That's pretty cool!

The framerate didn't take me out of it at all- as a stylistic choice, it fit with the environment and the animation style.

What did take me out of it was the muffled and echoey audio quality. At times it was difficult to understand what they were saying, especially when it was low-energy mumbling. The acoustics of your recording environment played against you in this one. It sounded claustrophobic, which was in stark contrast with the characters being outdoors, in the open, surrounded by swamp and Ogre house.

Obviously a better quality mic is over the horizon, eventual when money can justify the purchase. In the meantime, there's a lot of steps you can do to mitigate the audio quality issues.

If you have a walk-in closet, with both ends flanked with hung clothes, that acts as a budget-friendly sound booth for when you're recording lines. Lots of folks do it. In addition, to avoid reverb from the ceiling, they'll hang a thick blanket overhead (not touching the actor or microphone) to absorb further reverb. I've also seen people thumbtack egg-cartons to their walls, tiled out, as a super-cheap soundproofing measure. But, you can buy the real deal sound-proofing foam for cheap, and then you can affix it with multiple 3M double-sided adhesive strips, or (what I recommend) liquid nails from the hardware store. The tubes that look like toothpaste are easier to apply than the caulk gun, but the caulk gun liquid nails are much more long term. While they're drying, you'll still want to affix them into position with thumbtacks so they don't try to peel off while it's still wet and setting.

Audacity is also a fine recording software, as is Reaper (trial version, you never have to pay for it), however, audio-processing isn't the issue. It was the mic-quality in tandem with environmental noise.

Other than that, the short was funny. I'm not really a feet guy, but that's just what makes it more ridiculous to me. Keep up the good work, and lemme know if you need a voice actor for one of your skits, I'd be down to help.

The best part about this was the theme song cover.

If the cellphone is buzzing, that means HIS phone is ringing.
The ICE gag goes on for too long; the pace was fine up until his bit. And his voice wasn't great as the monster- it breaks immersion.

I'm guessing the Green Ranger was supposed to be a gag about green cards or something, but that wasn't established very well.

A lot of missed opportunities for more jokes like Zordon, Alpha, their headquarters, instead of a thoughtless "Oh, they're all Mexican, so they must ALL be in front of a Home Depot."

Why's the Abuela there? She ain't looking for manual labor jobs. Why's La Toxica there? There's not a lot of thought put into this.

Missed opportunities with Rita Repulsa, Lord Zed, Goldar. Could've been Trump parallels. Could've been White Karen parallels to balance out the racial ribbing on Mexicans.

Like most things, the story untold is often more interesting.

The Power Rangers themselves, instead of calling out their animal-themed Zords, call out stereotypical aspects of Mexicans / Mexican Americans, but the only one that could really be passible as a limb of a combiner Super Robot is the dropped truck. It would've been cool to see the vehicular lineup of each Zord riding into battle, even if they were all stereotypes of Mexicans.

Like, an El Camino
A Lowrider
A Honda Civic
A Chevy Suburban

The two biggest ones, the F-150 and Suburban form the legs. The rest of them fill out the arms and chest.

The Chancla, Modelo, and Push Mower are more like their weapons. Y'know, instead of a Sword, Bow and Arrow, Axe, Spear, it could've been a whip, one of them could've had super pointy boots, a machete, and comedically someone just has a straight-up gun. A revolver with a bandolier like Poncho Villa.

All this to say, in my unwarrented constructive criticism looking at this in the under judgments, if you're going to go with stereotypes, do it well. The humor kinda falls flat because there's not a lot of thought behind it. The red ranger wouldn't call it an "Unnecessarily dropped F-150." That mfker worked hard for that truck AND its mods, he'd deem it very necessary. Probably emphasizing why it makes it way better than other F-150's on the road. It breaks the parody and makes it seem like this was written by the 50% of you that isn't hispanic.

Hit me up if you need a voice actor, I'd like to help if I can.

I admire the feat, in bitcrunching it to such a degree, and still having the time to design your own WADS. Doom 1 and 2 are still fresh in my mind, I recently beat both titles on Ultra Violence, so I went with that in this one. Waay way different feel.

The shotgun ain't as long range as it was. The spread makes it so those shotgun guys have to go down in two shots, at least. The lack of alert sounds stands out in this- the map design early on makes it so you can loop around and sneak up on Shotgun Guys that are unaware. And they just seem to amble as they rotate around to face you, unlike the original where they just snap in your direction and start their jumble of walking towards you / attacking.

If these Shotgun Guys are facing you, as soon as they're alerted, they pop off an immaculate shot. Every time. I killed about 20 of them before I died, and I think like three of them missed? Maybe? I was taking a lot of heat. I had to be ON IT with the peakaboo shooting from around cover. And they got my health low QUICK. So it got me nervous when I'd alert a group of em and I was a shot away from death.

That's when I noticed that their movement AI is lacking. One was tucked away behind a crate, and I could see his elbow poking around the corner as he was walking into nothing, trapped by a simple obstruction.

So while these demons are crackshots, they're slow on their feet.

