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This is the info page for Flash #26423 |
A Primer on Animation techniques |
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A "short" lesson by Jerry G. Chan (Thor, Clod of Blunders) |
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foreword |
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timing |
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Table of Contents |
Foreword (Storytelling 101) |
Anticipation |
Straight Ahead and Pose to Pose |
Timing |
Squash and Stretch |
A Primer on Animation techniques |
These buttons will be conviniently located at the bottom of the screen next to the next and back buttons. Also, the left and right arrow keys will on your keyboard will also change the page |
Follow Through |
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This tutorial’s purpose is to share what I’ve learned so far about animation and the process. It’s may not be 100% correct since I’m still learning about it myself, but I‘d say it‘s pretty darn close. For not at least. This tutorial assumes you can draw relatively well (people can tell it’s a stick figure and not a jumble of lines) and that you have some experience with animating in flash, like how to use tweens and basic frame by frame animation, and applies more towards character animation than anything else. Above everything else, you must have the patience and persistence to sit down and animate. There are no shortcuts in making a good cartoon, so don't expect it to be a walk in the park. If you have any questions or corrections to whatever you see here, feel free to drop by the forums (www.absforums.com) or send me an e-mail at jgchan@student.umass.edu, or drop by #absflash on irc.lcirc.net |
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So why am I making this? Don’t I already have two other animation tutorials out there? Well, this is a remake of the Snap and Keyframe animation tutorials since both contain flaws. In fact, even this one may get remade, so keep an eye out. I’ll keep making corrections as long as I learn more about the process myself |
Our Hero goes to College... |
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After getting schooled by this over lunch, I realized that I had been coming at the whole concept of animation wrong. Animation isn’t just smooth or realistic movement, it’s about giving your creation life through storytelling. (a look back at my old tutorials, if they're still up, shows that it's all about the realistic movement. It's not.) |
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…in fact, I dare say that storytelling takes precedence over the actual movement itself. If you were like me and wondered why the heck those awfully animated TV cartoons from the 1950s-1990s were so much more popular than wonderfully animated cartoons from the 1940s-1950s, it’s because of the story, and way they tell the story. Stuff like Looney Tunes and Tom and Jerry really tell the same story over and over and over again; I’ll bet you that you can’t sit through more than an hour of Looney Tunes nonstop without loosing attention. On the other hand, you can easily watch an hour of television cartoons (The old days of Saturday morning cartoons were addicting, as my parents can testify). |
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The point is, good animation isn’t fundamental to the success of a cartoon. A cartoon with very limited animation that has a good story is far better than a beautiful animation that tells no story. Even the ones that make no sense at all manage to be entertaining by being able to get the point of madness or nonsense across to the viewer successfully. |
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I’m pretty sure this drives the point home about not needing good animation to have a good cartoon. The animation to ryoshenron's “Defender of the Supermart” series can be considered as very limited and, well, downright awful; it lacks all of the tricks that come later in the lesson. However, it still tells the story, and you follow the dude with the green hat in his crazy (mis)adventures as he shoots things and as objects randomly blow up. …the story may not make that much sense, but it’s still a story. |
(http://www.albinoblacksheep.com/flash/supermart/) |
Defender of the Supermart by |
ryoshenron |
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Avidlebon animated this wonderful music video for a song she made, but it wasn’t well received at all. The animation is superb and the lip-sync is right on, but since the cartoon told no story, it wasn’t as entertaining to an audience that doesn‘t know how hard it is to animate. When animating a cartoon, remember that most of your audience could care less about how smooth it is if it makes them laugh/smile/cry. |
"Higher" by Avidlebon |
(http://www.albinoblacksheep.com/flash/higher) |
Special Thanks to for letting me use this video as an example. Please don't hurt me! |
Avidlebon |
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MononCQC’s signature pictures. Here’s a good examples of good storytelling without any movement at all. It provides a humorous narrative through a vivid description of the action (i.e. it clearly shows what’s going on) without any actual animation at all.) |
signature on |
absforums.com |
MononCQC's |
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Along the lines of signatures, I made this quasi-comic as a signature a while back. As before, it tells a story with minimal movement, but since the backgrounds/character poses/dialogue changes, you get more of a story out of it than if it were a static picture. |
Keep this in mind whenever you animate something- what’s the most effective way to get the point across? |
With that being said, onto the actual animation techniques… |
(Just keep in mind that all of these principles can be applied to any sort of animation, from 2D to stop motion to 3D; Different mediums, same bag of tricks.) |
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There are 5 main principles of animation I’d like to focus on: |
1. Anticipation 2. Straight ahead vs. Pose to Pose 3. Timing 4. Follow Through 5. Squash and Stretch |
Just bear in mind that each principle interrelates to each other one. you can use anticipation with timing and squash and stretch with follow through, for example. I've done my best to keep them separate, but the best animations will use all of these at the same time |
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1. Anticipation |
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Anticipation (in terms of animation) is the movement taken to get ready for another action. As far as I know, Anticipation was originally developed by Disney (called “aiming”) back in the late 1920s/early 1930s since the viewer would often miss visual gags if they didn’t know a gag was coming up. It’s used for two purposes: 1. It sets up the action so the viewer’s brain is primed for the action to happen 2. It adds life and acting to characters; anticipation gives the illusion of thought or that the character is getting ready to perform an action. |
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As an example, let’s have a guy jump over a puddle. Now, we can have it look like one of those vintage pixilated games and just have him perform the action, but then the whole process looks stiff and rigid and not very lifelike at all. Even if frames were added in to smooth out the action, all you would have is a stiff looking jump with no sense of weight. |
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But, with just another pose of the guy arching his back and bending his knees (and a fix to the position of the arms to match...) adds more life (and believability) to the character. |
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I originally had planned to show the landing in those last couple examples, but then I realized that even landing takes anticipation. Here’s an example of landing with anticipation. It looks natural, right? The guy here is preparing to catch himself as he lands so he doesn’t fall over. |
watch for the leg here. He reaches out to catch himself |
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So what does it look like without any anticipation? Well, if you can imagine throwing a cardboard cutout or mannequin into the air… |
Since it’s not alive, it can’t anticipate for the landing. So it falls into a jumble on the ground (sort of like a ragdoll like in those newfangled games) |
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Anticipation is one of the major differences between things that are alive and things that are inanimate. Unless it’s a reflex, every action any living being (minus stationary plants) will have anticipation. It’s just natural! And speaking of natural, the magnitude of the action will indicate how much you need to wind up. A man about to calmly speak won’t need as much anticipation as someone winding up for a huge punch. If you find that the cartoon isn't fluid and lifelike, you might have used too little or too much anticipation. |
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Anticipation can also be used to save on frames as well. I’ll explain this more later in the squash and stretch section. Here, go prepare your brain for the lesson by watching this first: |
http://www.squarefootagefilms.com/smith/movingalong.html |
