 Alrighty, let's play this in full here. I believe there's sound, but as noted this is the spline version. Cool, alright. I think it's pretty neat. I've got only a few concerns about timing and length, especially this here. That seems pretty long that we could potentially shorten. And by we, I don't mean me. That's always totally up to you. It's cool. I really like this, the look and then that ducking and then checking there. I think that's cool. I would just watch out in terms of foot down and head up. It almost feels a bit pose to pose. Just a tad. But it's nice and clean, clean silhouette there. I like that it'll hold there. This just seems a bit poppy right there. Hold on. Always checking if it's my playback. I think it's this is how that is a linear key. So you have a sudden pop on the head in this area too. And then you got a sudden pop on that on the butt. And then bam, it really shoots over one frame. But then what happens is that it's not that it can't go over one frame and be really cartoony. The thing that happens is that now at the very beginning, this is kind of informing the style to some degree. I mean, you can always have, you know, options for surprises and slight exaggerations of afterwards, but it's fairly smooth and I don't say real, but kind of a middle of the lane in terms of cartoonyness of the timing. But then suddenly you got that little pop. And it's mostly to me going from here to here. So if I track the buns there and you kind of do this and if I do this here. What happens then is this, this is what I'm reacting to is the flattening of that curve and that arc. I'm gonna be messy there, but this is what I'm reacting to. It's this bam, which why not? But then it feels like it would be whole swing come down here and it has that sudden flattening and really slow timing here. And again, you can explode into going down. That's fine. It's just the flattening there where it gets a bit even in the timing of it with the spacing. Even the pose, even though I see changes in here and here, it just seems like I'm gonna take this out here. That's just the thing that I'm reacting to where we can be a bit more squat and down in terms of arc. Other than that. I mean, it's almost like this feels too casual then. Just throwing out an idea if the character is really in danger and checking like this here. Okay, checking. Okay. All right. It's good. A couple of things. And I know I'm kind of going back and forth in my critique, but if we are going for the thing of, well, I got to get out of there jumping and checking and all that stuff. Do we want to be more active here where I like this? This feels like I got to check. Whereas this feels almost too soft and too casual. Speaking of casual, this feels too casual when you just have one arm hanging. But imagine you do this, but it's a bit more out there and hands are on the fingers are a bit more active or active, even more of a tense pose. If that makes sense. Not that his pose was good just because then you got your twinning with your arms. But like this seems more like, all right, well, I'm about to jump versus that kind of check. I don't know. Like that's my question for you. Do you want to play this more like he is stressed and he needs to get out of there? Just because this then seems a bit too soft with that pose. It's like a casual hanging there. But then you get more into like more active and dynamic poses, which is cool. It feels like you want to be maybe be a bit more consistent then. Now, I know you're mentioning more polished. So this could be something that you might address later on, but I want to just to ask that question just in case. That's all cool. Like that. Against the wall. I think you're a bit maybe a bit too flat there with the head. I think we could potentially, if you're already at that speed at this point, slap a bit curvature in the upper body and in the head. And maybe by now the head gets to where it is now. This now suddenly feels like he's trying to listen to that wall for a while. And then watch out. It feels like we are stuck in that head pose. Quite some time where I will tweak some of the rotations just a bit. Then that's cool. The only thing is this. This feels more like a sudden push from the back or pull down versus an organic trip where if he suddenly does something in the legs and trips to me, there will be a bit more of a drag in the head. There will be something in maybe the leg or something and then that propagates into the chest and arm, but it's the head. So you don't have head, neck, chest, head, neck, chest as one unit there coming down. I would just push that drag in the neck and the head. It's a bit more and then bam, sink up to this or hook up to that. And then the only thing I would say is that if we are going, again, it's a royal wee, but it's pretends there's more activity there kind of like here and a bit more stress there and then you get into this and into that. Then it feels like an all right. So all right, checking. All right. Okay, I guess it's nothing there. All right, I made it. Can we tell the story in like half the time? And I know he needs to get there and I know this is a crazy destructive note. Just throwing it out there, it feels like suddenly that energy is really dying and it's almost like you could go from this and I know this is a ton of crazy change and it's again totally up to you what to do. Me, energy-wise, it feels like stumbling and could directly hook up into this. You know, in terms of energy stumbling, okay, checking. All right. And now he's relaxing where it's a gradual, you know, like I'm stressed. I'm stressed or it's more like I'm stressed. I'm stressed. All right. Let me relax. Okay. I'm good. Cars coming versus I'm stressed. I'm stressed. All right. I'm relaxed. Relax. Relax. Jump, trip and then into checking. So he's gradually losing the tension and then it's that hold of looking. All right. I guess I'm fine. All right. I left it and then I can go. And I wonder if this is just too relaxed too soon and killing the moment. Just a question there. And also, do you want it to be, this feels almost like he's looking at me. Do you want to maybe check more off camera off center a bit more? Not breaking a fourth wall and looking at the audience potentially right there. But it's not like the animation is bad. Like all that stuff is cool. Just it tweets is more energy and pacing question. Then the other thing is once you get back to here, he goes, all right, let's go. Then it feels ever so slightly from here to here, ever so slightly slow. I feel like if I go, if I remember the hockey, which I don't remember, playback speed, let's go one more increase. And just for this section here, right? That feels better to me. So this is 25% faster. Back speed back to normal. And then this now on the other hand feels too fast. So this is all cool. This is all cool. This here. When you play this in real time, maybe it's because of the contrast of this feeling a bit too slow and then that. Let's watch that. And there's something at the end there. Yeah, there's something where you want to make this 25% faster. Slow this down. I think I'm reacting to this section here. It could be like 10% slower, 10%, 15%. And then this right there. There's a sudden acceleration that I feel is a bit zippy. This is getting into really picky stuff. And it might again just be reacting to where this feels too slow and in contrast, this feels too fast. So then maybe everything's more consistent. It could be okay. But it could still be ever so slightly 10% and potentially it also looks at the ground. The head height is kind of the same. He has a dip here though, it feels like it has this constant I'm looking down. So maybe as you do this when he does that with the push-off you could have a bit more of a rotation in the y in the chest because of the arm swing which then maybe takes the head up a bit and then at the very end you can kind of dip down a bit lower, just get a bit more contrast in that move and in the chest and everything. The car's cool. Yeah, I mean that's kind of it. Subjective stuff, some questions and some crazy destructive notes here totally up to you what you want to do and that's it. Thank you.