Used by:573 | |
Symbol 571 Graphic | Used by:573 | |
Symbol 572 Graphic | Used by:573 | |
Symbol 573 MovieClip | Uses:536 39 537 538 540 541 543 545 546 547 548 418 51 31 33 52 53 54 55 57 58 59 60 549 550 34 38 146 63 44 45 61 551 552 553 554 555 556 557 558 559 560 561 562 563 564 156 566 157 567 568 569 148 570 571 572 SS14 | Used by:Timeline |
Symbol 574 Text | Uses:13 | Used by:Timeline |
Symbol 575 Graphic | Used by:Timeline | |
Symbol 576 Graphic | Used by:Timeline | |
Symbol 577 Graphic | Used by:Timeline | |
Symbol 578 Text | Uses:13 | Used by:Timeline |
Symbol 579 Graphic | Used by:Timeline | |
Symbol 580 EditableText | Uses:2 | Used by:Timeline |
Symbol 581 Button | Uses:133 | Used by:Timeline |
Symbol 582 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 583 Graphic | Used by:594 | |
Symbol 584 Graphic | Used by:594 | |
Symbol 585 Graphic | Used by:594 | |
Symbol 586 Graphic | Used by:594 | |
Symbol 587 Graphic | Used by:594 | |
Symbol 588 Graphic | Used by:594 | |
Symbol 589 Graphic | Used by:594 665 744 785 826 | |
Symbol 590 Graphic | Used by:594 | |
Symbol 591 Graphic | Used by:594 | |
Symbol 592 Graphic | Used by:594 | |
Symbol 593 Graphic | Used by:594 | |
Symbol 594 MovieClip | Uses:583 540 584 543 545 585 568 44 45 586 547 587 418 588 61 63 31 33 270 238 240 241 475 51 52 53 54 55 273 274 275 57 58 271 474 276 277 278 589 59 60 281 282 590 591 298 592 280 146 593 SS15 | Used by:Timeline |
Symbol 595 EditableText | Uses:2 | Used by:Timeline |
Symbol 596 Button | Uses:190 191 192 193 | Used by:Timeline |
Symbol 597 Text | Uses:13 | Used by:598 |
Symbol 598 Button | Uses:597 24 | Used by:599 |
Symbol 599 MovieClip | Uses:598 | Used by:Timeline |
Symbol 600 Button | Uses:133 | Used by:Timeline |
Symbol 601 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 602 Graphic | Used by:665 | |
Symbol 603 Graphic | Used by:665 | |
Symbol 604 Graphic | Used by:665 | |
Symbol 605 Graphic | Used by:665 744 785 826 | |
Symbol 606 Graphic | Used by:607 | |
Symbol 607 MovieClip | Uses:606 | Used by:665 744 785 826 |
Symbol 608 Graphic | Used by:665 744 785 826 | |
Symbol 609 Graphic | Used by:665 | |
Symbol 610 Graphic | Used by:665 | |
Symbol 611 Graphic | Used by:665 | |
Symbol 612 Graphic | Used by:665 | |
Symbol 613 Graphic | Used by:665 | |
Symbol 614 Graphic | Used by:665 | |
Symbol 615 Graphic | Used by:665 | |
Symbol 616 Graphic | Used by:665 | |
Symbol 617 Graphic | Used by:665 | |
Symbol 618 Graphic | Used by:665 744 | |
Symbol 619 MovieClip | Uses:547 | Used by:665 744 |
Symbol 620 Graphic | Used by:665 744 | |
Symbol 621 Graphic | Used by:665 | |
Symbol 622 Graphic | Used by:665 | |
Symbol 623 Graphic | Used by:665 | |
Symbol 624 Graphic | Used by:665 | |
Symbol 625 Graphic | Used by:665 | |
Symbol 626 Graphic | Used by:665 744 | |
Symbol 627 Graphic | Used by:665 744 | |
Symbol 628 Graphic | Used by:665 744 | |
Symbol 629 Graphic | Used by:665 744 | |
Symbol 630 Graphic | Used by:665 | |
Symbol 631 Graphic | Used by:665 | |
Symbol 632 Graphic | Used by:665 | |
Symbol 633 Graphic | Used by:665 | |
Symbol 634 Graphic | Used by:665 | |
Symbol 635 Graphic | Used by:665 744 | |
Symbol 636 Graphic | Used by:665 744 | |
Symbol 637 Graphic | Used by:665 744 | |
Symbol 638 Graphic | Used by:665 | |