"Moving Along" by Pat Smith |
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2. Straightahead vs. Pose to Pose |
(aka keyframing) |
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There are two methods of animation (a third if you count that method from the Richard Williams book, but it’s a hybrid of the two): Straight ahead and Pose to Pose (keyframing). Straight ahead is where you draw the frames in the order that they come in and is, well, fairly straight forward (for lack of a better description). |
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So for this example here, I drew each frame in order from left to right in the order they would come in, as in drawing frame 1 first, then frame 2 second, then frame 3 third, and so forth. It's like drawing a flipbook. |
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The problem with going with straight ahead method is that if you’re not an experienced animator (Trust me, I’m not there yet either), the movement between each frame might not be evenly spaced, so it might not appear as smooth. Also, if you only have X frames to get a character from one side of the screen to another (like in a music video), how do you know how to space it out? There’s really no way to evenly space it and know for sure how it’ll fit in with the rest. |
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On the other hand, once you get the hang of straight ahead animation, the animation tends to be more fluid since you must flow with whatever you’re animating. One of the things I found with my cartoon Bad Day: Paddleball, is that some of the walk/run cycles of my little characters were, well, wrong. I had set up the walk using the pose to pose method, but when I added the inbetweens, the whole thing looked awkward. The problem with these little guys is that they don’t really have any joints or limbs (they have noodles), meaning that you can’t really pose them, making the pose to pose method unreliable. My theory right now is that if the thing you’re animating has no joints (like ooze), go with straight ahead animation. |
good gravy. I cringe whenever I see this. |
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The other method of animation is called pose to pose / keyframing. You set up each pose and then you (or someone else) fills in the inbetween frames later by making the next drawing the middle point of two other frames. |
These first two keys (poses) are drawn first... |
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Then the middle positions are drawn. |
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You then work from the middle outwards, adding more frames |
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Here's an easier example: Box A turns into box B. |
1. Here are the keys |
2. Here's the first inbetween- the absolute middle position |
3. The next inbetweens are the positions between the first and the keys |
and so forth. Keep repeating to get a perfectly spaced transition from A to B |
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You don’t always have to shoot for the absolute middle position. You can ease in or out of poses, giving the impression of a sort of acceleration. |
easing out (becomes faster) |
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easing in (slows down) |
Keyframing almost guarantees a smooth animation. On my Bad Day cartoons, I only used a framerate of 24 fps, but it look like they could've been animated at maybe 50 fps. This is because I crammed in many inbetweens to get a smooth transition from pose to pose, working from the middle outwards. |
12 frames achieved the smooth looking animation |
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One of the more important concepts of keyframing is the breakdown. The breakdown is the main transition from each, and can change the acting of characters drastically. The keys are exactly the same in this example, but each tells a different story. Chris Perry pointed this one out to me (no pun intended): Let's get from pose A to pose B |
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If you only work towards the middle (like shown in the old keyframe tutorial), you will end up with a smoother animation. But then the action is very weak. If this were a cop pointing out a suspect, would he point like this? |
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But what if we make this inbetween (the breakdown) into something outside of the straight path from A to B? It may not look at smooth (I'll show you how to smooth it out later), but the action is more dynamic. In short, the acting different. Breakdowns change the acting! |
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Here's yet another example of how breakdowns change the action: Let's say this guy is putting down a box: |
Okay, so we know the box is put on the table. |
...but how? |
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He can toss it in the air and catch it right before it lands, then place it down |
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or does he slam it down? |
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Pose to pose keyframing is also better to work with if you’re working in teams; someone pushes out the keyframes, others draw the breakdowns and inbetweens (This is how Hollywood studios in the 1930s-1960s streamlined their animation processes). -Just one of those things to think about if you happen to work in a team (because obviously, internet animators always work in teams.) If you're working by yourself, keyframing saves you time by allowing you to see how your action will occur and how it will be timed out so you can make adjustments before adding in all the inbetweens. ...and speaking of timing... |
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3. Timing |
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Compare Disney features with Looney Tunes. Looney Tunes are all nonstop gags with a rapid pacing verses Disney’s slower paced movies (so they can develop the characters more). Timing is the pacing of the cartoon, from dialogue to speed of movement to gags. |
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A faster pacing is better for funny stuff (especially physical humor)... |
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Whereas a slow timing is better for serious, sad, or mundane stuff. |
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Timing is also the amount of time it takes for an action to occur. With timing, you can give a sense of force and weight. In general: |
A faster timing = more force |
and a slower timing= less force |
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Weight: Weight is one of the hardest things to portray in an animation (realistically anyways). You portray weight through use of anticipation and timing (and a little something called follow-through; I'll show you what that is in the next section) |
The longer it takes for something to start or stop moving, the heavier it will appear (think: inertia). |
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…Just throwing this one out there because it took me a while to figure out. |
Many of the old masters say things like “Charlie Chaplin and Buster Keaton have excellent timing. You should watch them!” Recently, I managed to get my paws on a set of Charlie Chaplin movies on DVD. ...I fell asleep when I first tried to watch it (silent films really can’t compare with modern day movies). However, there’s this one instance where he tries to pick up a heavy box and carry it up the stairs. Shortly afterwards, he trips and tumbles downwards, where the box crushes an old man and pins him down. Only after it dropped did I realize that the box didn’t actually contain anything- Charlie Chaplin’s acting through his slow paced steps up the stairs made it look like the box was heavy. |
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4. Follow Through |
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Follow through basically means that nothing really comes to a sudden stop, and that everything accelerates and decelerates into a resting position. Just think back to those days in physics class (if you were like me, you zoned out…) where you learned about inertia. A force will continue to work on an object until it is stopped by an opposing force, which, most of the time will be gravity, friction, or the characters themselves as they move to stop their appendages from moving. |
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Action |
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So here's a car swerving in an exaggerated manner left and right in slow motion Even though the car is done changing directions, the top mass of the car still wants to go in the direction it was moving before. |
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A longer follow through gives the impression of more weight. In this case, hair would have a smaller follow through since it weighs less than a man swinging on a vine (more inertia = more mass = more weight) |
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Remember these guys? The one on the left looks heavier because it has a longer follow through (remember, it looks like it has to resist a larger inertia, meaning that it has more weight). The one on the right actually has no follow through at all, meaning that the object has little or no mass (or that the creature is really ,really strong). |
