 Alright, let's check this out here. Cool. Yeah, that's already in really good shape. I'm seeing basically vanilla exercise in your email. I think you are already really far along. What I will probably tweak is more polishy stuff. So I'm not sure if that's okay for you, but that's, you know, how far we want to go into the shop. But when I look at this with picky eyes, I feel like this section right through this drop into this is a bit too fast. Compared to everything else, there's a slight and I'm really talking one or two frames at it right there. If you look at the spacing of this, how small that is here and then suddenly we have that acceleration that will give this bit of a softer, softer set. If you're going for a vanilla, but also in terms of how the timing is here, the bounciness, and just how he moves from here to here. It's extremely picky just because it's already so far along. If I will be picky or it's a bit in terms of the shape language of the silhouette, this is fairly close to the body giving a little bit of a break up here. But when you continue, we're really kind of losing information of what is going on here. I like what you have in terms of the contact and everything, but up until, you know, when we get to here with negative space, it's a bit cleaner. But then we're getting into really broken feeling wrist and also again with a lot of information with the fingers here. Like all that just feels a bit busy and then watch out. You got a little bit of a wobble in that elbow going in and out. So what you could do is you can exaggerate just that relaxed pose. I'm strictly just got massive hands. You can also scale them down, but it could also be something where we see the structure. I mean, not that he has to have all hands out like that. Could even just be a little bit of here so that we see a little bit of forearm and then that hand can just relax down to here, even though that might not be a huge amount of negative space there. And then the hand has somewhere to go. And even then I will probably bring that shoulder back a bit more again. So we have maybe separation in the hands, maybe more on the side there. And there you might, I think it's probably too much to bring out that elbow already. So it's also some twinning, but that would be my picky thought on that just because it just feels like we're, we're so compressed in all of, especially here. But at the same time, maybe that's, you know, your feeling of someone being uncomfortable. Because you say vanilla, that's like, that's, that's to me almost a little bit of a shy, you know, uncomfortable pose. And then once you're into here, watch out, there's a lot of movement through there that I would continue to have in the wrist. It feels a bit IK where there's movement through there, but then this is locked and there's not much going on in that wrist section there. And I will probably just take out that forearm again, in terms of silhouettes, just because we suddenly have this coming that almost aligns with that part of the knuckles for a little bit of a tangent. And if you just take that out, it would be cleaner, even like a little tangent through there. So either you break that silhouette with an arm like this, or you bring it closer, kind of, or right in the middle, but it just rides that edge there. Again, off the picky notes, this lift here feels a bit soft, I'll probably give this a bit of a sharper, maybe to take two frames out of that, which feels a bit spliny, spliny soft. And then the chair, there's a couple of things, A, besides intersections here, you're hitting this, the chair just kind of scales down, which I would do a compression where it might pivot off of here and get off the ground more. I'm exaggerating, but you wouldn't pivot this much. But this is a weird scale where we have a squashy chair. I'm not super sure about that one. I would treat this fairly static with pivoting maybe off of one side and rotating and lifting one of the legs, but I wouldn't do a stretch. Now, I don't mind this, but if you have such, by this movement in the chair, but if you have such, you know, spacing difference here, like it really hits that chair, goes back, fine. But then the next frame is locked. That will need at least one more and a little tiny ease in, given that force. This feels a bit harsh for that chair to just stop on that frame. I do like that you recover, but I would just add a little bit in there. So it's not so, this feels more like there is a wall sitting against the wall. And it's kind of a, let's wait for it. Bit of a bounce like that versus there's nothing in here but a softer give. Again, mainly because how soft the chair is afterwards, it feels like it kind of breaks the rule at the very beginning. Now, if you do soften it, it might change the amount of impacts you have on that head there. Maybe this one, how sharp it goes back, maybe. But again, these are picky, picky notes. I think what's going to help you potentially with a chair moving back a little bit and maybe through that softness of the chair, that softness but kind of reaction to it or something giving a bit of a softer impact on that root as well. Because again, you're going pretty far on that sit and then it's that last one. And then it's totally locked. I know there's like, you know, it follows the chair a little bit. Kind of chair goes down more than the root goes down, but it feels like we could have like one more frame of squishy forming into that, which will then also soften the spacing of the knees. They just also hit a bit hard. You could cheat that potential by bringing that knee out to his left. So then it looks like it would travel a bit more this way. Same thing with the right one. You're gonna have to follow that with the hands as well. But that could be that could be something. Now, if you're moving the hands back, it could have also a little bit of sideways movement, which could result in some spacing change in the knee. That's extremely picky. But just the thought there. Yeah, that's kind of that at the beginning. The only thing I would say, I love seeing the neck. And then once we do this, we kind of start to lose the neck part, which I understand, but it could be something where either it could be too much of a cheat. But as you turn either bringing down that shoulder and lifting the head a tiny bit, I would love to see a little bit of neck. There, it doesn't feel like a block on a line here. It's a bit tricky. Yeah, I don't know. Out of that will work. This is always nice. It's nice seeing the structure understanding how that fits on this. I think that's okay. I'm kind of looking at the chest rotation there. But I think it's okay. Moving over. I think it's what I'm reacting to is I understand he looks so the chest follows and also the arm goes back a bit. But then I'm also seeing this arm kind of going back. I almost feel like maybe that shoulder wouldn't follow as much. Like I feel like there's a turn, there's a turn, but then the arm was the other way kind of contradicting that like that shoulder would be to me lower more to the right because that arm is going back. This I would buy if that, if we could see that arm out, if that makes sense. Because I feel like that forward transit is the same as this or whatever rotate, whatever the however that rate functions. Again, all super picky. I do love that you have a slight squeeze in the hands here and in relaxation there. Again, I'm just being super picky because this is your first pass. Your first pass is already so much more, you know, so further along than so many other passes I've seen when I hand out a, to my students at least, a sit down assignment. Like this is already so much further along. So yeah, I'm gonna leave it at that, picky, picky stuff. Let me know what you think. I don't know if you have any eye controls to make that one eye slightly bigger than the other. I don't know if there's any control in the cube to give this a slight rotation, a line of action in the head, stuff like that. Or even here, but maybe bring out that ear more and this ear less, just kind of playing around with the silhouette of it. Like everything points, you know, this way to look, but then this ear goes, hey, look at me this way. Again, super picky, kind of taking away from that default mirrored cube. While there are so many different considerations in terms of lines, this feels like it needs more controllers. I don't know. I don't know that rig. And that's kind of that. Again, it's all super cool. Picky comments. Let me know if that's okay, if that's what you were hoping or imagining the comments to be, if that was English. And that's it. Thanks.