Symbol 639 Graphic | Used by:665 | |
Symbol 640 Graphic | Used by:665 | |
Symbol 641 Graphic | Used by:665 | |
Symbol 642 Graphic | Used by:665 | |
Symbol 643 Graphic | Used by:665 | |
Symbol 644 Graphic | Used by:665 | |
Symbol 645 Graphic | Used by:665 | |
Symbol 646 Graphic | Used by:665 | |
Symbol 647 Graphic | Used by:665 744 | |
Symbol 648 Graphic | Used by:665 744 | |
Symbol 649 Graphic | Used by:665 | |
Symbol 650 Graphic | Used by:665 | |
Symbol 651 Graphic | Used by:665 | |
Symbol 652 Graphic | Used by:665 | |
Symbol 653 Graphic | Used by:665 744 | |
Symbol 654 Graphic | Used by:665 744 | |
Symbol 655 Graphic | Used by:665 744 | |
Symbol 656 Graphic | Used by:665 | |
Symbol 657 Graphic | Used by:665 | |
Symbol 658 Graphic | Used by:665 | |
Symbol 659 Graphic | Used by:665 | |
Symbol 660 Graphic | Used by:665 | |
Symbol 661 Graphic | Used by:665 | |
Symbol 662 Graphic | Used by:665 | |
Symbol 663 Graphic | Used by:665 | |
Symbol 664 Graphic | Used by:665 | |
Symbol 665 MovieClip | Uses:602 540 603 543 545 604 281 298 31 33 278 238 240 241 59 55 60 605 607 608 568 44 45 609 547 610 418 611 282 589 146 63 156 157 61 280 566 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 375 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 SS16 | Used by:Timeline |
Symbol 666 Graphic | Used by:Timeline | |
Symbol 667 Text | Uses:13 | Used by:Timeline |
Symbol 668 Graphic | Used by:Timeline | |
Symbol 669 EditableText | Uses:2 | Used by:Timeline |
Symbol 670 Button | Uses:133 | Used by:Timeline |
Symbol 671 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 672 Graphic | Used by:744 | |
Symbol 673 Graphic | Used by:744 | |
Symbol 674 Graphic | Used by:744 | |
Symbol 675 Graphic | Used by:744 | |
Symbol 676 Graphic | Used by:744 | |
Symbol 677 Graphic | Used by:744 | |
Symbol 678 Graphic | Used by:744 | |
Symbol 679 Graphic | Used by:744 | |
Symbol 680 Graphic | Used by:744 | |
Symbol 681 Graphic | Used by:744 | |
Symbol 682 Graphic | Used by:744 | |
Symbol 683 Graphic | Used by:744 | |
Symbol 684 Graphic | Used by:744 | |
Symbol 685 Graphic | Used by:744 | |
Symbol 686 Graphic | Used by:744 | |
Symbol 687 Graphic | Used by:744 | |
Symbol 688 Graphic | Used by:744 | |
Symbol 689 Graphic | Used by:744 | |
Symbol 690 Graphic | Used by:744 | |
Symbol 691 Graphic | Used by:744 | |
Symbol 692 Graphic | Used by:744 | |
Symbol 693 Graphic | Used by:744 | |
Symbol 694 Graphic | Used by:744 | |
Symbol 695 Graphic | Used by:744 | |
Symbol 696 Graphic | Used by:744 | |
Symbol 697 Graphic | Used by:744 | |
Symbol 698 Graphic | Used by:744 | |
Symbol 699 Graphic | Used by:744 | |
Symbol 700 Graphic | Used by:744 | |
Symbol 701 Graphic | Used by:702 | |
Symbol 702 MovieClip | Uses:701 | Used by:744 785 |
Symbol 703 Graphic | Used by:744 | |
Symbol 704 Graphic | Used by:744 | |
Symbol 705 Graphic | Used by:744 | |
Symbol 706 Graphic | Used by:744 | |
Symbol 707 Graphic | Used by:744 | |
Symbol 708 Graphic | Used by:744 | |
Symbol 709 Graphic | Used by:744 | |
Symbol 710 Graphic | Used by:744 | |
Symbol 711 Graphic | Used by:744 | |
Symbol 712 Graphic | Used by:744 | |
Symbol 713 Graphic | Used by:744 | |
Symbol 714 Graphic | Used by:744 | |
Symbol 715 Graphic | Used by:744 | |
Symbol 716 Graphic | Used by:744 | |