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5. Squash and Stretch |
...the big one |
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Ollie Johnston and Frank Thomas call “Squash and Stretch” the most important discovery of the fundamental principles of animation in their book Disney animation: The Illusion of Life, and with good reason. Squash and stretch is probably the most versatile principle there is, and you can squash and stretch just about anything to either give the heavy force, add acting, or give the illusion of fast movement. |
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You don't even have to change the shape of the body/object that drastically, but squash and stretch occurs in real life with the human body (so don't think "I want to keep this cartoon hyper realistic, so I can't squash and stretch anything!") |
compare the different sides of the ribs. When you lift your arm, the muscles in your side should stretch out from your side. |
when you talk or change expressions, everything in your face either stretches or squashes (is that even a word?). The soft tissues will all move with each other, while the rigid bone structure will remain the same (with the exeption of the Jaw, as it can move foward, backwards, pivot, etc.) |
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You can squash objects to make it look like it had a harder impact. Just remember to keep the volumes consistant. |
compare left and right. Squashing the hammer gives a different mood than without the squash. |
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You can squash and stretch things to add acting to just about anything. |
this box looks like it's sighing |
it looks like this mere circle is thinking about jumping, and then jumping on it's own power |
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I saw this one in a book about Chuck Jones and later saw it in the Richard Williams movie The Thief and the Cobbler. As a character falls... |
his head is held in position as the rest of the body stretches as it falls. This allows you to see the emotion on the character's face longer and get more of a reaction out of the audience. And then the head is slingshotted downwards to the body. At least I thought it was interesting |
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If you were to take a still frame of a movie of someone moving quickly, you'll see that whatever moving fast looks stretched out. That saying that the hand moves faster than the eye is correct; there's a phenomenon with our vision called the "persistance of light", where the image of something will still appear to be there for a split second. This causes something moving fast to appear stretched out. |
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this is Nick, some crazy kid that lives in the room next to mine. |
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You remember this guy, right? right now the animation looks a little choppy. This is because it uses only one frame to show the transition between the breakdown and the keys. We could smooth it out by adding in more frames, but then we'd loose the fast timing of the action. |
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Or we can keep the timing of the action by stretching out the arms, imitating what we'd see in a camera. Mimicking what a camera does adds to the believability of a cartoon, no matter how outlandish the subject matter is ("Suspension of Disbelief"... go pick up a psychology book) |
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Motion blurs can be done using either the straight ahead method or with the pose to pose method. I do most of them with the pose to pose method with the blur as part of the breakdown, but you can use blurs with the straight ahead method as long as each one leads into each other |
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Some more motion blurs. The faster the move, the larger the blur. |
Blurs are most effective when used with anticipation (prepares the eye for the distorted image) and with a follow through (shows how how strong the action was). Look for the 1 anticipation frame and the 4 follow through frames in the blue ball one above this, and compare how it looks to the guy with the hammer (with no anticipation or follow through frames) |
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Not all major animation studios use motion blurs. The last time I was watching Spirited Away (Studio Ghibli), I noticed that they didn’t stretch out anything to indicate fast movement. This made the animation of the characters seem slightly choppy, but the story telling is so fantastic that I don’t think anyone can really complain. |
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There's a type of blurred inbetween I call a "snap" Basically, what you do is set up the two keyframes of the figure and then use a single stretched inbetween that would cover the path of whatever's moving. |
step 1: set up the key poses... |
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stel 2: now we'll set up the "snap." Outline the path that the whatever is moving would have taken to get from the first pose to the second pose (I ususally start this by placing one image on top of the other) |
Consider setting up the path like setting up the breakdown of a keyframe |
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Now fill in the large area. You can either use a gradient or a solid color (be sure that it blends well though). Delete any lines (shown here in white) that show the key positions in the blurred area. |
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Now hold this middle frame for 1-2 frames and you've got yourself a snap. |
1 frame hold |
2 frame hold |
The advantage of snapping is that you save yourself a lot of drawings and time by only using one inbetween, so consider it like taking the easy way out. However, if you're shooting for realism, snaps are definately not the way to go. |
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As with motion blurs, anticipation and a follow through will enhance whatever realism is left by making it look like the object had some sort of mass that wants to continue fowards, but is pulled back into place by whoever is swinging the thing. It also makes the action look less stiff and more lifelike |
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Also, make sure your volumes and spacing are consistant for the key poses. when I did this one of a fast face turn, I drew out the red lines as a guide to see where the features should land |
And for a more comical effect, don't forget to find a good woosh or whip sound (I've yet to find one I like yet though. At least not one online.) |
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A couple words of warning though: 1. Reserve snaps ONLY for fast movements. -this one should be fairly self explainatory. Say you have a character balancing a pyramid of wine glasses on a silver platter and is trying to not drop them. Common sense dictates that you not use any sudden movements, otherwise it'll look like the wine glasses are glued together and then you loose the whole point of trying to be careful. 2. Make sure whatever you're snapping can move that fast -if you're animating a snail moving along slowly on a stem, don't use snaps to wiggle it's antennae. A snap is more appropriate for fast paced things that don't weigh that much,like throwing a fist or a baseball. I wouldn't use a snap on anything that can move fast but still weighs a lot (like a car door). |
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and most importantly... 3. MAKE EACH SNAP COUNT -Snaps can get very annoying very quickly is used too many times (too many can be as little as 2 within a second). Can you imagine watching this? |
If you find yourself making this many poses within a short period of time, rethink the poses. Nobody uses these huge hand gestures so many times while doing anything that isn't fighting (and even then this is way too much). |
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In the type of snap you still had to show the action. But I was referred to another type of snap by that fellow Chris Perry . Did you watch that cartoon “Moving Along” by Patrick Smith yet? |
Pat Smith is so effective with anticipation and follow through that he can still have a smooth looking animation with a low framerate and without actually animating the action itself. In fact, if you watch the movie in frame by frame mode… |
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about halfway through the video we come up at a part where the guy presses the button. If we look at it frame by frame, there's not too much going on. It's just a guy holding one pose... |
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...that is, until frame 15 where his finger jumps down. My jaw dropped the first time I saw this. How did he pull off such fluid movement with a slower framerate? |
