 Alrighty, let's check it out. So I think that is all pretty cool. It's pretty cool too. So my main impressions, A, the first thing you have to fix, that's going to also change a bit your composition everything, is the camera. With the camera right now, once you hit this spot, see how fast it still goes back. It feels very similar to what it was before. It's basically your camera curve is doing something where it goes back, goes back, goes back, accelerates quickly and continues. And what you can do is set a key here, right, and then take out that key. And then what happens is that you gradually get into this, if that makes sense. So you take out this bump. So basically you start off this close but gradually get to a point where those are only this big. That makes sense. It's because watching this, yeah, it's just still very jarring. Now other than that, this is cool, but I would do though is that right now he feels a bit like Sunday morning, vacationy. He looks over and goes, I guess, yeah, I think could be need to get a bit more of a faster head turn over. It's a bit more frantic, right? So you're going, hey, what is he doing? Looks over, holy shit. And then this thing appears. Now I know this is a pain in the ass, but the thing that's gonna sell this in terms of animation to wellness is that you can have him or her a bit more here. The head is a bit more centered. And when the creature turns around and goes like this, you end up having an action where that hand, instead of that arm going down there, it's actually more like this and the other one stays back while it turns and that creature looks over. If that makes sense. Meaning that imagine you're standing and you're turning your head around and it takes your chest over and you want to look straight behind you. Your arms are gonna come kind of with you, right? So you want to make sure that it's not just the running cycle with the head turn in it and then globally moving him over or her to the screen left. It has to be a bit more complicated where that look turns into almost kind of a sideways, a couple sideways steps and then back into that. And the thing is you could potentially start with the camera out a bit more out. Meaning as something maybe between this and this, even though this is cool. Only thing I'm concerned about here is that you tilt up with the camera. We're starting to lose too much of the creature facially. And if you were a bit, you know, ideally, I would say an ideal world, you start like this, a bit more centered, have him look back, a couple of side steps, which automatically slows down the creature, right? If you're running at full speed and you start running, you know, with side steps, you're gonna slow down, which means that when you slow down, technically this creature, this head, you know, might be that size. It's further back, which means it's still in screen space. And to me, it's also visual cue of going, I'm getting smaller. You know, I'm not as important anymore, look over here since this is what we're introducing. And then it can look forward again and ramp up and start getting closer and closer and closer. If needed, but, you know, I think this will lead nicely into that now for the dragon. That's cool, but you can push it. You can make it a lot more dramatic. So right now you got this, you know, that's kind of the angle, but you can easily go like this. So it's like a full sweep over and then turn back. That makes sense. So right now it just kind of comes up and stays put. So the path is a bit kind of just doing that versus, well, you can go like that. That's the alignment of the wings comes over and it goes from this to this, back and here, just a bit more, just pushing that more. And the same thing here, as you continue, it would have, you know, it's, you can have some more activity in the legs and then the head would turn over and then the wings go, so it's a bit more of a lead into something like that. So right now at this point, the dragon is crabbing. It's moving sideways, meaning that if the path is doing this, your creature's body, you know, it's flying like this and then it needs to fly like that, right? It's aligned like a fish. Right now it's more like a chopper, where even though it's going that way to a shitty color, you know, it's kind of doing something where it just, it just goes this way, but it's still pointing that way, if that makes sense. And that's what we call crabbing as it moves sideways. So you definitely want to have a bit more of a patty look to it. So meaning that by this point, the head will be here, body here, legs here. That's my drawing. Yeah, kaka! Right? Which is cool because then when it gets to this, you can make a nicer curve, so it goes like that and then like that. So it's a bit more, you know, then it turns back around. I hope that makes sense. And then because of that, once you're here, it's also a bit too much like that, you know, I would angle it a bit more like this. So you can, you know, leave the head, but then the body is a bit more profile. Legs are back here and then the wings angle this way because it's been doing that, right? This way, this way, and then back. This way, and then back. Then it's going to be fantastic. So then you've got him holding on to the head. Like I said in the previous critique, it swings him around, right? The head goes this way, the body does his whoa big swing over. You can have that nice, tightest crash. Fantastic. But this is cool. Like I really like how you implemented the notes here. It's a really cool relay. And what is this? What's going on? Holy shit. And you can have, you can have that fireball potentially hit a bit closer, a bit more here. And then later on, when you're done, you know, I just animate little pieces, you know, like the explosion thing where, where stuff comes a bit spring at us, little pieces fly around. And that could even be, it could also be really cool to have as he, as creature moves, that the ball passes, goes past us and then imagine explosion is behind us and then pieces as they exploded, you know, fly by, pass us from back to the front, if that makes sense. And we're kind of going through an explosion, smoke and debris moment, but definitely, definitely change that camera here. All righty. Well, thank you. All right. There's an email you can sign up, you can start whenever you want, you can submit whatever you want, you get 16 submissions. Either way, a like and subscribe would be awesome. All right. Thank you.