Symbol 717 Graphic | Used by:744 | |
Symbol 718 Graphic | Used by:744 | |
Symbol 719 Graphic | Used by:744 | |
Symbol 720 Graphic | Used by:744 | |
Symbol 721 Graphic | Used by:744 | |
Symbol 722 Graphic | Used by:744 | |
Symbol 723 Graphic | Used by:744 785 | |
Symbol 724 Graphic | Used by:744 | |
Symbol 725 Graphic | Used by:744 | |
Symbol 726 Graphic | Used by:744 | |
Symbol 727 Graphic | Used by:744 | |
Symbol 728 Graphic | Used by:744 | |
Symbol 729 Graphic | Used by:744 | |
Symbol 730 Graphic | Used by:744 | |
Symbol 731 Graphic | Used by:744 | |
Symbol 732 Graphic | Used by:744 | |
Symbol 733 Graphic | Used by:744 785 | |
Symbol 734 Graphic | Used by:744 785 | |
Symbol 735 Graphic | Used by:744 785 | |
Symbol 736 Graphic | Used by:744 | |
Symbol 737 Graphic | Used by:744 | |
Symbol 738 Graphic | Used by:744 | |
Symbol 739 Graphic | Used by:744 | |
Symbol 740 Graphic | Used by:744 | |
Symbol 741 Graphic | Used by:744 | |
Symbol 742 Graphic | Used by:744 | |
Symbol 743 Graphic | Used by:744 | |
Symbol 744 MovieClip | Uses:672 540 673 543 545 674 281 31 282 33 278 238 240 241 59 55 60 589 568 44 45 675 547 676 418 677 678 679 61 63 34 38 680 605 607 608 49 50 56 298 146 280 618 619 620 681 682 683 684 685 686 687 688 689 690 691 692 693 694 626 627 695 696 697 698 699 700 702 148 703 628 629 704 705 706 707 708 709 710 711 712 370 371 372 373 375 713 157 714 715 716 717 718 719 635 636 637 720 721 722 647 648 653 654 655 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 SS17 | Used by:Timeline |
Symbol 745 Graphic | Used by:Timeline | |
Symbol 746 Text | Uses:13 | Used by:Timeline |
Symbol 747 Graphic | Used by:Timeline | |
Symbol 748 Text | Uses:13 | Used by:Timeline |
Symbol 749 Graphic | Used by:Timeline | |
Symbol 750 Text | Uses:13 | Used by:Timeline |
Symbol 751 Graphic | Used by:Timeline | |
Symbol 752 Text | Uses:13 | Used by:Timeline |
Symbol 753 Graphic | Used by:Timeline | |
Symbol 754 Text | Uses:13 | Used by:Timeline |
Symbol 755 EditableText | Uses:2 | Used by:Timeline |
Symbol 756 Button | Uses:133 | Used by:Timeline |
Symbol 757 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 758 Graphic | Used by:785 | |
Symbol 759 Graphic | Used by:785 | |
Symbol 760 Graphic | Used by:785 | |
Symbol 761 Graphic | Used by:785 | |
Symbol 762 Graphic | Used by:785 | |
Symbol 763 Graphic | Used by:785 | |
Symbol 764 Graphic | Used by:785 | |
Symbol 765 Graphic | Used by:785 | |
Symbol 766 Graphic | Used by:785 | |
Symbol 767 Graphic | Used by:785 | |
Symbol 768 Graphic | Used by:785 | |
Symbol 769 Graphic | Used by:785 | |
Symbol 770 Graphic | Used by:785 | |
Symbol 771 Graphic | Used by:785 | |
Symbol 772 Graphic | Used by:785 | |
Symbol 773 Graphic | Used by:785 | |
Symbol 774 Graphic | Used by:785 | |
Symbol 775 Graphic | Used by:785 | |
Symbol 776 Graphic | Used by:785 | |
Symbol 777 Graphic | Used by:785 | |
Symbol 778 Graphic | Used by:785 | |
Symbol 779 Graphic | Used by:785 | |
Symbol 780 Graphic | Used by:785 | |
Symbol 781 Graphic | Used by:785 | |
Symbol 782 Graphic | Used by:785 | |
Symbol 783 Graphic | Used by:785 | |
Symbol 784 Graphic | Used by:785 | |
