 Alright, let's go back here, watch this in full. There is no sound. Shing! Alright, cool, cool, cool. I like it. Thanks for adding cubes and a floor. Oftentimes, I get submissions like these where you don't see any of this and then it's a bit tricky to understand what the camera is doing. So that's cool. You are mentioning an email that you're basing this on something where they do a bit of a slow motion at the end. Not sure if that's just the general description of your inspiration, but I don't feel the slow-mo in here, just throwing it out there. I don't think it's in there, unless you want it in there, I don't know. But that's the main thing. I read this and then I watched this and I went, hmm, this doesn't feel slow-motion at the end. Which, I mean, you could, it could be... ...work through here. Something like that. Other than that, I think it's cool. It's a good rhythm. The last little thing is cool. I think that's some body mechanics, thoughts, and some posing thoughts. I think for this, it's not too bad. It's definitely a peeling rig, obviously. The character looks like. I'm wondering, unless you are super married to the idea of keeping it so straight on versus a bit more three-quartered. That, to me, is a bit more appealing to get a bit of a line in there and get a bit of the ear, maybe a little bit here, by being a bit more three-quartered versus this, which is pretty flat. And at this point, there's no tilt or nothing in the head. And even if you push the facial stuff, it gets some asymmetry in there. It just feels very flat. That's my main thing at the beginning, where I would probably keep it a bit more... Yeah, a bit more like that, at least. I don't have to be full like this, but just a bit more like this or between this and this. Now, let's go through here. Since it's fast, to me, there are moments that will read more than others, which is normal when you have something that fast. It's kind of like a little of that anticipation here. It's pretty fast. You might even hold this a tiny bit longer. But you're going to read this, that ends, and that end here. So, there are a couple things. I think there's a bit of a reaction in the face here, just before I go to the bigger point. I'm going to just go from my frame here. I will make that bigger. There's a slight change, but it doesn't read. It's kind of like a little change that goes straight into this. And I think for someone to look and then go, oh, I got to slide this away. I don't know. To me, you can push this reaction just a bit more in the face. Then, as we go back here... I know the camera goes back, and then we can see a bit more. And it definitely helps to see this. The thing that's a bit of a bummer is that, as we go back, we don't quite see enough of that arm and the sword. The couple of things where we get to this and the way this is angled, it's so flat for a long period of time until we're on here-ish. This is more interesting, and I don't know if you have a frame. Why not this here? We can see all of this cool detail. So something when you go up here, just to angle that, so we see just a bit more of the hilt and part more of the blade there. And then you can potentially stretch the arm more so we can see the bends of the arm in frame. Otherwise, it's just kind of that forearm that kind of just sticks out a little bit, and then this could really be cleaner with seeing more of this angled. Otherwise, it's flatter, but then also having this part here, so you have some negative space there instead of being constantly connected. Because by the time you get to see a bit more, it's already hidden by all of this. You've got a tangent here, and then it's just kind of hidden, hidden, until here-ish. But then the arm is hidden, so this kind of just comes out through his head versus imagine shoulder up and we could just see more of that potential arm and you might want to just push that pose a bit more. I like how this is slightly angled away from us, but here it gets just a bit flat, and I'm wondering if you could even have this here, maybe here. And then it's just angled away so we can see parts of him a bit more. So it's not just this ginormous shield that's constantly hiding everything else. I think that will be that. Here, watch out, almost a bit of a tangent there. I will bring that sword a bit higher to keep it cleaner. I think that's okay into this. The tricky thing with this one is that once we get to here, there's some good twisting and you've got some different angles. That's all cool. But then, like, hmm, this is fairly straight on and it stays there while this is really turned and rotated to a point where we hear and all of this feels very much maintenance with that knee here. Everything feels kind of still pointed this way while this is really turned over this way. But now because of that arm, you don't quite get to see the chest either. And here it feels really broken where it's so over cranked while this is here. And I think you're okay to go into this where potentially even having the knee over here and it's just a much broader. The shoulder would be here and we can see more of the back and it's a much broader twist that then goes into, you know, something the way you have it here. But again, that leg would have to come over. This feels really over twisted there. Then also watch out as we go into this. I think it's a bit. It's not too bad. It's pretty fast. I mean, it's one frame, but it's almost it's here and then here. But I've been nice to get a bit of a hint of a downwards thing and then here. So we have a bit of a hint of an arc, just a bit more. You're starting with an arc and then it's just this and then watch out for here. We're going back here intersecting, coming out, coming back in intersecting. You could track that tip here spacing wise. It's really wobbly and messy here. And even here we kind of hit back intersect again and then we go out. I like this that we're really leading with all of this and the head is already turning. That's all cool. Got some more intersections here and I think you can bring out that sword and flatten it. So it's not so thin here. Bring it out. Change at the angles a little bit. Same thing here. It's very, very flat. Very thin. And I think for readability, we can turn it as a cheat. I like that little pause there though. That's cool. I think that works really well. Gives you that extra texture. And then at the end, since that's the end pose that reads, it's cool to see this and I wouldn't want to hide it by dropping that shield over here. I would turn the shield over so that we see the backside here and maybe even into this. So we can still see this, but we have a bit more dimension in that shield. So it's not so flat. And then I will bring out that arm just a bit more to get this here. Maybe the sword comes out into this corner just so we don't have to stay a little bit of forearm and a little bit of a tangent there and just a sword. So it's a bit more like that. But this is a bit higher like that. So you can see the hill just a bit more in my awesome scribbles. It's mostly that. These are kind of the elements where I feel like we want to be just a bit more dynamic in the posing here. Just a little bit. Just again, like I said, a little three-quarter watch out to have nice clean arcs. This is probably where it falls apart to me mechanically, posing-wise. And then this is just a bit of a cleaner, just a little bit of a cleaner pose. But it's definitely a cool end. Watch out what's going on here. I know this is early stage here, but it feels like you got hit a pose with your root and then key and key into something, then you spline in to get that spline bump and then just kind of comes back. You can see that root kind of wobbles at the end. But that's for you when you go into your cleaner breakdowns and, you know, painting that stuff down a bit. I think that's kind of that. It's going to be fun to also animate hair, this thing here, a little bit of the ears, but this is going to be a big one too where you want to make sure. I will block this out sooner than later just so you can see how that affects visibility and silhouette and all the drag and stuff and maybe even potentially what's going on here. So you don't have any surprises. Even at the end, when he does this, this thing is going to come out here and then back. So it's not so super stiff. Yeah, stuff like that I would block out earlier than sooner than later. Again, just because it's going to change the look a little bit, the silhouette. It's going to have something also at the end. You know, I wouldn't go too crazy because then we want to look here and take this in and not be super distracted by that little floppy thing in the back. So you start thinking about that as well. And that's kind of that. All right, thanks.