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"But why Thor? He only pressed a button!" That's not the point. Pat Smith does this throughout the entire video: He spends a few frames holding a pose, then BAM, it’s the aftermath. The hand suddenly is in position B, with 1-2 frames of follow through. You don’t see any of the action at all; the illusion of movement is created as your brain tries to connect the dots between the before and after state. So what does this mean? You can save on drawing time and still have as fluid an animation using maybe 3-4 frames and still have it look really smooth. This type of snap harder to do since you really have to have a mastery of anticipation, timing, weight, and follow through. I recommend going to blendfilms.com and checking out all of his other cartoons to see more examples of this. |
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Using this technique actually adds force by making the viewer's imagination imagine the action. In fact, I think it looks more forceful since it looks like the action moved too fast to see (it only works if you, once again, have a clear anticipation and a follow through). This works best for fast hits or explosions, where the aftermath is more important than the actual action |
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That’s it for the tutorial. I hope you learned something, and if you didn’t, I’d love to know what else there is to add on to this. As usual, don’t let this be your only source of information as far as animation techniques go. I just covered the basic fundamentals of movement and acting; if you want to learn more, take some art and animation classes, read as many books about animators and animation techniques (even psychology, acting, writing, and directing books to improve your storytelling and plots), and then actively go out and try to track down local animators and try to learn as much from them as possible. |
Good luck, and happy animating! |
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I have read these myself and can recommend these firsthand: |
-The Animator's Survival Kit (Richard Williams) -Disney Animation: The Illusion of Life (Frank Thomas and Ollie Johnston) -My Life in Cartoons (Joe Barbera) -Chuck Jones: A Flurry of Drawings, Portraits of American Genius (Hugh Kenner) |
Special thanks to Noelle Vaccese (Blend Films) for the use of images from Moving Along. Very special thanks to Chris Perry for the wake up call. Very, very special thanks to Avidlebon for letting me use her cartoon as an example (don't hurt me please). |
Most of the drawings and animations you saw here are mine. Those that aren't are from (in order of appearance) ryoshenron, Avidlebon, MononCQC, and Patrick Smith |
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http://www.blendfilms.com/ |
hosted by albinoblacksheep.com |
jgchan@student.umass.edu |
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ActionScript [AS1/AS2]
Frame 1stop(); ifFrameLoaded (1) { gotoAndPlay ("start"); }Frame 2function __com_mochibot__(swfid, mc, lv, trk) { var x; var g; var s; var fv; var sb; var u; var res; var mb; var mbc; mb = "__mochibot__"; mbc = "mochibot.com"; g = (_global ? (_global) : (_level0._root)); if (g[mb + swfid]) { return(g[mb + swfid]); } s = System.security; x = mc._root.getSWFVersion; fv = (x ? (mc.getSWFVersion()) : ((_global ? 6 : 5))); if (!s) { s = {}; } sb = s.sandboxType; if (sb == "localWithFile") { return(null); } x = s.allowDomain; if (x) { s.allowDomain(mbc); } x = s.allowInsecureDomain; if (x) { s.allowInsecureDomain(mbc); } u = (((((((((((("http://" + mbc) + "/my/core.swf?mv=7&fv=") + fv) + "&v=") + escape(getVersion())) + "&swfid=") + escape(swfid)) + "&l=") + lv) + "&f=") + mc) + (sb ? ("&sb=" + sb) : "")) + (trk ? "&t=1" : ""); lv = ((fv > 6) ? (mc.getNextHighestDepth()) : ((g[mb + "level"] ? (g[mb + "level"] + 1) : (lv)))); g[mb + "level"] = lv; if (fv == 5) { res = "_level" + lv; if (!eval (res)) { loadMovieNum (u, lv); } } else { res = mc.createEmptyMovieClip(mb + swfid, lv); res.loadMovie(u); } return(res); } stop(); __com_mochibot__("8be8006d", this, 10301, true);Frame 3stop();Frame 4stop();Frame 5stop();Frame 6stop();Frame 7stop();Frame 8stop();Frame 9stop();Frame 10stop();Frame 11stop();Frame 12stop();Frame 13stop();Frame 14stop();Frame 15stop();Frame 16stop();Frame 17stop();Frame 18stop();Frame 19stop();Frame 20stop();Frame 21stop();Frame 22stop();Frame 23stop();Frame 24stop();Frame 25stop();Frame 26stop();Frame 27stop();Frame 28stop();Frame 29stop();Frame 30stop();Frame 31stop();Frame 32stop();Frame 33stop();Frame 34stop();Frame 35stop();Frame 36stop();Frame 37stop();Frame 38stop();Frame 39stop();Frame 40stop();Frame 41stop();Frame 42stop();Frame 43stop();Frame 44stop();Frame 45stop();Frame 46stop();Frame 47stop();Frame 48stop();Frame 49stop();Frame 50stop();Frame 51stop();Frame 52stop();Frame 53stop();Frame 54stop();Frame 55stop();Frame 56stop();Frame 57stop();Frame 58stop();Frame 59stop();Frame 60stop();Frame 61stop();Frame 62stop();Frame 63stop();Frame 64stop();Frame 65stop();Frame 66stop();Frame 67stop();Frame 68stop();Frame 69stop();Frame 70stop();Frame 71stop();Frame 72stop();Frame 73stop();Frame 74stop();Frame 75stop();Frame 76stop();Frame 77stop();Frame 78stop();Frame 79stop();Symbol 9 Buttonon (release) { gotoAndPlay ("foreword"); }Symbol 13 Buttonon (release) { gotoAndPlay ("anticipation"); }Symbol 16 Buttonon (release) { gotoAndPlay ("timing"); }Symbol 22 Buttonon (release) { gotoAndPlay ("follow"); }Symbol 35 Buttonon (release) { gotoAndPlay ("keyframe"); }Symbol 50 Buttonon (release) { gotoAndPlay ("follow"); }Symbol 58 Buttonon (release, keyPress "<Right>") { nextFrame(); }Symbol 66 Buttonon (release) { gotoAndPlay ("sns"); }Symbol 74 Buttonon (release, keyPress "<Left>") { prevFrame(); }Symbol 91 Buttonon (release) { getURL ("http://us.imdb.com/name/nm0003255/", "_blank"); }Symbol 107 Buttonon (release) { getURL ("http://www.albinoblacksheep.com/flash/supermart", "_blank"); }Symbol 114 Buttonon (release) { getURL ("http://ryoshenron.deviantart.com", "_blank"); }Symbol 125 Buttonon (release) { getURL ("http://www.albinoblacksheep.com/flash/higher", "_blank"); }Symbol 129 Buttonon (release) { getURL ("http://avidlebon.deviantart.com", "_blank"); }Symbol 138 Buttonon (release) { getURL ("http://www.absforums.com", "_blank"); }Symbol 213 Buttonon (release) { getURL ("http://www.squarefootagefilms.com/smith/movingalong.html", "_blank"); }Symbol 908 Buttonon (release) { getURL ("http://www.blendfilms.com", "_self", "POST"); }
Library Items
Symbol 1 Font | Used by:2 3 4 5 17 18 19 23 24 25 26 27 28 29 30 31 32 33 36 37 38 39 40 41 42 43 44 45 46 51 52 53 54 55 59 60 61 62 63 64 65 67 69 70 76 77 78 80 81 82 87 92 93 96 97 98 101 103 108 110 115 118 119 121 126 128 130 131 132 134 139 140 143 154 156 157 158 159 160 161 162 163 164 165 166 167 169 175 176 182 184 192 193 194 195 202 204 206 207 209 217 218 219 220 221 222 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 259 260 261 292 293 294 295 297 298 299 301 302 303 305 307 308 310 311 312 313 314 315 316 317 320 321 322 323 324 326 328 330 337 362 363 364 365 367 371 373 381 383 392 394 395 396 397 399 413 415 423 424 425 426 427 428 429 430 460 462 479 480 486 487 488 490 509 514 516 520 521 522 523 524 525 529 530 532 533 534 576 577 578 579 580 581 583 584 585 586 588 590 591 612 613 614 631 632 661 662 663 665 668 670 671 674 675 677 678 683 684 685 687 688 706 719 720 721 723 724 726 728 730 731 733 735 736 742 747 748 749 763 764 766 775 776 777 778 779 797 798 799 800 801 829 830 831 832 833 834 835 836 837 838 839 861 862 863 864 865 866 867 868 869 870 871 872 892 893 894 896 897 898 899 900 901 902 904 909 910 911 | |
Symbol 2 Text | Uses:1 | Used by:Timeline |
Symbol 3 Text | Uses:1 | Used by:Timeline |
Symbol 4 Text | Uses:1 | Used by:Timeline |
Symbol 5 Text | Uses:1 | Used by:Timeline |
Symbol 6 Graphic | Used by:Timeline | |
Symbol 7 Graphic | Used by:9 | |
Symbol 8 Graphic | Used by:9 | |
Symbol 9 Button | Uses:7 8 | Used by:Timeline |
Symbol 10 Graphic | Used by:13 | |
Symbol 11 Graphic | Used by:13 | |
Symbol 12 Graphic | Used by:13 | |
Symbol 13 Button | Uses:10 11 12 | Used by:Timeline |
Symbol 14 Graphic | Used by:16 | |
Symbol 15 Graphic | Used by:16 | |
Symbol 16 Button | Uses:14 15 | Used by:Timeline |
Symbol 17 Text | Uses:1 | Used by:Timeline |
Symbol 18 Text | Uses:1 | Used by:Timeline |
Symbol 19 Text | Uses:1 | Used by:Timeline |
Symbol 20 Graphic | Used by:22 66 | |
Symbol 21 Graphic | Used by:22 66 | |
Symbol 22 Button | Uses:20 21 | Used by:Timeline |
Symbol 23 Text | Uses:1 | Used by:Timeline |
Symbol 24 Text | Uses:1 | Used by:Timeline |
Symbol 25 Text | Uses:1 | Used by:Timeline |
Symbol 26 Text | Uses:1 | Used by:Timeline |
Symbol 27 Text | Uses:1 | Used by:Timeline |
Symbol 28 Text | Uses:1 | Used by:Timeline |
Symbol 29 Text | Uses:1 | Used by:Timeline |
Symbol 30 Text | Uses:1 | Used by:Timeline |
Symbol 31 Text | Uses:1 | Used by:Timeline |
Symbol 32 Text | Uses:1 | Used by:Timeline |
Symbol 33 Text | Uses:1 | Used by:Timeline |
Symbol 34 Graphic | Used by:35 | |
Symbol 35 Button | Uses:34 | Used by:Timeline |
Symbol 36 Text | Uses:1 | Used by:Timeline |
Symbol 37 Text | Uses:1 | Used by:Timeline |
Symbol 38 Text | Uses:1 | Used by:Timeline |
Symbol 39 Text | Uses:1 | Used by:Timeline |
Symbol 40 Text | Uses:1 | Used by:Timeline |
Symbol 41 Text | Uses:1 | Used by:Timeline |
Symbol 42 Text | Uses:1 | Used by:Timeline |
Symbol 43 Text | Uses:1 | Used by:Timeline |
Symbol 44 Text | Uses:1 | Used by:Timeline |
Symbol 45 Text | Uses:1 | Used by:Timeline |
Symbol 46 Text | Uses:1 | Used by:Timeline |
Symbol 47 Graphic | Used by:50 68 | |
Symbol 48 Graphic | Used by:50 68 | |
Symbol 49 Graphic | Used by:50 68 | |