Symbol 785 MovieClip | Uses:758 540 759 543 545 702 31 33 44 45 760 723 733 734 278 238 240 241 59 55 60 589 761 547 762 418 763 735 764 281 282 298 61 63 605 607 608 146 765 766 49 50 56 280 566 767 768 34 38 769 568 309 310 311 312 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 273 274 275 276 277 51 52 53 54 57 58 475 474 270 271 SS18 | Used by:Timeline |
Symbol 786 Graphic | Used by:Timeline | |
Symbol 787 Text | Uses:13 | Used by:Timeline |
Symbol 788 Graphic | Used by:Timeline | |
Symbol 789 Graphic | Used by:Timeline | |
Symbol 790 Text | Uses:13 | Used by:Timeline |
Symbol 791 EditableText | Uses:2 | Used by:Timeline |
Symbol 792 Button | Uses:133 | Used by:Timeline |
Symbol 793 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 794 Graphic | Used by:826 | |
Symbol 795 Graphic | Used by:826 | |
Symbol 796 Graphic | Used by:826 | |
Symbol 797 Graphic | Used by:826 | |
Symbol 798 Graphic | Used by:826 | |
Symbol 799 Graphic | Used by:826 | |
Symbol 800 Graphic | Used by:826 | |
Symbol 801 Graphic | Used by:826 | |
Symbol 802 Graphic | Used by:826 | |
Symbol 803 Graphic | Used by:826 | |
Symbol 804 Graphic | Used by:826 | |
Symbol 805 Graphic | Used by:826 | |
Symbol 806 Graphic | Used by:826 | |
Symbol 807 Graphic | Used by:826 | |
Symbol 808 Graphic | Used by:826 | |
Symbol 809 Graphic | Used by:826 | |
Symbol 810 Graphic | Used by:826 | |
Symbol 811 Graphic | Used by:826 | |
Symbol 812 Graphic | Used by:826 | |
Symbol 813 Graphic | Used by:826 | |
Symbol 814 Graphic | Used by:826 | |
Symbol 815 Graphic | Used by:826 | |
Symbol 816 Graphic | Used by:826 | |
Symbol 817 Graphic | Used by:826 | |
Symbol 818 Graphic | Used by:826 | |
Symbol 819 Graphic | Used by:820 | |
Symbol 820 MovieClip | Uses:819 | Used by:826 |
Symbol 821 Graphic | Used by:826 | |
Symbol 822 Graphic | Used by:823 | |
Symbol 823 MovieClip | Uses:500 31 492 33 822 | Used by:826 |
Symbol 824 Graphic | Used by:826 | |
Symbol 825 Graphic | Used by:826 | |
Symbol 826 MovieClip | Uses:794 233 795 235 261 273 31 274 275 246 276 277 33 34 38 51 52 53 54 55 57 58 475 281 282 474 270 238 240 241 44 45 271 496 492 497 59 60 491 493 494 495 298 589 278 61 63 146 162 796 157 797 371 372 373 375 798 799 800 801 510 511 605 607 608 802 803 804 805 481 806 484 807 808 809 280 309 310 311 312 810 811 812 813 814 815 816 500 817 818 49 50 56 820 821 823 824 825 SS19 | Used by:Timeline |
Symbol 827 Text | Uses:13 | Used by:Timeline |
Symbol 828 Graphic | Used by:Timeline | |
Symbol 829 Graphic | Used by:Timeline | |
Symbol 830 Graphic | Used by:Timeline | |
Symbol 831 Text | Uses:13 | Used by:Timeline |
Symbol 832 Graphic | Used by:Timeline | |
Symbol 833 Graphic | Used by:Timeline | |
Symbol 834 Text | Uses:13 | Used by:Timeline |
Symbol 835 Graphic | Used by:Timeline | |
Symbol 836 Text | Uses:13 | Used by:Timeline |
Symbol 837 Graphic | Used by:Timeline | |
Symbol 838 Graphic | Used by:Timeline | |
Symbol 839 Text | Uses:13 | Used by:Timeline |
Symbol 840 Graphic | Used by:Timeline | |
Symbol 841 EditableText | Uses:2 | Used by:Timeline |
Symbol 842 Button | Uses:133 | Used by:Timeline |
Symbol 843 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Symbol 844 Graphic | Used by:874 | |
Symbol 845 Graphic | Used by:874 | |
Symbol 846 Graphic | Used by:874 | |
Symbol 847 Graphic | Used by:874 | |
Symbol 848 Graphic | Used by:874 | |
Symbol 849 Graphic | Used by:874 | |
