 Alright, so let's check this out. We got the lift, boom, okay, cool, cool, and then we got actual view here, boom, yeah, cool, all right, so let me check what you have in your mail. The main thing you see here, 218 to 229, okay, hold on, the friend counter is tiny, tiny, 218 here, 229, alright, 218, 229, okay, maybe you're talking about this section here. Talking about the elbow popping. Oh, this guy, there you go. Okay, I get it again. If you think I should try something completely different because I can't control the elbow, I see. I mean, I don't know the rig. I don't know if the rig has bend bows or an elbow snap thing where you would just have to go frame by frame and shape that change so that you can get rid of the pop like that. That would be one thing. Or it's like this. What if that arm is further out? Let me see. I mean, I think I mentioned that last time. That's something you could do is where you have the lift here and then watch out. There's also the sore kind of pops into a spot and then kind of stops abruptly and even here a bit of a whee, a bit faster through there. I mean, generally, I would say it's cool. There's some moments where, like through here, I see some spacing issues in the upper body where it kind of suddenly locks like it goes forward and then it locks, almost pivots in screen space and then goes to the left. Whoa, it goes to the right. Whoa, then hits a wall, goes to the left again, stops right there for a little pivot, continues to the left and then back to the right. And then even here you have forward, a little bit of a stop forward again. I think the general thought I have for this version is just spacing clean up and just getting rid of pops and even stuff like this where that sore drops. There's something where like this comes up a bit floaty coming up here and then just kind of drops and it feels like it's very isolated in the forearms through there where I would have a bit less through there but then a bit more in the shoulders. It feels more like this goes down but it affects the rest up here as well. It's definitely showing weight. Yeah, I just see the hiccups through there. Love the forward momentum. I think that's still great. And then watch out after she drops. I mean, again, you have spacing issues where it goes down and then suddenly pops right there. It's a small, small, big one. And if this was, again, it's a longer drop into something heavy. But the thing is, this is heavy and it feels like it pulls her down. Everything goes down. And then suddenly it's getting lifted with this. But that's a massive, strong forearm muscle with bicep tricep muscle there. It's lifting this because it's not a lift through the upper body with extended arms. It's lifting this really heavy. It's not resting on the leg where maybe leans forward and the thigh props it up. Like this is only lifted up right through there, through this section, through the arm. And I just don't quite buy that because you're going through so much to show how heavy this is. It's nice. Definitely heavy. Boom! But then I'm just not quite buying that on through there. Once we're here, what I'll be careful about too is that given that this is so heavy, you might have to lock that arm, but you know, there's so much weight on this arm that maybe there's less of something like this, some flexing or that might be too picky. I think to answer your original question, what I would do is through there, you start extending that arm out so that there's a cleaner silhouette of elbow and arm swings over. And again, that arm is up here. It's like a really big broadcast of I'm going to grab this with this arm and then that arm could come from here down to here. That makes sense, right? So it's up there and then down to this. So you're avoiding that flipping because the elbow is not so close to the shoulder and body. That arm is actually up in the air and the sword is only held by this arm. To really telegraph, I'm going to grab this. Imagine if that's your pose like this, imagine a previous pose could just be forearm or upper arm. Forearm, you know what I mean? Where it just does an arm flex down into this pose. Even here, imagine that arm before that was here and now it's here. We're just kind of going down and all this happens in a way only with one arm. I know it might be tricky with the rest here, but I think that would be one way to avoid that flipping. Again, watch out. It feels like this suddenly pops up a little bit here. And then this, I would also be careful just weight-wise because it is so heavy. Character is, like this is heavy, pivot here, lifting, but right now there's nothing really that can lift that sword except this. This would be your, I guess you're tricep at this point, right? So this is like a pull through the arms, but then whoa, this is suddenly really strong to get this into this position, but the body hasn't really moved forward. All we're having right now is a stronger upper body move forward. But in order to swing this, I think the character would have to be in this position, meaning that I would go a bit longer with the sword is here, pivoting here. Now that leg here pushes the body up, where you can almost have that maybe a bit straighter. I'm just thinking out loud here where it's almost more like that right head is here. And now that arm is straight and it's the body here that pushes this up. So that at this point, the sword might still be like this. Again, it's so heavy, gravity is going to keep it down. And the only way this is going forward is the upper body root leg does this. Now you suddenly have upper body momentum that thing can swing those arms and that prop over. Even then you might, instead of this, I wonder how this would feel if she was like that. I don't know if I'll be able to break with this, but I'm wondering if you want to, we're going to see curve into a reversal and that swing over. That's really going to pull those arms into this. And then the same thing here is that this is now so strong. You're going to have really broad momentum so that arms are extended and then getting a bit more extended. And then here, extended, right? To here, extended. That makes sense. Because to me, it feels like now this is so heavy, we have all this momentum. Why is the sword going from here to here to here? Oh, suddenly dropping into this. I know we want to make this like a strong, I get it. But I think you still have to observe that forward momentum. And at that point, those arms, this is also be broken with the wrist. So it's going to help you by shoulder up arms, arms, and the sword will be here. And then also again, silhouette might help you keeping this cleaner by having it more like this, right? And since that's the end anyway. And I will be careful with how much bounces. Let's see, hit up, down. I know, this is super picky, but taking that last one out, getting rid of that little extra wobble, I think it's going to help you as well. Because again, this is now so heavy, but also a cut into the ground that it might just be stronger. And just sticks in the ground. I would potentially even reduce how far this sword goes out, given how deep we're in here. Just the thought for the end, it feels almost too wobbly. But overall timing is cool. I like all the rhythm of it. Like that, you know, that forward move. I love still this is great. Yeah, still picky notes here and there, but I like it. All right, there's an email you can sign up. You can start whenever you want. Submit whatever you want to get 16 submissions. Either way, a like and subscribe would be awesome. All right, thank you.