Symbol 50 Button | Uses:47 48 49 | Used by:Timeline |
Symbol 51 Text | Uses:1 | Used by:Timeline |
Symbol 52 Text | Uses:1 | Used by:Timeline |
Symbol 53 Text | Uses:1 | Used by:Timeline |
Symbol 54 Text | Uses:1 | Used by:Timeline |
Symbol 55 Text | Uses:1 | Used by:Timeline |
Symbol 56 Graphic | Used by:58 | |
Symbol 57 Graphic | Used by:58 | |
Symbol 58 Button | Uses:56 57 | Used by:Timeline |
Symbol 59 Text | Uses:1 | Used by:Timeline |
Symbol 60 Text | Uses:1 | Used by:Timeline |
Symbol 61 Text | Uses:1 | Used by:Timeline |
Symbol 62 Text | Uses:1 | Used by:Timeline |
Symbol 63 Text | Uses:1 | Used by:Timeline |
Symbol 64 Text | Uses:1 | Used by:Timeline |
Symbol 65 Text | Uses:1 | Used by:Timeline |
Symbol 66 Button | Uses:20 21 | Used by:Timeline |
Symbol 67 Text | Uses:1 | Used by:Timeline |
Symbol 68 Button | Uses:47 48 49 | Used by:Timeline |
Symbol 69 Text | Uses:1 | Used by:Timeline |
Symbol 70 Text | Uses:1 | Used by:Timeline |
Symbol 71 Graphic | Used by:Timeline | |
Symbol 72 Graphic | Used by:74 | |
Symbol 73 Graphic | Used by:74 | |
Symbol 74 Button | Uses:72 73 | Used by:Timeline |
Symbol 75 Text | Used by:Timeline | |
Symbol 76 Text | Uses:1 | Used by:Timeline |
Symbol 77 Text | Uses:1 | Used by:Timeline |
Symbol 78 Text | Uses:1 | Used by:Timeline |
Symbol 79 Graphic | Used by:Timeline | |
Symbol 80 Text | Uses:1 | Used by:Timeline |
Symbol 81 Text | Uses:1 | Used by:Timeline |
Symbol 82 Text | Uses:1 | Used by:Timeline |
Symbol 83 Graphic | Used by:Timeline | |
Symbol 84 Text | Used by:Timeline | |
Symbol 85 Graphic | Used by:91 107 114 125 129 138 153 213 908 | |
Symbol 86 Graphic | Used by:91 | |
Symbol 87 Text | Uses:1 | Used by:91 |
Symbol 88 Graphic | Used by:91 | |
Symbol 89 Graphic | Used by:91 | |
Symbol 90 Graphic | Used by:91 | |
Symbol 91 Button | Uses:85 86 87 88 89 90 | Used by:Timeline |
Symbol 92 Text | Uses:1 | Used by:Timeline |
Symbol 93 Text | Uses:1 | Used by:Timeline |
Symbol 94 Bitmap | Used by:95 | |
Symbol 95 Graphic | Uses:94 | Used by:Timeline |
Symbol 96 Text | Uses:1 | Used by:Timeline |
Symbol 97 Text | Uses:1 | Used by:Timeline |
Symbol 98 Text | Uses:1 | Used by:Timeline |
Symbol 99 Bitmap | Used by:100 | |
Symbol 100 Graphic | Uses:99 | Used by:Timeline |
Symbol 101 Text | Uses:1 | Used by:Timeline |
Symbol 102 Graphic | Used by:107 | |
Symbol 103 Text | Uses:1 | Used by:107 |
Symbol 104 Graphic | Used by:107 | |
Symbol 105 Graphic | Used by:107 | |
Symbol 106 Graphic | Used by:107 | |
Symbol 107 Button | Uses:85 102 103 104 105 106 | Used by:Timeline |
Symbol 108 Text | Uses:1 | Used by:Timeline |
Symbol 109 Graphic | Used by:114 | |
Symbol 110 Text | Uses:1 | Used by:114 |
Symbol 111 Graphic | Used by:114 | |
Symbol 112 Graphic | Used by:114 | |
Symbol 113 Graphic | Used by:114 | |
Symbol 114 Button | Uses:85 109 110 111 112 113 | Used by:Timeline |
Symbol 115 Text | Uses:1 | Used by:Timeline |
Symbol 116 Bitmap | Used by:117 | |
Symbol 117 Graphic | Uses:116 | Used by:Timeline |
Symbol 118 Text | Uses:1 | Used by:Timeline |
Symbol 119 Text | Uses:1 | Used by:Timeline |
Symbol 120 Graphic | Used by:125 | |
Symbol 121 Text | Uses:1 | Used by:125 |
Symbol 122 Graphic | Used by:125 | |
Symbol 123 Graphic | Used by:125 | |
Symbol 124 Graphic | Used by:125 | |
Symbol 125 Button | Uses:85 120 121 122 123 124 | Used by:Timeline |
Symbol 126 Text | Uses:1 | Used by:Timeline |
Symbol 127 Graphic | Used by:129 | |
Symbol 128 Text | Uses:1 | Used by:129 |
Symbol 129 Button | Uses:85 127 128 | Used by:Timeline |
Symbol 130 Text | Uses:1 | Used by:Timeline |
Symbol 131 Text | Uses:1 | Used by:Timeline |
Symbol 132 Text | Uses:1 | Used by:Timeline |
Symbol 133 Graphic | Used by:138 | |
Symbol 134 Text | Uses:1 | Used by:138 |
Symbol 135 Graphic | Used by:138 | |
Symbol 136 Graphic | Used by:138 | |
Symbol 137 Graphic | Used by:138 | |
Symbol 138 Button | Uses:85 133 134 135 136 137 | Used by:Timeline |
Symbol 139 Text | Uses:1 | Used by:Timeline |
Symbol 140 Text | Uses:1 | Used by:Timeline |
Symbol 141 Bitmap | Used by:142 | |
Symbol 142 Graphic | Uses:141 | Used by:Timeline |
Symbol 143 Text | Uses:1 | Used by:Timeline |
Symbol 144 Text | Used by:Timeline | |
Symbol 145 Graphic | Used by:153 | |
Symbol 146 Graphic | Used by:153 | |
Symbol 147 Graphic | Used by:153 | |
Symbol 148 Graphic | Used by:153 | |
Symbol 149 Graphic | Used by:153 | |
Symbol 150 Graphic | Used by:153 | |
Symbol 151 Graphic | Used by:153 | |
Symbol 152 Graphic | Used by:153 | |
Symbol 153 MovieClip | Uses:85 145 146 147 148 149 150 151 152 | Used by:Timeline |
Symbol 154 Text | Uses:1 | Used by:Timeline |
Symbol 155 Font | Used by:156 777 779 | |
Symbol 156 Text | Uses:1 155 | Used by:Timeline |
Symbol 157 Text | Uses:1 | Used by:Timeline |
Symbol 158 Text | Uses:1 | Used by:Timeline |
Symbol 159 Text | Uses:1 | Used by:Timeline |
Symbol 160 Text | Uses:1 | Used by:Timeline |
Symbol 161 Text | Uses:1 | Used by:Timeline |
Symbol 162 Text | Uses:1 | Used by:Timeline |
Symbol 163 Text | Uses:1 | Used by:Timeline |
Symbol 164 Text | Uses:1 | Used by:Timeline |
Symbol 165 Text | Uses:1 | Used by:Timeline |
Symbol 166 Text | Uses:1 | Used by:Timeline |
Symbol 167 Text | Uses:1 | Used by:Timeline |
Symbol 168 Graphic | Used by:Timeline | |
Symbol 169 Text | Uses:1 | Used by:Timeline |
Symbol 170 Graphic | Used by:173 180 191 201 379 | |
Symbol 171 Graphic | Used by:173 | |
Symbol 172 Graphic | Used by:173 | |
Symbol 173 MovieClip | Uses:170 171 172 | Used by:390 682 Timeline |
Symbol 174 Graphic | Used by:Timeline | |
Symbol 175 Text | Uses:1 | Used by:Timeline |
Symbol 176 Text | Uses:1 | Used by:Timeline |
Symbol 177 Graphic | Used by:180 | |
Symbol 178 Graphic | Used by:180 | |
Symbol 179 Graphic | Used by:180 | |
Symbol 180 MovieClip | Uses:170 177 178 179 | Used by:Timeline |
Symbol 181 Graphic | Used by:Timeline | |
Symbol 182 Text | Uses:1 | Used by:Timeline |
Symbol 183 Graphic | Used by:Timeline | |
Symbol 184 Text | Uses:1 | Used by:Timeline |
Symbol 185 Graphic | Used by:Timeline | |
Symbol 186 Graphic | Used by:191 | |
Symbol 187 Graphic | Used by:191 | |
Symbol 188 Graphic | Used by:191 | |
Symbol 189 Graphic | Used by:191 | |
Symbol 190 Graphic | Used by:191 | |
Symbol 191 MovieClip | Uses:170 186 187 188 189 190 | Used by:Timeline |
Symbol 192 Text | Uses:1 | Used by:Timeline |
Symbol 193 Text | Uses:1 | Used by:Timeline |
Symbol 194 Text | Uses:1 | Used by:Timeline |
Symbol 195 Text | Uses:1 | Used by:Timeline |
Symbol 196 Graphic | Used by:201 | |
Symbol 197 Graphic | Used by:201 | |
Symbol 198 Graphic | Used by:201 | |
Symbol 199 Graphic | Used by:201 | |
Symbol 200 Graphic | Used by:201 | |
Symbol 201 MovieClip | Uses:170 196 197 198 199 200 | Used by:Timeline |
Symbol 202 Text | Uses:1 | Used by:Timeline |
Symbol 203 Graphic | Used by:Timeline | |
Symbol 204 Text | Uses:1 | Used by:Timeline |
Symbol 205 Graphic | Used by:Timeline | |
Symbol 206 Text | Uses:1 | Used by:Timeline |
Symbol 207 Text | Uses:1 | Used by:Timeline |
Symbol 208 Graphic | Used by:213 | |
Symbol 209 Text | Uses:1 | Used by:213 |
Symbol 210 Graphic | Used by:213 | |
Symbol 211 Graphic | Used by:213 | |
Symbol 212 Graphic | Used by:213 | |
Symbol 213 Button | Uses:85 208 209 210 211 212 | Used by:Timeline |
Symbol 214 Bitmap | Used by:215 | |
Symbol 215 Graphic | Uses:214 | Used by:216 |
Symbol 216 MovieClip | Uses:215 | Used by:Timeline |
Symbol 217 Text | Uses:1 | Used by:Timeline |
Symbol 218 Text | Uses:1 | Used by:Timeline |
Symbol 219 Text | Uses:1 | Used by:Timeline |
Symbol 220 Text | Uses:1 | Used by:Timeline |
Symbol 221 Text | Uses:1 | Used by:Timeline |
Symbol 222 Text | Uses:1 | Used by:Timeline |
Symbol 223 Bitmap | Used by:224 244 245 246 247 248 249 250 251 252 253 254 255 256 257 | |
Symbol 224 Graphic | Uses:223 | Used by:225 Timeline |
Symbol 225 MovieClip | Uses:224 | Used by:Timeline |
Symbol 226 Text | Uses:1 | Used by:Timeline |
Symbol 227 Text | Uses:1 | Used by:Timeline |
Symbol 228 Text | Uses:1 | Used by:Timeline |
Symbol 229 Text | Uses:1 | Used by:Timeline |
Symbol 230 Text | Uses:1 | Used by:Timeline |
Symbol 231 Text | Uses:1 | Used by:Timeline |
Symbol 232 Text | Uses:1 | Used by:Timeline |
Symbol 233 Text | Uses:1 | Used by:Timeline |
Symbol 234 Text | Uses:1 | Used by:Timeline |
Symbol 235 Text | Uses:1 | Used by:Timeline |
Symbol 236 Text | Uses:1 | Used by:Timeline |
Symbol 237 Text | Uses:1 | Used by:Timeline |
Symbol 238 Text | Uses:1 | Used by:Timeline |
Symbol 239 Text | Uses:1 | Used by:Timeline |
Symbol 240 Text | Uses:1 | Used by:Timeline |
Symbol 241 Text | Uses:1 | Used by:Timeline |
Symbol 242 Text | Uses:1 | Used by:Timeline |
Symbol 243 Text | Uses:1 | Used by:Timeline |
Symbol 244 Graphic | Uses:223 | Used by:258 |
Symbol 245 Graphic | Uses:223 | Used by:258 |
Symbol 246 Graphic | Uses:223 | Used by:258 |
Symbol 247 Graphic | Uses:223 | Used by:258 |
Symbol 248 Graphic | Uses:223 | Used by:258 |
Symbol 249 Graphic | Uses:223 | Used by:258 |
Symbol 250 Graphic | Uses:223 | Used by:258 |
Symbol 251 Graphic | Uses:223 | Used by:258 |
Symbol 252 Graphic | Uses:223 | Used by:258 |
Symbol 253 Graphic | Uses:223 | Used by:258 |
Symbol 254 Graphic | Uses:223 | Used by:258 |
Symbol 255 Graphic | Uses:223 | Used by:258 |
Symbol 256 Graphic | Uses:223 | Used by:258 |
Symbol 257 Graphic | Uses:223 | Used by:258 |
Symbol 258 MovieClip | Uses:244 245 246 247 248 249 250 251 252 253 254 255 256 257 | Used by:Timeline |
Symbol 259 Text | Uses:1 | Used by:Timeline |