Symbol 850 Graphic | Used by:874 | |
Symbol 851 Graphic | Used by:874 | |
Symbol 852 Graphic | Used by:874 | |
Symbol 853 Graphic | Used by:874 | |
Symbol 854 Graphic | Used by:874 | |
Symbol 855 Graphic | Used by:874 | |
Symbol 856 Graphic | Used by:874 | |
Symbol 857 Graphic | Used by:874 | |
Symbol 858 Graphic | Used by:874 | |
Symbol 859 Graphic | Used by:874 | |
Symbol 860 Graphic | Used by:874 | |
Symbol 861 Graphic | Used by:874 | |
Symbol 862 Graphic | Used by:874 | |
Symbol 863 Graphic | Used by:874 | |
Symbol 864 Graphic | Used by:874 | |
Symbol 865 Graphic | Used by:874 | |
Symbol 866 Graphic | Used by:874 | |
Symbol 867 Graphic | Used by:874 | |
Symbol 868 Graphic | Used by:874 | |
Symbol 869 Graphic | Used by:874 | |
Symbol 870 Graphic | Used by:874 | |
Symbol 871 Graphic | Used by:874 | |
Symbol 872 Graphic | Used by:874 | |
Symbol 873 Graphic | Used by:874 | |
Symbol 874 MovieClip | Uses:844 845 846 847 848 849 850 273 31 274 275 276 277 33 34 38 51 52 53 54 55 57 58 270 238 240 241 271 59 60 281 282 44 45 146 63 298 278 851 852 61 853 854 855 280 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 SS20 | Used by:Timeline |
Symbol 875 Text | Uses:13 | Used by:Timeline |
Symbol 876 Graphic | Used by:Timeline | |
Symbol 877 Graphic | Used by:Timeline | |
Symbol 878 EditableText | Uses:2 | Used by:Timeline |
Symbol 879 Text | Uses:13 | Used by:880 |
Symbol 880 MovieClip | Uses:879 | Used by:Timeline |
Symbol 881 Button | Uses:137 138 139 140 141 142 143 | Used by:Timeline |
Streaming Sound 1 | Used by:Symbol 64 MovieClip | |
Streaming Sound 2 | Used by:Symbol 173 MovieClip | |
Streaming Sound 3 | Used by:Symbol 224 MovieClip | |
Streaming Sound 4 | Used by:Symbol 284 MovieClip | |
Streaming Sound 5 | Used by:Symbol 299 MovieClip | |
Streaming Sound 6 | Used by:Symbol 343 MovieClip | |
Streaming Sound 7 | Used by:Symbol 357 MovieClip | |
Streaming Sound 8 | Used by:Symbol 387 MovieClip | |
Streaming Sound 9 | Used by:Symbol 403 MovieClip | |
Streaming Sound 10 | Used by:Symbol 425 MovieClip | |
Streaming Sound 11 | Used by:Symbol 463 MovieClip | |
Streaming Sound 12 | Used by:Symbol 512 MovieClip | |
Streaming Sound 13 | Used by:Symbol 530 MovieClip | |
Streaming Sound 14 | Used by:Symbol 573 MovieClip | |
Streaming Sound 15 | Used by:Symbol 594 MovieClip | |
Streaming Sound 16 | Used by:Symbol 665 MovieClip | |
Streaming Sound 17 | Used by:Symbol 744 MovieClip | |
Streaming Sound 18 | Used by:Symbol 785 MovieClip | |
Streaming Sound 19 | Used by:Symbol 826 MovieClip | |
Streaming Sound 20 | Used by:Symbol 874 MovieClip |
Instance Names
"scrollDown" | Frame 1 | Symbol 5 MovieClip |
"scrollUp" | Frame 1 | Symbol 6 MovieClip |
"a" | Frame 3 | Symbol 64 MovieClip |
"scrollDown" | Frame 82 | Symbol 5 MovieClip |
"scrollUp" | Frame 82 | Symbol 6 MovieClip |
"b" | Frame 83 | Symbol 173 MovieClip |
"scrollDown" | Frame 518 | Symbol 5 MovieClip |
"scrollUp" | Frame 518 | Symbol 6 MovieClip |
"c" | Frame 519 | Symbol 224 MovieClip |
"scrollDown" | Frame 754 | Symbol 5 MovieClip |
"scrollUp" | Frame 754 | Symbol 6 MovieClip |
"d" | Frame 755 | Symbol 284 MovieClip |
"scrollDown" | Frame 1058 | Symbol 5 MovieClip |
"scrollUp" | Frame 1058 | Symbol 6 MovieClip |
"e" | Frame 1059 | Symbol 299 MovieClip |
