will someone reply to this ,, its a short, easy to load movie made by me

You know what Gab, sometimes people just don't have the gift of the gab. (excuse the pun).

When someone says that "Watching your film made me sick"or "Impressive for a child", they're trying to say."I can do better then you can".

The reality is, there are some amateurs on this forum, and some experts. Being experts, we can easily see the difference. In the case of your work, it is clearly the work of an amateur, but it does however take a professional to see hidden talent and imagination.

What is there in your work that shows that imagination, and something that you should never lose? You're very free with your subject, and you have big balls to show off your work and get honest critique. I think the fact that you did it the way you did to be very alluring to children, and maybe you should consider directing your works towards that age group. I know that my 2 year old daughter would much rather watch your film, then mine, simply because it deals with shapes and subject and movement that she understands. All of my fancy texturing and ambience, and fancy animation doesn't seem to impress her.

Artistically, you know as well as everyone else here (without having to blurt it out rudely), that it's amateur. You're a beginner. Your artwork is flat, and the movement isn't natural, and the shapes are all simple. There's no slow-in or out, there's no squash and stretch, there's no anticipation or follow-through...but it's there, and it's fun, and I'll never forget it because you took the time and effort to make it.

So if you're looking for some honest critique, and if you want to learn from this, which I believe is the reason why you put this up, then here are a few things to look up (either on the net, or in books), to get an idea of what you can add to your work to give it a little more life and realism.

-Squash & Stretch (Objects, depending on what they're made of, will have a natural flexibility. Take a rubber ball, and bounce it. It squashes when it hits the ground right? Well in the world of cartoons, you can take that same principle and add it to EVERYTHING AND ANYTHING. Humans, cars, trees, roads, animals, desks, phones, glasses, you name it...your imagination's the limit. Learn how to use that squash and stretch in varying degrees to produce the effect that you're looking for)

-Anticipation, Settle and Follow-Through - (People just don't start walking immediately. They might swing their arm or leg out first. They might crouch and kick off into a walk. If someone's scared, they just don't fly up in the air with a shocked look on their face...they'll recoil into a ball, and squint their eyes, and ball their fists, and then SPRING OUT in to a shocked or scared pose. That's ANTICIPATION.
Then there's what happens after the main action is ending. When you stop walking, you just don't stop dead, Unless of course, you hit a wall. You slow down, stop, and finally, your body settles into the resting, still position. If you're shocked, then you Scrunch up (Anticipation), spring in the air wide-eyed (Main Action), and come down with your knees bent to absorb the shock of coming back down, and finally, Return to your final resting pose..the SETTLE.

Finally, there's Follow-Through. That's what "follows" the action. Take a cat's talk for example. When a cat jumps in the air, his tail doesn't just stick straight out behind him like a pole sticking out of his butt, it lags behind slightly, flowing behind him gracefully in smooth arcs. If you're wearing loose flowing clothing, then when you swing your arm, the sleeve will lag behind, and finally settle down on your arm...that's FOLLOW-THROUGH. What follows the action.

-Slow-in and Slow-Out - This is how we control the speed of movement. If you take a ball and throw it straight up in the air, and catch it again, what happens to that ball while it's in the air? Well, at the time that it leaves your hand, it'll be moving its fastest. As it reaches the top, it'll slow down progressively, until finally, it stops and starts falling. When it's falling, it'll gradually get faster and faster, until it hits your hand again, and stops.
So, SLOW-IN, is something that starts slow, and gradually gets faster. SLOW-OUT, is when something gradually slows down until perhaps, it stops. This principal applies to almost everything that you animate. Unless you're a robot, then your head will slow-in when you start turning it, and slow-out when you're stopping. When you swing a bat, your swing will slow-in quickly, slam the ball, and slow out as you reach the end of the swing.

-There's also Overlapping Action - Imagine yourself, holding your arms straight out beside you, swinging your arms back and forth like a water sprinkler. You'll start by twisting your hips, then your upper body will follow, then your shoulders, then your arms, and maybe your hands will delay a little. That's OVERLAPPING ACTION. Not everything moves simultaneously unless your mechanic. You have to find the root of that movement, and see how it works its way through the rest of the body. The same works for other things. If you're driving a car, then you have to turn the steering wheel, which'll turn the wheels, which'll turn the car. Cars of course are more mechanic and simultaneous than humans, but my point is the chain of events that happen to something, and how one thing effects the next.

So my dear Gab, with this in mind when you're animating something, you'll see how the pro's approach their own work, and what to look in your own work. Watch your favorite animated show or film, and see how they use those techniques on a larger scale. It's all the same thing, just a little more complex, but the rules to animation are all the same, amateur or pro, it's all in how you use the tools that you have.

And finally, one very valuable lesson in all of this. How to critique other's work. Every artist is at their own level and learn at their own speeds. Sometimes it's age, sometimes it's how much artistic influence you have around you, sometimes people just learn things faster then others. In the end, how much you love what you're doing is what makes you keep at it, and stand out from the rest.
If you look at someone's work and say "That makes me sick", you're doing nothing but being a jerk, and doing nothing to help that person. You're trying to show off that you're brilliant, and noone will like you for it. If you say something like "That's good for a child", then you're telling the other person that they draw like a child, and you should give it up, although you're doing nothing to help that person improve.

So learn how to tell the difference between "professional critique" and "amateur critique". A professional, will only tell you what you need to hear to improve, and an amateur will make their best effort to make you feel incompetent as an artist. Those people you can just write off your contact list, and keep in contact with the big boys and girls who have the ability to be friendly with their critiques. Deal?

Keep it up my good Gab, and don't give up, your public is counting on you.

PS...How old are you Gab?

Adam