Symbol 260 Text | Uses:1 | Used by:Timeline |
Symbol 261 Text | Uses:1 | Used by:Timeline |
Symbol 262 Graphic | Used by:291 | |
Symbol 263 Graphic | Used by:291 | |
Symbol 264 Graphic | Used by:291 | |
Symbol 265 Graphic | Used by:291 | |
Symbol 266 Graphic | Used by:291 | |
Symbol 267 Graphic | Used by:291 | |
Symbol 268 Graphic | Used by:291 | |
Symbol 269 Graphic | Used by:291 | |
Symbol 270 Graphic | Used by:291 | |
Symbol 271 Graphic | Used by:291 | |
Symbol 272 Graphic | Used by:291 | |
Symbol 273 Graphic | Used by:291 | |
Symbol 274 Graphic | Used by:291 | |
Symbol 275 Graphic | Used by:291 | |
Symbol 276 Graphic | Used by:291 | |
Symbol 277 Graphic | Used by:291 | |
Symbol 278 Graphic | Used by:291 | |
Symbol 279 Graphic | Used by:291 | |
Symbol 280 Graphic | Used by:291 | |
Symbol 281 Graphic | Used by:291 | |
Symbol 282 Graphic | Used by:291 | |
Symbol 283 Graphic | Used by:291 | |
Symbol 284 Graphic | Used by:291 | |
Symbol 285 Graphic | Used by:291 | |
Symbol 286 Graphic | Used by:291 | |
Symbol 287 Graphic | Used by:291 | |
Symbol 288 Graphic | Used by:291 | |
Symbol 289 Graphic | Used by:291 | |
Symbol 290 Graphic | Used by:291 | |
Symbol 291 MovieClip | Uses:262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 | Used by:Timeline |
Symbol 292 Text | Uses:1 | Used by:Timeline |
Symbol 293 Text | Uses:1 | Used by:Timeline |
Symbol 294 Text | Uses:1 | Used by:Timeline |
Symbol 295 Text | Uses:1 | Used by:Timeline |
Symbol 296 Graphic | Used by:Timeline | |
Symbol 297 Text | Uses:1 | Used by:Timeline |
Symbol 298 Text | Uses:1 | Used by:Timeline |
Symbol 299 Text | Uses:1 | Used by:Timeline |
Symbol 300 Graphic | Used by:Timeline | |
Symbol 301 Text | Uses:1 | Used by:Timeline |
Symbol 302 Text | Uses:1 | Used by:Timeline |
Symbol 303 Text | Uses:1 | Used by:Timeline |
Symbol 304 Graphic | Used by:Timeline | |
Symbol 305 Text | Uses:1 | Used by:Timeline |
Symbol 306 Graphic | Used by:Timeline | |
Symbol 307 Text | Uses:1 | Used by:Timeline |
Symbol 308 Text | Uses:1 | Used by:Timeline |
Symbol 309 Graphic | Used by:Timeline | |
Symbol 310 Text | Uses:1 | Used by:Timeline |
Symbol 311 Text | Uses:1 | Used by:Timeline |
Symbol 312 Text | Uses:1 | Used by:Timeline |
Symbol 313 Text | Uses:1 | Used by:Timeline |
Symbol 314 Text | Uses:1 | Used by:Timeline |
Symbol 315 Text | Uses:1 | Used by:Timeline |
Symbol 316 Text | Uses:1 | Used by:Timeline |
Symbol 317 Text | Uses:1 | Used by:Timeline |
Symbol 318 Graphic | Used by:Timeline | |
Symbol 319 Graphic | Used by:Timeline | |
Symbol 320 Text | Uses:1 | Used by:Timeline |
Symbol 321 Text | Uses:1 | Used by:Timeline |
Symbol 322 Text | Uses:1 | Used by:Timeline |
Symbol 323 Text | Uses:1 | Used by:Timeline |
Symbol 324 Text | Uses:1 | Used by:Timeline |
Symbol 325 Graphic | Used by:Timeline | |
Symbol 326 Text | Uses:1 | Used by:Timeline |
Symbol 327 Graphic | Used by:Timeline | |
Symbol 328 Text | Uses:1 | Used by:Timeline |
Symbol 329 Graphic | Used by:Timeline | |
Symbol 330 Text | Uses:1 | Used by:Timeline |
Symbol 331 Graphic | Used by:Timeline | |
Symbol 332 Graphic | Used by:334 335 | |
Symbol 333 Graphic | Used by:334 335 | |
Symbol 334 MovieClip | Uses:332 333 | Used by:Timeline |
Symbol 335 MovieClip | Uses:332 333 | Used by:Timeline |
Symbol 336 Graphic | Used by:Timeline | |
Symbol 337 Text | Uses:1 | Used by:Timeline |
Symbol 338 Graphic | Used by:Timeline | |
Symbol 339 Graphic | Used by:347 | |
Symbol 340 Graphic | Used by:347 | |
Symbol 341 Graphic | Used by:347 | |
Symbol 342 Graphic | Used by:347 | |
Symbol 343 Graphic | Used by:347 | |
Symbol 344 Graphic | Used by:347 | |
Symbol 345 Graphic | Used by:347 | |
Symbol 346 Graphic | Used by:347 | |
Symbol 347 MovieClip | Uses:339 340 341 342 343 344 345 346 | Used by:Timeline |
Symbol 348 Graphic | Used by:360 | |
Symbol 349 Graphic | Used by:360 | |
Symbol 350 Graphic | Used by:360 | |
Symbol 351 Graphic | Used by:360 | |
Symbol 352 Graphic | Used by:360 | |
Symbol 353 Graphic | Used by:360 | |
Symbol 354 Graphic | Used by:360 | |
Symbol 355 Graphic | Used by:360 | |
Symbol 356 Graphic | Used by:360 | |
Symbol 357 Graphic | Used by:360 | |
Symbol 358 Graphic | Used by:360 | |
Symbol 359 Graphic | Used by:360 | |
Symbol 360 MovieClip | Uses:348 349 350 351 352 353 354 355 356 357 358 359 | Used by:Timeline |
Symbol 361 Graphic | Used by:Timeline | |
Symbol 362 Text | Uses:1 | Used by:Timeline |
Symbol 363 Text | Uses:1 | Used by:Timeline |
Symbol 364 Text | Uses:1 | Used by:Timeline |
Symbol 365 Text | Uses:1 | Used by:Timeline |
Symbol 366 Graphic | Used by:Timeline | |
Symbol 367 Text | Uses:1 | Used by:Timeline |
Symbol 368 Graphic | Used by:370 | |
Symbol 369 Graphic | Used by:370 379 | |
Symbol 370 MovieClip | Uses:368 369 | Used by:Timeline |
Symbol 371 Text | Uses:1 | Used by:Timeline |
Symbol 372 Graphic | Used by:Timeline | |
Symbol 373 Text | Uses:1 | Used by:Timeline |
Symbol 374 Graphic | Used by:379 | |
Symbol 375 Graphic | Used by:379 | |
Symbol 376 Graphic | Used by:379 | |
Symbol 377 Graphic | Used by:379 | |
Symbol 378 Graphic | Used by:379 | |
Symbol 379 MovieClip | Uses:170 374 375 376 377 378 369 | Used by:Timeline |
Symbol 380 Graphic | Used by:Timeline | |
Symbol 381 Text | Uses:1 | Used by:Timeline |
Symbol 382 Graphic | Used by:Timeline | |
Symbol 383 Text | Uses:1 | Used by:Timeline |
Symbol 384 Graphic | Used by:Timeline | |
Symbol 385 Graphic | Used by:390 | |
Symbol 386 Graphic | Used by:390 | |
Symbol 387 Graphic | Used by:390 682 | |
Symbol 388 Graphic | Used by:390 | |
Symbol 389 Graphic | Used by:390 682 | |
Symbol 390 MovieClip | Uses:173 385 386 387 388 389 | Used by:Timeline |
Symbol 391 Graphic | Used by:Timeline | |
Symbol 392 Text | Uses:1 | Used by:Timeline |
Symbol 393 Graphic | Used by:Timeline | |
Symbol 394 Text | Uses:1 | Used by:Timeline |
Symbol 395 Text | Uses:1 | Used by:Timeline |
Symbol 396 Text | Uses:1 | Used by:Timeline |
Symbol 397 Text | Uses:1 | Used by:Timeline |
Symbol 398 Graphic | Used by:Timeline | |
Symbol 399 Text | Uses:1 | Used by:Timeline |
Symbol 400 Graphic | Used by:Timeline | |
Symbol 401 Graphic | Used by:412 | |
Symbol 402 Graphic | Used by:412 | |
Symbol 403 Graphic | Used by:412 | |
Symbol 404 Graphic | Used by:412 | |
Symbol 405 Graphic | Used by:412 | |
Symbol 406 Graphic | Used by:412 | |
Symbol 407 Graphic | Used by:412 | |
Symbol 408 Graphic | Used by:412 | |
Symbol 409 Graphic | Used by:412 | |
Symbol 410 Graphic | Used by:412 | |
Symbol 411 Graphic | Used by:412 | |
Symbol 412 MovieClip | Uses:401 402 403 404 405 406 407 408 409 410 411 | Used by:Timeline |
Symbol 413 Text | Uses:1 | Used by:Timeline |
Symbol 414 Graphic | Used by:Timeline | |
Symbol 415 Text | Uses:1 | Used by:Timeline |
Symbol 416 Graphic | Used by:Timeline | |
Symbol 417 Graphic | Used by:422 | |
Symbol 418 Graphic | Used by:422 | |
Symbol 419 Graphic | Used by:422 | |
Symbol 420 Graphic | Used by:422 | |
Symbol 421 Graphic | Used by:422 | |
Symbol 422 MovieClip | Uses:417 418 419 420 421 | Used by:Timeline |
Symbol 423 Text | Uses:1 | Used by:Timeline |
Symbol 424 Text | Uses:1 | Used by:Timeline |
Symbol 425 Text | Uses:1 | Used by:Timeline |
Symbol 426 Text | Uses:1 | Used by:Timeline |
Symbol 427 Text | Uses:1 | Used by:Timeline |
Symbol 428 Text | Uses:1 | Used by:Timeline |
Symbol 429 Text | Uses:1 | Used by:Timeline |
Symbol 430 Text | Uses:1 | Used by:Timeline |
Symbol 431 Graphic | Used by:459 | |
Symbol 432 Graphic | Used by:459 | |
Symbol 433 Graphic | Used by:459 | |
Symbol 434 Graphic | Used by:459 | |
Symbol 435 Graphic | Used by:459 | |
Symbol 436 Graphic | Used by:459 | |
Symbol 437 Graphic | Used by:459 | |
Symbol 438 Graphic | Used by:459 | |
Symbol 439 Graphic | Used by:459 | |
Symbol 440 Graphic | Used by:459 | |
Symbol 441 Graphic | Used by:459 | |
Symbol 442 Graphic | Used by:459 | |
Symbol 443 Graphic | Used by:459 | |
Symbol 444 Graphic | Used by:459 | |
Symbol 445 Graphic | Used by:459 | |
Symbol 446 Graphic | Used by:459 | |
Symbol 447 Graphic | Used by:459 | |
Symbol 448 Graphic | Used by:459 | |
Symbol 449 Graphic | Used by:459 | |
Symbol 450 Graphic | Used by:459 | |
Symbol 451 Graphic | Used by:459 | |
Symbol 452 Graphic | Used by:459 | |
Symbol 453 Graphic | Used by:459 | |
Symbol 454 Graphic | Used by:459 | |
Symbol 455 Graphic | Used by:459 | |
Symbol 456 Graphic | Used by:459 | |
Symbol 457 Graphic | Used by:459 | |
Symbol 458 Graphic | Used by:459 | |
Symbol 459 MovieClip | Uses:431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 | Used by:Timeline |
Symbol 460 Text | Uses:1 | Used by:Timeline |
Symbol 461 Graphic | Used by:Timeline | |
Symbol 462 Text | Uses:1 | Used by:Timeline |
Symbol 463 Graphic | Used by:478 | |
Symbol 464 Graphic | Used by:478 | |
Symbol 465 Graphic | Used by:478 | |
Symbol 466 Graphic | Used by:478 | |
Symbol 467 Graphic | Used by:478 | |
Symbol 468 Graphic | Used by:478 | |
Symbol 469 Graphic | Used by:478 | |
Symbol 470 Graphic | Used by:478 | |
Symbol 471 Graphic | Used by:478 | |
Symbol 472 Graphic | Used by:478 | |
Symbol 473 Graphic | Used by:478 | |
Symbol 474 Graphic | Used by:478 | |
Symbol 475 Graphic | Used by:478 | |
Symbol 476 Graphic | Used by:478 | |
Symbol 477 Graphic | Used by:478 | |
Symbol 478 MovieClip | Uses:463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 | Used by:Timeline |
Symbol 479 Text | Uses:1 | Used by:Timeline |
Symbol 480 Text | Uses:1 | Used by:Timeline |
Symbol 481 Graphic | Used by:483 | |