"scrollDown" | Frame 1092 | Symbol 5 MovieClip |
"scrollUp" | Frame 1092 | Symbol 6 MovieClip |
"f" | Frame 1093 | Symbol 343 MovieClip |
"scrollDown" | Frame 1435 | Symbol 5 MovieClip |
"scrollUp" | Frame 1435 | Symbol 6 MovieClip |
"g" | Frame 1436 | Symbol 357 MovieClip |
"scrollDown" | Frame 1472 | Symbol 5 MovieClip |
"scrollUp" | Frame 1472 | Symbol 6 MovieClip |
"h" | Frame 1473 | Symbol 387 MovieClip |
"scrollDown" | Frame 1712 | Symbol 5 MovieClip |
"scrollUp" | Frame 1712 | Symbol 6 MovieClip |
"i" | Frame 1713 | Symbol 403 MovieClip |
"scrollDown" | Frame 1949 | Symbol 5 MovieClip |
"scrollUp" | Frame 1949 | Symbol 6 MovieClip |
"k" | Frame 1950 | Symbol 425 MovieClip |
"scrollDown" | Frame 2069 | Symbol 5 MovieClip |
"scrollUp" | Frame 2069 | Symbol 6 MovieClip |
"l" | Frame 2070 | Symbol 463 MovieClip |
"scrollDown" | Frame 2197 | Symbol 5 MovieClip |
"scrollUp" | Frame 2197 | Symbol 6 MovieClip |
"m" | Frame 2198 | Symbol 512 MovieClip |
"scrollDown" | Frame 2391 | Symbol 5 MovieClip |
"scrollUp" | Frame 2391 | Symbol 6 MovieClip |
"n" | Frame 2392 | Symbol 530 MovieClip |
"scrollDown" | Frame 2654 | Symbol 5 MovieClip |
"scrollUp" | Frame 2654 | Symbol 6 MovieClip |
"o" | Frame 2655 | Symbol 573 MovieClip |
"scrollDown" | Frame 3002 | Symbol 5 MovieClip |
"scrollUp" | Frame 3002 | Symbol 6 MovieClip |
"p" | Frame 3003 | Symbol 594 MovieClip |
"scrollDown" | Frame 3127 | Symbol 5 MovieClip |
"scrollUp" | Frame 3127 | Symbol 6 MovieClip |
"q" | Frame 3128 | Symbol 665 MovieClip |
"scrollDown" | Frame 3322 | Symbol 5 MovieClip |
"scrollUp" | Frame 3322 | Symbol 6 MovieClip |
"r" | Frame 3323 | Symbol 744 MovieClip |
"scrollDown" | Frame 3538 | Symbol 5 MovieClip |
"scrollUp" | Frame 3538 | Symbol 6 MovieClip |
"s" | Frame 3539 | Symbol 785 MovieClip |
"scrollDown" | Frame 3880 | Symbol 5 MovieClip |
"scrollUp" | Frame 3880 | Symbol 6 MovieClip |
"t" | Frame 3881 | Symbol 826 MovieClip |
"scrollDown" | Frame 4274 | Symbol 5 MovieClip |
"scrollUp" | Frame 4274 | Symbol 6 MovieClip |
"u" | Frame 4275 | Symbol 874 MovieClip |
"scrollDown" | Frame 4830 | Symbol 5 MovieClip |
"scrollUp" | Frame 4830 | Symbol 6 MovieClip |
Dynamic Text Variables
scrollableText | Symbol 4 EditableText | "" |
scrollableText | Symbol 132 EditableText | "" |
scrollableText | Symbol 189 EditableText | "" |
scrollableText | Symbol 228 EditableText | "" |
scrollableText | Symbol 291 EditableText | "" |
scrollableText | Symbol 300 EditableText | "" |
scrollableText | Symbol 351 EditableText | "" |
scrollableText | Symbol 358 EditableText | "" |
scrollableText | Symbol 396 EditableText | "" |
scrollableText | Symbol 404 EditableText | "" |
scrollableText | Symbol 430 EditableText | "" |
scrollableText | Symbol 466 EditableText | "" |
scrollableText | Symbol 519 EditableText | "" |
scrollableText | Symbol 533 EditableText | "" |
scrollableText | Symbol 580 EditableText | "" |
scrollableText | Symbol 595 EditableText | "" |
scrollableText | Symbol 669 EditableText | "" |
scrollableText | Symbol 755 EditableText | "" |
scrollableText | Symbol 791 EditableText | "" |
scrollableText | Symbol 841 EditableText | "" |
scrollableText | Symbol 878 EditableText | "" |
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