 Alrighty, new submission, let's play this here in full, no sound on this guy, and boing. I'm just looking at the very beginning where this arm just kind of draws attention to itself there, where it's just kind of it's swinging back a bit. I'm just looking at that arm very quickly, there's a couple of things where that arm goes back a bit strongly, and I think this is, it just feels like such an intentional step. It makes that foot a bit more, bring those toes down to just a much more relaxed step. There's something about it being so high, and so up here on the toes, and so far out that it feels like a very intentional stomp almost, and then watch out, just for polish, oh sorry I'm hitting the wrong buttons, wrong buttons here. This arm as it swings forward, watch that, and boom, it's a bit harsh, not that it's a linear stop, but it's how it feels like once you get to his butt cheek there, it goes swoosh. It's a bit in swamp land, it just kind of starts to slow down a lot, watch this, swoosh, it's a bit, given that big extreme move back and swing forward, I think I would just not go as far at the very beginning, and it also has a bit of an, I don't know if that's an IK arm, but it has a feeling of it kind of moves back and then locks on this frame, you can see how the elbow just kind of locks in space, then goes back, so to me I would just reduce that by at least 50%, it's just like a smaller swing back so that you have a bit more time to ease into that stop there. Little technical things, and same thing with that foot here, I think you might go a bit far there, you might want to go a bit long on the toe roll, get that break in the foot, and then relax a bit and then move that a bit sooner, so it's not fully there, but you might argue, he's not fully stopped there, this would be like if he's completely engrossed in something, you would just forget, but it seems a bit strong on that foot roll, haven't seen the shop for a while, so you know if this was before, it's been one of my my apologies there, sorry if I'm suddenly adding things that were there before, and one last thing is that foot comes up and kind of pops down over one frame, which is a bit harsh there again, you can soften that a bit, this is cool, and maybe this is something for you to think about, I don't think it's a massive thing to implement, but what if that head turned up, just wasn't so gradual, there's something about that arm going up, the body up, head up, there's something about it where it just seems all lost, I know it's not one piece, but there's something about it, which is kind of everything goes up at the same time, and then careful you're hitting a point where again it pivots off of almost this gulp area, you can put a pin there on that head, especially through here, and I think it just adds that weirdness where this arm comes to stop and then everything kind of moves forward, pivoting off of here, there's anything you can do to kind of break this up a bit, and watch out that counter with the chest back and the head back, so maybe by having a more gradual looking forward, and maybe almost like a head dart up looking a bit, and then another head dart up, just kind of scanning things, and then suddenly realize this, wait what is this, it's almost like he's anticipating that glove a bit too much, as he just gradually looks up here, but also on a technical point of view, just watch out for those pin things where body parts kind of pivot perfectly, that's cool, I do like that, you might argue again, picky mode here, that right through there those arms are kind of swinging, I know they're in a different pose, but there's a slight feel of once you once you get past here, that is a bit too in sync how they swing, he watches, I wish this could be a bit more offset, they have just a bit of in sync downward swing, where they're kind of pacing, spacing is the same, very picky here, and then watch out there's something in your root, as you have such a big jump back over, I think it's a combination of like you going from here to here, it's pretty far, and then there's a little bit of a, you start to slow down, but from here to here it's a bit smaller on the screen right move, but then from here to here it's bigger again, so watch out some spacing issues, and then the body feels a bit flat, and then boom, suddenly comes down in the root, but then it's just over mostly one frame, and then it flattens and it doesn't bounce enough to me, and then it's this thing of, it gets very very soft and slow in this recovery there, but then you got that very fast leg move, unless it sounds very picky, but if you watch this in real time there's just something where the body feels a bit hiccupy, and really slows in into gradual smooth move, but then if you will look at the rest, you have those sharp leg moves, and the swings they're slightly twinned, going back, and there's something where it feels slightly disconnected, if you do such a big move, there's something maybe, I will give this maybe like two more frames, and have it space out and make that a bit more fluid how that root comes down, it comes back up, potentially more of an overshoot and back, I know you have that here, but I would speed it up a bit to get to this a bit sooner, so it feels just a bit messier almost, I know I said smooth this out, it's just a combination of, just don't have any weird pops and spacing issues, but at the same time find the way to what's the word, it feels like things are just disconnected, I don't quite feel how that leg change here has any effect on the hips and the roots, it seems like there's a nice slow in on the body, but then you have the rest of the body doing separate things, I hope that makes sense, it's almost like there's urgency in that step from the panic, but then if I look at the rest of the roots, how it just kind of smoothly in this section just kind of comes and stops, I know there's something this is weird, disconnects to me where things are moving fast for panic, but then the rest of the body doesn't quite have that feel, so very vague note, and I think it's also driven by that twins move of those arms where it's almost like two coordinated, two smooths, it's almost like this upper part is