Symbol 482 Graphic | Used by:483 485 | |
Symbol 483 MovieClip | Uses:481 482 | Used by:Timeline |
Symbol 484 Graphic | Used by:485 | |
Symbol 485 MovieClip | Uses:484 482 | Used by:Timeline |
Symbol 486 Text | Uses:1 | Used by:Timeline |
Symbol 487 Text | Uses:1 | Used by:Timeline |
Symbol 488 Text | Uses:1 | Used by:Timeline |
Symbol 489 Graphic | Used by:Timeline | |
Symbol 490 Text | Uses:1 | Used by:Timeline |
Symbol 491 Graphic | Used by:508 512 | |
Symbol 492 Graphic | Used by:508 | |
Symbol 493 Graphic | Used by:508 | |
Symbol 494 Graphic | Used by:508 | |
Symbol 495 Graphic | Used by:508 | |
Symbol 496 Graphic | Used by:508 | |
Symbol 497 Graphic | Used by:508 | |
Symbol 498 Graphic | Used by:508 | |
Symbol 499 Graphic | Used by:508 | |
Symbol 500 Graphic | Used by:508 | |
Symbol 501 Graphic | Used by:508 | |
Symbol 502 Graphic | Used by:508 | |
Symbol 503 Graphic | Used by:508 | |
Symbol 504 Graphic | Used by:508 | |
Symbol 505 Graphic | Used by:508 512 | |
Symbol 506 Graphic | Used by:508 | |
Symbol 507 Graphic | Used by:508 512 | |
Symbol 508 MovieClip | Uses:491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 | Used by:Timeline |
Symbol 509 Text | Uses:1 | Used by:Timeline |
Symbol 510 Graphic | Used by:512 | |
Symbol 511 Graphic | Used by:512 | |
Symbol 512 MovieClip | Uses:491 510 511 505 507 | Used by:Timeline |
Symbol 513 Graphic | Used by:Timeline | |
Symbol 514 Text | Uses:1 | Used by:Timeline |
Symbol 515 Graphic | Used by:Timeline | |
Symbol 516 Text | Uses:1 | Used by:Timeline |
Symbol 517 Bitmap | Used by:518 | |
Symbol 518 Graphic | Uses:517 | Used by:519 |
Symbol 519 MovieClip | Uses:518 | Used by:Timeline |
Symbol 520 Text | Uses:1 | Used by:Timeline |
Symbol 521 Text | Uses:1 | Used by:Timeline |
Symbol 522 Text | Uses:1 | Used by:Timeline |
Symbol 523 Text | Uses:1 | Used by:Timeline |
Symbol 524 Text | Uses:1 | Used by:Timeline |
Symbol 525 Text | Uses:1 | Used by:Timeline |
Symbol 526 Graphic | Used by:Timeline | |
Symbol 527 Graphic | Used by:531 | |
Symbol 528 Graphic | Used by:531 | |
Symbol 529 Text | Uses:1 | Used by:531 |
Symbol 530 Text | Uses:1 | Used by:531 |
Symbol 531 MovieClip | Uses:527 528 529 530 | Used by:Timeline |
Symbol 532 Text | Uses:1 | Used by:Timeline |
Symbol 533 Text | Uses:1 | Used by:Timeline |
Symbol 534 Text | Uses:1 | Used by:Timeline |
Symbol 535 Graphic | Used by:541 | |
Symbol 536 Graphic | Used by:541 | |
Symbol 537 Graphic | Used by:541 | |
Symbol 538 Graphic | Used by:541 | |
Symbol 539 Graphic | Used by:541 | |
Symbol 540 Graphic | Used by:541 | |
Symbol 541 MovieClip | Uses:535 536 537 538 539 540 | Used by:Timeline |
Symbol 542 Graphic | Used by:574 | |
Symbol 543 Graphic | Used by:574 | |
Symbol 544 Graphic | Used by:574 | |
Symbol 545 Graphic | Used by:574 | |
Symbol 546 Graphic | Used by:574 | |
Symbol 547 Graphic | Used by:574 | |
Symbol 548 Graphic | Used by:574 | |
Symbol 549 Graphic | Used by:574 | |
Symbol 550 Graphic | Used by:574 | |
Symbol 551 Graphic | Used by:574 | |
Symbol 552 Graphic | Used by:574 | |
Symbol 553 Graphic | Used by:574 | |
Symbol 554 Graphic | Used by:574 | |
Symbol 555 Graphic | Used by:574 | |
Symbol 556 Graphic | Used by:574 | |
Symbol 557 Graphic | Used by:574 | |
Symbol 558 Graphic | Used by:574 | |
Symbol 559 Graphic | Used by:574 | |
Symbol 560 Graphic | Used by:574 | |
Symbol 561 Graphic | Used by:574 | |
Symbol 562 Graphic | Used by:574 | |
Symbol 563 Graphic | Used by:574 | |
Symbol 564 Graphic | Used by:574 | |
Symbol 565 Graphic | Used by:574 | |
Symbol 566 Graphic | Used by:574 | |
Symbol 567 Graphic | Used by:574 | |
Symbol 568 Graphic | Used by:574 | |
Symbol 569 Graphic | Used by:574 | |
Symbol 570 Graphic | Used by:574 | |
Symbol 571 Graphic | Used by:574 | |
Symbol 572 Graphic | Used by:574 | |
Symbol 573 Graphic | Used by:574 | |
Symbol 574 MovieClip | Uses:542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 | Used by:Timeline |
Symbol 575 Graphic | Used by:Timeline | |
Symbol 576 Text | Uses:1 | Used by:Timeline |
Symbol 577 Text | Uses:1 | Used by:Timeline |
Symbol 578 Text | Uses:1 | Used by:Timeline |
Symbol 579 Text | Uses:1 | Used by:Timeline |
Symbol 580 Text | Uses:1 | Used by:Timeline |
Symbol 581 Text | Uses:1 | Used by:Timeline |
Symbol 582 Font | Used by:583 662 720 898 899 | |
Symbol 583 Text | Uses:1 582 | Used by:Timeline |
Symbol 584 Text | Uses:1 | Used by:Timeline |
Symbol 585 Text | Uses:1 | Used by:Timeline |
Symbol 586 Text | Uses:1 | Used by:Timeline |
Symbol 587 Graphic | Used by:Timeline | |
Symbol 588 Text | Uses:1 | Used by:Timeline |
Symbol 589 Graphic | Used by:Timeline | |
Symbol 590 Text | Uses:1 | Used by:Timeline |
Symbol 591 Text | Uses:1 | Used by:Timeline |
Symbol 592 Graphic | Used by:Timeline | |
Symbol 593 Graphic | Used by:600 | |
Symbol 594 Graphic | Used by:600 | |
Symbol 595 Graphic | Used by:600 | |
Symbol 596 Graphic | Used by:600 | |
Symbol 597 Graphic | Used by:600 | |
Symbol 598 Graphic | Used by:600 | |
Symbol 599 Graphic | Used by:600 | |
Symbol 600 MovieClip | Uses:593 594 595 596 597 598 599 | Used by:Timeline |
Symbol 601 Graphic | Used by:607 611 | |
Symbol 602 Graphic | Used by:607 611 | |
Symbol 603 Graphic | Used by:607 | |
Symbol 604 Graphic | Used by:607 | |
Symbol 605 Graphic | Used by:607 | |
Symbol 606 Graphic | Used by:607 | |
Symbol 607 MovieClip | Uses:601 602 603 604 605 606 | Used by:Timeline |
Symbol 608 Graphic | Used by:611 | |
Symbol 609 Graphic | Used by:611 | |
Symbol 610 Graphic | Used by:611 | |
Symbol 611 MovieClip | Uses:601 602 608 609 610 | Used by:Timeline |
Symbol 612 Text | Uses:1 | Used by:Timeline |
Symbol 613 Text | Uses:1 | Used by:Timeline |
Symbol 614 Text | Uses:1 | Used by:Timeline |
Symbol 615 Graphic | Used by:630 | |
Symbol 616 Graphic | Used by:630 | |
Symbol 617 Graphic | Used by:630 | |
Symbol 618 Graphic | Used by:630 | |
Symbol 619 Graphic | Used by:630 | |
Symbol 620 Graphic | Used by:630 | |
Symbol 621 Graphic | Used by:630 | |
Symbol 622 Graphic | Used by:630 | |
Symbol 623 Graphic | Used by:630 | |
Symbol 624 Graphic | Used by:630 | |
Symbol 625 Graphic | Used by:630 | |
Symbol 626 Graphic | Used by:630 | |
Symbol 627 Graphic | Used by:630 | |
Symbol 628 Graphic | Used by:630 | |
Symbol 629 Graphic | Used by:630 | |
Symbol 630 MovieClip | Uses:615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 | Used by:Timeline |
Symbol 631 Text | Uses:1 | Used by:Timeline |
Symbol 632 Text | Uses:1 | Used by:Timeline |
Symbol 633 Graphic | Used by:660 | |
Symbol 634 Graphic | Used by:660 | |
Symbol 635 Graphic | Used by:660 | |
Symbol 636 Graphic | Used by:660 | |
Symbol 637 Graphic | Used by:660 | |
Symbol 638 Graphic | Used by:660 | |
Symbol 639 Graphic | Used by:660 | |
Symbol 640 Graphic | Used by:660 | |
Symbol 641 Graphic | Used by:660 | |
Symbol 642 Graphic | Used by:660 | |
Symbol 643 Graphic | Used by:660 | |
Symbol 644 Graphic | Used by:660 | |
Symbol 645 Graphic | Used by:660 | |
Symbol 646 Graphic | Used by:660 | |
Symbol 647 Graphic | Used by:660 | |
Symbol 648 Graphic | Used by:660 | |
Symbol 649 Graphic | Used by:660 | |
Symbol 650 Graphic | Used by:660 | |
Symbol 651 Graphic | Used by:660 | |
Symbol 652 Graphic | Used by:660 | |
Symbol 653 Graphic | Used by:660 | |
Symbol 654 Graphic | Used by:660 | |
Symbol 655 Graphic | Used by:660 | |
Symbol 656 Graphic | Used by:660 | |
Symbol 657 Graphic | Used by:660 | |
Symbol 658 Graphic | Used by:660 | |
Symbol 659 Graphic | Used by:660 | |
Symbol 660 MovieClip | Uses:633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 | Used by:Timeline |
Symbol 661 Text | Uses:1 | Used by:Timeline |
Symbol 662 Text | Uses:1 582 | Used by:Timeline |
Symbol 663 Text | Uses:1 | Used by:Timeline |
Symbol 664 Graphic | Used by:Timeline | |
Symbol 665 Text | Uses:1 | Used by:Timeline |
Symbol 666 Bitmap | Used by:667 | |
Symbol 667 Graphic | Uses:666 | Used by:Timeline |
Symbol 668 Text | Uses:1 | Used by:Timeline |
Symbol 669 Graphic | Used by:673 | |
Symbol 670 Text | Uses:1 | Used by:673 |
Symbol 671 Text | Uses:1 | Used by:673 |
Symbol 672 Graphic | Used by:673 | |
Symbol 673 MovieClip | Uses:669 670 671 672 | Used by:Timeline |
Symbol 674 Text | Uses:1 | Used by:Timeline |
Symbol 675 Text | Uses:1 | Used by:Timeline |
Symbol 676 Graphic | Used by:Timeline | |
Symbol 677 Text | Uses:1 | Used by:Timeline |
Symbol 678 Text | Uses:1 | Used by:Timeline |
Symbol 679 Graphic | Used by:Timeline | |
Symbol 680 Graphic | Used by:682 | |
Symbol 681 Graphic | Used by:682 | |
Symbol 682 MovieClip | Uses:173 680 387 681 389 | Used by:Timeline |
Symbol 683 Text | Uses:1 | Used by:Timeline |
Symbol 684 Text | Uses:1 | Used by:Timeline |
Symbol 685 Text | Uses:1 | Used by:Timeline |
Symbol 686 Graphic | Used by:Timeline | |
Symbol 687 Text | Uses:1 | Used by:Timeline |
Symbol 688 Text | Uses:1 | Used by:Timeline |
Symbol 689 Graphic | Used by:699 | |
Symbol 690 Graphic | Used by:699 | |
Symbol 691 Graphic | Used by:699 | |
Symbol 692 Graphic | Used by:699 | |
Symbol 693 Graphic | Used by:699 | |
Symbol 694 Graphic | Used by:699 | |
Symbol 695 Graphic | Used by:699 | |
Symbol 696 Graphic | Used by:699 | |
Symbol 697 Graphic | Used by:699 | |
Symbol 698 Graphic | Used by:699 | |
Symbol 699 MovieClip | Uses:689 690 691 692 693 694 695 696 697 698 | Used by:Timeline |
Symbol 700 Graphic | Used by:Timeline | |
Symbol 701 Graphic | Used by:705 | |
Symbol 702 Graphic | Used by:705 | |
Symbol 703 Graphic | Used by:705 | |
Symbol 704 Graphic | Used by:705 | |