Ammo and health are sparse, I'd expect no less from Ultra-Violence, but this is harder than the original game. Pretty interesting spin on it, I'd like to see what you'd do with your own thing.

I love everything about this, lmfaooo

Can't wait for E1M2 gallery. Hope it gets into some native america, azteca, tarascan de michoacana art.

I guess it would be much longer game if it did the chess thing, and it didn't allow your King to put itself into check.

It's a neat spin on the game, I dig it. I love the theme and style it has to it, and it'd be cool to see more variations to this. Like, it's already unique that it's a condensed space, everyone's right up on each other in this shrunken board, but I'd like to see it go further. Like a creative spread of duplicate pieces, a creative assembly of different maps that are in weird shapes so that you have bottlenecks, chokepoints.

Or hell, even unique pieces. Like in a map this small, knights would be OP, but their absence is really noticeable. Maybe if you did really large maps, you had a variation of knights that were like winged demons or something, so instead of a knight going two out and one beside, they had an extended range like three or four out, two or three in.

Kinda like how Advanced Wars had Artillery (Knights), but they also had Rockets (this new piece).

Also sometimes the pawns get hidden behind the tall royalty pieces, so it would be beneficial to have a look around function- I know that can be kinda limiting given the retro aesthetic of this pixel art, but even if it pulled a Doom and the sprites remained camera-facing, I think it's possible for a sequel.

This is a really fucking cool atmosphere. Like an impending storm looming toward an ancient cathedral consumed by vine and pipework alike.

Touched my heart. The only time I was ever a moderator was on the General BBS, and it's gone.

I had even been curating a new thread for days to open up discussion about the military, and it's lost. When I tried to re-open the tab, all of it got autodeleted. It is a question that'll never be asked.

Hopefully this charges activity into people's review-spaces and news blogs. That traffic just finds somewhere else to be, because that's all that COULD happen. Somehow, I know this will benefit the community here. Just doesn't seem like it yet, but it will.

The title's too long, and it gets cutoff by the site's own header. The only way I'm able to read it is because it's spelled out in the web-address of this submission... that, and you reiterated it where it was supposed to be in the Author's Comments. A better title for this would've been "Experiment and Hurt rough draft" or "prototype" or "pitch cards v1" or "early concepts"

There's some grammatical errors here or there that were missed.
"An experiment got wrong" would be stronger as "She was a subject of an experiment that went wrong", and the last two have a fullblown sentence that starts with "Escape their gruesome fate" when it would've been more complete as "They escaped their gruesome fate"

If this is people's first impressions of these characters, the Danger Level doesn't mean anything to your audience yet. It takes up a third of their card, and they're all just kinda...greater than midway but not fully a danger, so what's the point of that statistic? If this is meant to illuminate a part of their personality, show us.

If this is an animation or a webcomic or something that's visual, it relies on art: "Show, don't Tell."

Always consider when writing something visual, "Show, don't tell."

So don't be concerned about over-explaining. Be concerned if it reads immediately what you're trying to say about the character, world, or situation.

There's nothing worse for a story than for an audience member to be told that a character is good instead of showing them that the character is good.

We'll believe a character is bad when we're shown a character doing bad things.

Therefore, because first impressions are important, occupy the space of your splash card about your characters with something valuable. Like, depict your characters in their natural states and different emotional extremes.

For example: You already have them all in a full shot to the left. How about two or three medium-shots of them doing what they do best. This one's clumsy, so they're looking embarrassed and apologetic. This one's a hothead, so they're looking irritated or they're in the middle of crashing out. This one's sensitive, so they're bonding with delicate animals or vibing somewhere calm.

The danger level doesn't show us anything. And you seem to be aware of that by feeling the need to establish in parenthesis, right beneath it "(Red=Mad) ...Okay? If it were a strong and informative graphic, it wouldn't require clarification.

Aw you could've tagged Sleep Token up there in your tags!

I really dig this. It's kinda got a Venom Symbiote vibe to it, and it's the most different thing you've done recently at a glance. I think you're cooking with something here. With the liquid reflectivity, the shine, the tendrils of the goop. You should totally experiment with that. Get some real goop going! The heavy heavy shading in the background lends to the bitcrushed style you got here, just it eliminates a lot of depth.

Those mountains are just as bright as those totem poles, right? Clearly those mountains are really far away. Well, have you looked at a mountain in the distance? In daytime, they're brighter than anything in the foreground, because of how much air is in between us and the object, light gets diluted by the density of the air particles as it travels; coming from the sun, bouncing off the rocks and ice caps, before finally being captured by our eyes.

At night? You're not gonna see the mountain, it'll be too dark. But if you insist, for composition's sake, that the lightsource that exists in this art piece is powerful enough to illuminate a distant, giant mountain over the horizon, well, at least shade it. Otherwise, that rockface appears to be just as close as the totem poles in the middle ground. It's difficult to tell if those are further away from the hill or if they're embedded in the same grassy plains. So clarify it for your viewer with shadow placements, grass BEHIND the totem poles, more environmental context, and a broader range in your color pallet.

Man, I want those boots.

This is extremely cool.