 All righty, there's sound here. Let's watch this first and full. Funny thing is, now that he adds sound, for him to go, ah, he got that change in just the sound, he kind of accentuates how he doesn't do much, where it's just kind of an expression and nothing going on in the head, where I would go that expression, but also brings up the nose, or with it the head up a bit, ah, and then come back down, which in that down can lead into his exit. Turn the sound off here, helping Pink Panther music there. So that would be my bigger thing there, and it, you do have offset in the finger pose, it just feels like they kind of come out and fold, come out and fold. Maybe that would be slightly different, maybe not as straight out, just for contrast, and I'm bringing that corner in here a bit more. I think it's okay, there's a gap there, okay. I was looking at how closely that ear is to the edge. This is super picky, but I feel like that head could be, nah, it's okay, I'll look at maybe lower to get that feeling of, maybe not, I'll leave it at that, it's super picky, because it's very close, I just want to be extra picky on things. It's cool, it's cool to see that you added more effects on that, but when you go into that, there's something tricky where you got some moments of tangents there, was this so dark? Are we kind of losing, you know, elbow structure, I would keep that as clean as you can. Even something like this, that hand would be a bit lower, I don't know if you can, but have a little bit of a bend, they're very, very straight, those forearms, but also the contrast where he gets into that run and then stops, but what I would do is go, and when he's here, have those arms a bit lower, I actually divide it, you know, not super-twin like my drawing here, but they're offset but lower, so that by the time you end up being here, they're higher, it's like he gets closer to the box, he's a bit more tense, he's ready, and that tension is also reflecting on just the angle of the arms. This feels a bit harsh there, that. You come to a stop, boom, and then immediately the body goes over, it feels like you can stop and this root will take a bit longer to recover, but then you can still go back and lead with the chest a bit more. Imagine there's a separation between the hips and the chest, and the same thing on the stop, or one of them. I mean, you can go cartoony and the root's going to take two, three more frames to return, the chest is already going over, then the chest stops, and then the root is catching up to this. Right now, this all kind of stops a bit harshly there. And again, this feels like you might as well bring it further out and keep those fingers clean in terms of negative space and silhouette to not touch right there, and then it can go for maybe, but again, I think this can all lead into that. And I will probably change the shading of the guy just to be slightly more volume so we understand, we see where that arm is, because it's starting to black here, it might just be my screen. And we'll try again. You can round those corners a bit, and this is a bit sharp there, and the silhouette gets kind of lost. I would look at your between so that we always see the structure of that arm. And then here it gets a bit IK where it's very straight in its path there. And it feels like it has a little bit of a hiccup as it goes up, and then... What is it here? Is it the hammer? There's something about right around here. And it might just be that moment where this again travels fairly straight, where we have some up. It's basically, I think probably this is what I'm reacting to, it goes up if you look at the block here and then goes straight, and then it goes back down. But just that moment through there, there's a weird pivot staying on that axis there. This on such a stretch, it feels weird that the wrist is this way. I would really bring that all straight up to follow that line on that arm. And then on that recovery, you can see how much that forearm bends. That wrist would go a bit lower. You have a bit of a rotation there, but I'll push out a bit more to make sure that the fingers are a bit more attached and tighter on the grip. It feels a bit better on this one. But again, we're kind of losing the structure of that arm. This one, watch out, you're pulling this way. And then it hits a bit of a wall here. Boom! I will just continue to ease into that a bit more. This one is... Given that this is so heavy and you bring it back, and then it goes back here. This would really... This feels strange where it just goes down that straight line here. And if it goes back and it's that heavy, I will continue on so that at this point this thing is gonna swing and be almost like this. Where it just... It's not gonna come down with those lines here where the spacing just kind of ends there. But it will continue to swing where it might... I mean, you wanna keep a clean silhouette of his backside, but it might be at a point where it might even be this close. And then you can get into... Into that. And this one, watch out. This is probably a shake. There's something where sometimes it is a shake, huh? There's just something where the head kind of feels stuck every now and then. I don't see that much in the horizon line, but just watch out that... I will give this an overall, whoa, feel this way. And not have a thing where it goes up and then kind of down and then stuck in space, especially through here, where this is kind of stuck there. And then you go to the left and then down. And I know there's a shake. Just make sure that on the non-shaky camera, it has that right feel as it continues and doesn't do anything crazy. And you might have to cheat it to a camera and encounter some of the spacing despite the camera shake. I like that you're going here on your tippy toes, but as you continue here and stuff like that, there's a scoopy moment where the toes can come up here a little bit. There's gonna be some compression and movement in the feet. Like that rotation is good, but then the toes feel really, really locked and it kind of really bam locks to this as well. It's got a bit of a side bank to align with that leg here. And I always feel like that roll comes a bit soon. I'll wait a little bit and have that roll because he's going out so far. So far high, I mean, like stretching. And again, this would... that would be banking this way to be a bit more aligned with that foot. The scrambles are really nice. It's a bit sticky there. Your IK kind of starts to pop back here, right? And then it's kind of stuck there in space. So watch out for some of the spacing issues. Same thing here, where it's kind of pivoting off of here. Then it goes back down. Just look at the space and a little bit closer. The box is really cool though. You got some nice detail here already on the fingers and a little bit of spacing stuff on the hair as the thing goes up here and starts to drag. Then it suddenly goes up because there's pulls, but then that to me would be a shape that's more like that, where it's rounded out, flowing into this. And that ending is okay. Watch out. This feels a bit... almost like a linear key as I feel a little bit of ease out. But I would probably push the rotations a bit more. I mean, you have that in there. There's something that just feels a bit simple in how you go over it this way. Maybe you can push that arc up a bit more so then it can come back down into that. That could be pushed a bit more there. It's such a funny box. I love it. That's kind of that. Picky, picky, picky, but it's looking really, really good.