Symbol 705 MovieClip | Uses:701 702 703 704 | Used by:Timeline |
Symbol 706 Text | Uses:1 | Used by:Timeline |
Symbol 707 Graphic | Used by:Timeline | |
Symbol 708 Graphic | Used by:718 | |
Symbol 709 Graphic | Used by:718 | |
Symbol 710 Graphic | Used by:718 | |
Symbol 711 Graphic | Used by:718 | |
Symbol 712 Graphic | Used by:718 | |
Symbol 713 Graphic | Used by:718 | |
Symbol 714 Graphic | Used by:718 | |
Symbol 715 Graphic | Used by:718 | |
Symbol 716 Graphic | Used by:718 | |
Symbol 717 Graphic | Used by:718 | |
Symbol 718 MovieClip | Uses:708 709 710 711 712 713 714 715 716 717 | Used by:Timeline |
Symbol 719 Text | Uses:1 | Used by:Timeline |
Symbol 720 Text | Uses:1 582 | Used by:Timeline |
Symbol 721 Text | Uses:1 | Used by:Timeline |
Symbol 722 Graphic | Used by:Timeline | |
Symbol 723 Text | Uses:1 | Used by:Timeline |
Symbol 724 Text | Uses:1 | Used by:Timeline |
Symbol 725 Graphic | Used by:Timeline | |
Symbol 726 Text | Uses:1 | Used by:Timeline |
Symbol 727 Graphic | Used by:Timeline | |
Symbol 728 Text | Uses:1 | Used by:Timeline |
Symbol 729 Graphic | Used by:Timeline | |
Symbol 730 Text | Uses:1 | Used by:Timeline |
Symbol 731 Text | Uses:1 | Used by:Timeline |
Symbol 732 Graphic | Used by:Timeline | |
Symbol 733 Text | Uses:1 | Used by:Timeline |
Symbol 734 Graphic | Used by:Timeline | |
Symbol 735 Text | Uses:1 | Used by:Timeline |
Symbol 736 Text | Uses:1 | Used by:Timeline |
Symbol 737 Graphic | Used by:741 | |
Symbol 738 Graphic | Used by:741 | |
Symbol 739 Graphic | Used by:741 756 | |
Symbol 740 Graphic | Used by:741 | |
Symbol 741 MovieClip | Uses:737 738 739 740 | Used by:Timeline |
Symbol 742 Text | Uses:1 | Used by:Timeline |
Symbol 743 Graphic | Used by:746 | |
Symbol 744 Graphic | Used by:746 | |
Symbol 745 Graphic | Used by:746 | |
Symbol 746 MovieClip | Uses:743 744 745 | Used by:Timeline |
Symbol 747 Text | Uses:1 | Used by:Timeline |
Symbol 748 Text | Uses:1 | Used by:Timeline |
Symbol 749 Text | Uses:1 | Used by:Timeline |
Symbol 750 Graphic | Used by:756 | |
Symbol 751 Graphic | Used by:756 | |
Symbol 752 Graphic | Used by:756 | |
Symbol 753 Graphic | Used by:756 | |
Symbol 754 Graphic | Used by:756 | |
Symbol 755 Graphic | Used by:756 | |
Symbol 756 MovieClip | Uses:750 751 752 753 739 754 755 | Used by:Timeline |
Symbol 757 Graphic | Used by:762 | |
Symbol 758 Graphic | Used by:762 | |
Symbol 759 Graphic | Used by:762 | |
Symbol 760 Graphic | Used by:762 | |
Symbol 761 Graphic | Used by:762 | |
Symbol 762 MovieClip | Uses:757 758 759 760 761 | Used by:Timeline |
Symbol 763 Text | Uses:1 | Used by:Timeline |
Symbol 764 Text | Uses:1 | Used by:Timeline |
Symbol 765 Graphic | Used by:Timeline | |
Symbol 766 Text | Uses:1 | Used by:Timeline |
Symbol 767 Graphic | Used by:774 | |
Symbol 768 Graphic | Used by:774 | |
Symbol 769 Graphic | Used by:774 | |
Symbol 770 Graphic | Used by:774 | |
Symbol 771 Graphic | Used by:774 | |
Symbol 772 Graphic | Used by:774 | |
Symbol 773 Graphic | Used by:774 | |
Symbol 774 MovieClip | Uses:767 768 769 770 771 772 773 | Used by:Timeline |
Symbol 775 Text | Uses:1 | Used by:Timeline |
Symbol 776 Text | Uses:1 | Used by:Timeline |
Symbol 777 Text | Uses:1 155 | Used by:Timeline |
Symbol 778 Text | Uses:1 | Used by:Timeline |
Symbol 779 Text | Uses:1 155 | Used by:Timeline |
Symbol 780 Graphic | Used by:796 | |
Symbol 781 Graphic | Used by:796 | |
Symbol 782 Graphic | Used by:796 | |
Symbol 783 Graphic | Used by:796 | |
Symbol 784 Graphic | Used by:796 | |
Symbol 785 Graphic | Used by:796 | |
Symbol 786 Graphic | Used by:796 | |
Symbol 787 Graphic | Used by:796 | |
Symbol 788 Graphic | Used by:796 | |
Symbol 789 Graphic | Used by:796 | |
Symbol 790 Graphic | Used by:796 | |
Symbol 791 Graphic | Used by:796 | |
Symbol 792 Graphic | Used by:796 | |
Symbol 793 Graphic | Used by:796 | |
Symbol 794 Graphic | Used by:796 | |
Symbol 795 Graphic | Used by:796 | |
Symbol 796 MovieClip | Uses:780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 | Used by:Timeline |
Symbol 797 Text | Uses:1 | Used by:Timeline |
Symbol 798 Text | Uses:1 | Used by:Timeline |
Symbol 799 Text | Uses:1 | Used by:Timeline |
Symbol 800 Text | Uses:1 | Used by:Timeline |
Symbol 801 Text | Uses:1 | Used by:Timeline |
Symbol 802 Bitmap | Used by:803 | |
Symbol 803 Graphic | Uses:802 | Used by:804 |
Symbol 804 MovieClip | Uses:803 | Used by:Timeline |
Symbol 805 Bitmap | Used by:806 | |
Symbol 806 Graphic | Uses:805 | Used by:807 |
Symbol 807 MovieClip | Uses:806 | Used by:Timeline |
Symbol 808 Bitmap | Used by:809 | |
Symbol 809 Graphic | Uses:808 | Used by:810 |
Symbol 810 MovieClip | Uses:809 | Used by:Timeline |
Symbol 811 Bitmap | Used by:812 | |
Symbol 812 Graphic | Uses:811 | Used by:813 |
Symbol 813 MovieClip | Uses:812 | Used by:Timeline |
Symbol 814 Bitmap | Used by:815 | |
Symbol 815 Graphic | Uses:814 | Used by:816 |
Symbol 816 MovieClip | Uses:815 | Used by:Timeline |
Symbol 817 Bitmap | Used by:818 | |
Symbol 818 Graphic | Uses:817 | Used by:819 |
Symbol 819 MovieClip | Uses:818 | Used by:Timeline |
Symbol 820 Bitmap | Used by:821 | |
Symbol 821 Graphic | Uses:820 | Used by:822 |
Symbol 822 MovieClip | Uses:821 | Used by:Timeline |
Symbol 823 Bitmap | Used by:824 | |
Symbol 824 Graphic | Uses:823 | Used by:825 |
Symbol 825 MovieClip | Uses:824 | Used by:Timeline |
Symbol 826 Bitmap | Used by:827 | |
Symbol 827 Graphic | Uses:826 | Used by:828 |
Symbol 828 MovieClip | Uses:827 | Used by:Timeline |
Symbol 829 Text | Uses:1 | Used by:Timeline |
Symbol 830 Text | Uses:1 | Used by:Timeline |
Symbol 831 Text | Uses:1 | Used by:Timeline |
Symbol 832 Text | Uses:1 | Used by:Timeline |
Symbol 833 Text | Uses:1 | Used by:Timeline |
Symbol 834 Text | Uses:1 | Used by:Timeline |
Symbol 835 Text | Uses:1 | Used by:Timeline |
Symbol 836 Text | Uses:1 | Used by:Timeline |
Symbol 837 Text | Uses:1 | Used by:Timeline |
Symbol 838 Text | Uses:1 | Used by:Timeline |
Symbol 839 Text | Uses:1 | Used by:Timeline |
Symbol 840 Bitmap | Used by:841 | |
Symbol 841 Graphic | Uses:840 | Used by:842 |
Symbol 842 MovieClip | Uses:841 | Used by:Timeline |
Symbol 843 Bitmap | Used by:844 | |
Symbol 844 Graphic | Uses:843 | Used by:845 |
Symbol 845 MovieClip | Uses:844 | Used by:Timeline |
Symbol 846 Bitmap | Used by:847 | |
Symbol 847 Graphic | Uses:846 | Used by:848 |
Symbol 848 MovieClip | Uses:847 | Used by:Timeline |
Symbol 849 Bitmap | Used by:850 | |
Symbol 850 Graphic | Uses:849 | Used by:851 |
Symbol 851 MovieClip | Uses:850 | Used by:Timeline |
Symbol 852 Bitmap | Used by:853 | |
Symbol 853 Graphic | Uses:852 | Used by:854 |
Symbol 854 MovieClip | Uses:853 | Used by:Timeline |
Symbol 855 Bitmap | Used by:856 | |
Symbol 856 Graphic | Uses:855 | Used by:857 |
Symbol 857 MovieClip | Uses:856 | Used by:Timeline |
Symbol 858 Bitmap | Used by:859 | |
Symbol 859 Graphic | Uses:858 | Used by:860 |
Symbol 860 MovieClip | Uses:859 | Used by:Timeline |
Symbol 861 Text | Uses:1 | Used by:Timeline |
Symbol 862 Text | Uses:1 | Used by:Timeline |
Symbol 863 Text | Uses:1 | Used by:Timeline |
Symbol 864 Text | Uses:1 | Used by:Timeline |
Symbol 865 Text | Uses:1 | Used by:Timeline |
Symbol 866 Text | Uses:1 | Used by:Timeline |
Symbol 867 Text | Uses:1 | Used by:Timeline |
Symbol 868 Text | Uses:1 | Used by:Timeline |
Symbol 869 Text | Uses:1 | Used by:Timeline |
Symbol 870 Text | Uses:1 | Used by:Timeline |
Symbol 871 Text | Uses:1 | Used by:Timeline |
Symbol 872 Text | Uses:1 | Used by:Timeline |
Symbol 873 Graphic | Used by:891 | |
Symbol 874 Graphic | Used by:891 | |
Symbol 875 Graphic | Used by:891 | |
Symbol 876 Graphic | Used by:891 | |
Symbol 877 Graphic | Used by:891 | |
Symbol 878 Graphic | Used by:891 | |
Symbol 879 Graphic | Used by:891 | |
Symbol 880 Graphic | Used by:891 | |
Symbol 881 Graphic | Used by:891 | |
Symbol 882 Graphic | Used by:891 | |
Symbol 883 Graphic | Used by:891 | |
Symbol 884 Graphic | Used by:891 | |
Symbol 885 Graphic | Used by:891 | |
Symbol 886 Graphic | Used by:891 | |
Symbol 887 Graphic | Used by:891 | |
Symbol 888 Graphic | Used by:891 | |
Symbol 889 Graphic | Used by:891 | |
Symbol 890 Graphic | Used by:891 | |
Symbol 891 MovieClip | Uses:873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 | Used by:Timeline |
Symbol 892 Text | Uses:1 | Used by:Timeline |
Symbol 893 Text | Uses:1 | Used by:Timeline |
Symbol 894 Text | Uses:1 | Used by:Timeline |
Symbol 895 Graphic | Used by:Timeline | |
Symbol 896 Text | Uses:1 | Used by:Timeline |
Symbol 897 Text | Uses:1 | Used by:Timeline |
Symbol 898 Text | Uses:1 582 | Used by:Timeline |
Symbol 899 Text | Uses:1 582 | Used by:Timeline |
Symbol 900 Text | Uses:1 | Used by:Timeline |
Symbol 901 Text | Uses:1 | Used by:908 |
Symbol 902 Text | Uses:1 | Used by:908 |
Symbol 903 Graphic | Used by:908 | |
Symbol 904 Text | Uses:1 | Used by:908 |
Symbol 905 Graphic | Used by:908 | |
Symbol 906 Graphic | Used by:908 | |
Symbol 907 Graphic | Used by:908 | |
Symbol 908 Button | Uses:85 901 902 903 904 905 906 907 | Used by:Timeline |
Symbol 909 Text | Uses:1 | Used by:Timeline |
Symbol 910 Text | Uses:1 | Used by:Timeline |
Symbol 911 Text | Uses:1 | Used by:Timeline |
Symbol 912 Graphic | Used by:Timeline |
Special Tags
FileAttributes (69) | Timeline Frame 1 | Access local files only, Metadata not present, AS1/AS2. |
Labels
"start" | Frame 2 |
"foreword" | Frame 4 |
"anticipation" | Frame 15 |
"keyframe" | Frame 23 |
"timing" | Frame 41 |
"follow" | Frame 48 |
"sns" | Frame 53 |
"last" | Frame 79 |
|