 Alrighty, let's go and play this first. So we got a front, a couple of views here, and then a side, and then a three-quarter. My main impression watching this is that it's a bit, it's almost like it's too fluid. I think it would be good to have a little bit of a rhythm in there. There's one from a technical point of view, on the side of you, you can see a little bit how on that up it has a little bit of sudden stop here, and then it goes up if you watch this here. That's my technical sound. Actually, that's the funny thing is I would keep that a bit more fluid without that sudden stop there. So it's how your arm here goes up, and you can see how it suddenly goes up and then ends here. Then we're kind of locked in this area to some degree. Goes up here and then we stay a bit, then it goes down. I think I would keep that a bit more easy and then back, but generally it feels like you want to go up. It's almost like you want to hold here a bit longer if you can. It's almost like this section with this still going up a bit. Almost slows down a little bit, and then almost you want to feel like a like you're not just a moment of, all right, I'm ready for the next one, and this big powerful and even here, and then have that not hold, but just slow it down a bit, and then it goes up. It's this moment of exertion. Okay, up quickly. Let's get ready. Instead of the constant up and down and up and down, that's kind of the feeling that I have. Same thing with this. It gets into a bit of this undulating and and and and like that where you want a moment of, but it feels like you're leading with the head. So it would be a thing of where it's like really the head goes up in a stronger move, and then you can have a little bit more of a rotation this way. It has a little bit of a curve like that in the head as well, and then I would offset these guys a bit. It feels like they're going down at the same time. You just have to look at, you have to kind of look at what is happening here. I feel like this is already going up, including the chest. That's a bigger thing, but to me, what I would tune in the the chest with the wing move. So it's ready to go. It's the dragon, and then you have that powerful flap down, and on this that's what also brings up the chest. So you have a moment of, this is not going up just yet. You can lead with the head, and then maybe start a rotation in the chest, but isn't going up just yet, because your up move is going to happen around here to me. It feels like we are still, we're going up with the wings, so there's there's no more up movement possible because of the wing flap here, right? So once we get past this, the dragon starts to fall, fall, fall, fall, fall, fall till around here-ish. So your move up is too soon. So I would delay that, and then really separate the chest from the hips. So you know, we're outside of the bird realm. Obviously we look at bird for reference, but now that we have kind of what's going on with the back to front, we can go a bit more outside the reference realm. To me, it's always like I want to separate this and this, where it's really the section of this shooting up is really the chest going up here with this a bit lower, and that's going to drag the legs first, the front legs, then as you have the separation and overlap and the offset between the chest and the hips, when the hips go up, that's what's going to drag the legs, the back legs. So to me, they're a bit too in sync. You're going up too soon. This feels more like a dragon deciding what it wants to do when the wings happen to just flap, versus kind of the physics aspect of falling, falling, falling, falling, now I'm going back up. And then on the front view, as you do this, then you can start off setting things for like on this frame, this would be a bit lower, and then here this could be a bit higher. So it's not an overall only this side is two frames late. You kind of switch it up where maybe, you know, at this point, maybe they could be together slightly off and then up here, one is a bit stronger than the other. And then at that point, this one recovered and is a bit higher stuff like that, give a bit of an offset between where I can switching between left and right, where the asymmetry is. And then the tail is a bit loosen up the tip just a bit feels like it's very stiff, as it moves left and right, where you want to keep that fairly strong, but then towards here it gets a bit softer and you have a bit more bendy options. I think it's we can loosen that section up a little bit, especially in the left and right. This just feels a bit we're doing this with a fairly stiff tail there. Alrighty, definitely looking better. But I think the first thing I would change is the up and down when that happens because of what the wings are doing. It's the wings that are bringing this up and you want around here ish to me is when the when the up move happens. So some around here, which then it's a fine line, because then you're going to leave with the head like usually, the vanilla would be not leading with the head. So you have a stronger chest buckle, well, then the head is a bit lower. And then the hips are dragging a little bit for this big and all this is dragging there. But now that you're leading with the head, there's still something that you can do where it's low here going up like it wants to go up, but you just have to time that that head lead right when this happens. It's kind of like up with the head flap. It's just a bit more time together. Alrighty, that's that. Sorry, might be a little bit of a destructive note, but it definitely needs some fixing because otherwise, you're kind of in that wish dragon, Falcor, you know, more Chinese dragon have no wings where they just magically move around and they can riot type thing where they can just move versus a bit more physics driven, even though their structure is kind of bananas, it's the wings that will prevent it from falling and brings it back up. Anyway, rambling and we'll leave it at that. Let me know what you think. Thanks.