too smooth, but then you have the separate leg doing its own thing there, this is cool, it's just this moment, those arms just really stand out to me how they swing, and then that quick leg move, so to me it seems like if you watch out your spacing through there, give this maybe two more frames and decouple those arms so that one of them is a bit different, I think that might even just be enough, I do like what the head is doing though, like what the hell was that, wait is there something else, and then I think that works really well, just watch out there's a moment through there where your head turn is very much tied to your roots and the upper chest, you can see how this whole piece here is just kind of rotating as one big blocky piece and it doesn't quite help that the arm, both arms almost are doing the same, I know this guy is doing more, but there's just this moment of everything's kind of moving as one big piece, so just watch out after all of this here to kind of decouple that and make it just a bit more, maybe he can start to relax his arms as he thinks, maybe there's nothing here and then have this, so maybe you might have to go from this to when he's here, or maybe those arms kind of settle and everything relaxes, everything kind of comes back down, gravity sets in like oh I guess I'm fine, wait what is this, and then into this he gets that face and then that arm can come up and these guys can come up into that, and watch out there's a bit of a move there where on this, where again has a slight feel of sushi through here, I know this guy goes further, but this section just feels like one piece, one piece is moving there and you have this very sharp move on that arm going here to here to here, it's a little bit of an arc, but it's ever so slightly almost too straight, but he really shoots out, especially with that hand pose, it's like this arrow, but on the next frame, it kind of stays put as opposed to kind of almost continuing and having an arc like this, it just feels like it pops into and then stays put, if you put this in real time, it feels like this stab, the stab in the air and it's a bit, it's a bit distracting just because you have, you have that very sharp move that stops, that's in contrast to you with this arm that does this very exaggerated, flowy, flowy move, so to me it feels like you want to ease into this a bit more, have a bit of an arc there, recovering and then I would not have that hand pose there, I would, I would mess up that, there's those fingers and claw them a bit more, so otherwise it feels a bit too, I have a curve here and I gotta have those hands follow this, same thing with, with this here and I know you want to exaggerate some moments but I, to me it's more, I see this more than I feel it, it's all good when you have, you know, smear frames and stuff like that and it's kind of a feel, but right now I'm seeing, I'm seeing those fingers, I'm seeing that, that perfect arc there and that, that curve, but then it only lasts for so long and then once you get into here, it kind of shoots back down and watch how you got that arm shooting down and once you're here, not that it locks but it's almost, just watch that in real time how that arm does this arc and then kind of stays put and that's kind of what you have, a bit all over the shot where you have those smooth moves, fast sudden moves and then it almost locks but then it becomes a very soft, it's not even a moving hold because you keep going and then it becomes almost a bit too slow and spliny right there, it's just some moments of almost slow motion aspects of it and I'm not sure if you're doing IK armors but this has also a very straight feel to it how that arm goes down, it's a bit mechanical, I'll watch out for some more nicer arcs, not go too straight, could probably when it's done here it goes ha ha ha into this, maybe to rotate the route over a bit more or bring the elbow out a bit more so you have a bit more negative space there, just a bit so it's not just that bulge arm coming out there but the feeling here is much better, the only thing I would say is I would probably after this step I would be careful, I go small, I mean even though it's a bigger step here, it just has, I would be careful going too high up, my feet can be pretty lazy and I wouldn't go, it's just very toe up, I would just go from here and maybe don't go further than this, I mean just kind of, it's just kind of a step and having so much of a exaggerated step feels a bit weird and just enveloping wise, it gives you that kink there too, so I would kind of reduce that very deliberate toe up, step down thing and then pose wise, it's almost like on this move, you can pivot off this, this toe so that you end with this foot a bit more angled like this, not like that, A it will, it will take away from that sticky IK of, I'm doing such a big move but I don't want to move anything in my foot here, it feels a bit too locked and you will change the pose so that it doesn't feel so parallel here, so to me it seems like you want to bring this more and maybe it's a little bit higher, there's a bit more of an offset in your posing there and I wonder if through here you can open the mouth, it's kind of hard to see, it's a bit dark and you're lining there but I'm looking for contrast where it's not just that head bobble, hold on, it's that thing again where you move pretty fast and then suddenly through here it gets all very almost pivoting just of the neck here, so watch out on your general easins and outs, when it goes like this, I feel like you want to open the jaw for, otherwise it's just this constant, it's almost like he's he's being told to never open the mouth or you do and then on the way up here you open the mouth and bam this happens, I think that's kind of it by kind of, I don't know, I'm being extremely picky here, yeah this is cool, props are cool, I think all that works and the hit and the slide, all that works, so yeah I'm leaving it at that, it's very picky critique here, as always feel free to pick and choose whatever you want to implement or what you can or time wise and all that stuff but that is it, thank you, all right there's 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