 Let's take a look at this version. Leaving so soon... Just going to... I was trying to... Sneak away. I mean, no, no! I like children. For breakfast? Alright, nice and done. Leaving so soon... Very cool, love this. Leaving so soon... Really love this, love that. Like, here's a sound. Reacts, even some stuff on the shoulders. It's just great. You can probably offset the shoulders. We'll kind of move up at the same time. And that's great into this. It's really cute. I wonder almost... What does he do here? He gets into this. I don't even want to go into... I got on the sand that you're like this. And I'm not saying you have to change it. I'm just curious if you would... Get into like a... He has a slight... Slight arc this way. You know, it's a little bit of my fantastically horrible drawings. But there's a slight arc away from the guy. Is it of all straight? Just for a nice line. As he looms over, he's also slightly bending back. Don't forget that if you do a bigger eyebrow, you want one of the eyeballs bigger. Meaning like the eyelids higher on this point. Just a bit lower. Like this eyebrow is higher so it stretches the skin. Careful when you have moments like this. That's always kind of weird. It feels like he's going to sniff his hair. Anything you can do to keep it like that. There's always some negative space in there. Some harsh stuff on the ogre. I mean, you mentioned that. But you know, if you drag his chest... Boom here. It's kind of a very harsh wall. And if you do a push-off, obviously... As you go, continue in your polish. The compression as he goes up, that means these guys push down. So there's more tightening in the fingers. Spreading of that and flattening of the tips and stuff. So if you want to have that in there, same thing with the feet. Now for the kid. I love all the shaking, right? The only problem now is... Bring down the sound a bit. Awesome. Awesome. There are some moments where... It's suddenly here. Like it does nothing here. And then... Boom. Then stops. That moment just feels like a pop. The rest feels pretty natural. That just feels like a pop. The problem is that once you get... Love it, love it, love it. And then by... I will leave all this, leave all this, leave all this. And by now, I will kind of tone it down. And then when he starts with... You get into this pose and then... And then you start again. Keep that. And then once you get to this pose, tone it down a bit. I was trying to... Meet away. And you can only ramp up around here. Because it's getting suddenly closer. So it's a bit less and then around this point you get a bit more. Meet away. And then I would... Transition into... From all this to that a bit. Ten frames longer. It feels like you're moving... Like here a lot, a lot, a lot. And then suddenly stops. Because right now it feels like you're starting into this. And then it feels like you have... Well, your animation, whatever. Of arms and everything. And on top of that animation layer. With the same amount of shakiness. So I don't feel any contrast. It's not quite tight to his emotion or his movements. It just feels like... Okay, now over everything. I'm doing the same back and forth, back and forth. So it feels a bit too mechanical and static. Static's at the right word. But you know, it just always... It doesn't feel natural anymore. That's why I'm saying there's some moments where... You want it down, bring it back up. I have to... I was trying to... Sneak away. And then he goes... Sneak away. And I know he has his arms up. But there's something where you could... Drop the shoulders a bit. Yeah. You see, you relax. Everything kind of goes down. Ah, I'm relaxed now. And then that's great. Because then you can bring the shoulders up. Which gives it more contrast. It's even lower for it. I... And then when he goes, no, no... Ah, I mean, no, no. And then he goes... Ah, that could be a little bit bigger head shake. And he's like, ah, like it'll take. Yeah. Ah, I mean, no. It just kind of... It just kind of squishes together the neck and the... And the shoulders and the joggers. But it could be a little bit more of a... If he tracks his nose up, he's like, whoa! Little bit... Oh, no! Ah, I mean, no. And then during the... Ah, I mean, no. And then during the no-no, I just feel like his body goes back and the head does with a no-no. But I don't feel like his... No, no! Like the jaw goes down and pulls the head with it. So it's a big no. Ah, I mean, no, no. No, no. Like a bit more and a bit more in the chest as well. Looks quite connected. And then the last bit is... The root feels a bit softer in here. I... You know, there could be like a down, hold a bit, and then over a bit. And then he gets dangerously off balance. You might have to rotate that toe out and the foot out a bit more. Fantastic drawing. I like children. And this is weird too, because during all of this, like this feels weird because he's leaning over and he's off balance. In order to go over this way, that leg, see how it's pointed? It's pointed this way. That leg needs to be either straight or a bit to the right in order to have the physical ability to move this kid over to the left, screen left. So if it's still here, like that, I would still buy that he can make this move here. Otherwise this feels weird. And during all of this, I don't see anything in the hips, especially this. If you lift this foot, you know, it's going to be more pressure on this leg, so this side of the hip has to go up. And then same thing here for the ends. Same thing as in for breakfast, I just see jaw and it doesn't quite feel like it's, like he's thinking and goes for breakfast and has a little bit of a change in his chest, maybe his shoulders and the head arc. It just feels a bit pasted, pasted on that jaw movement. And also, I think I will keep eye contact. This was a bit weird. Alright, that's it for that one. Thank you. Alright, there's an email you can sign up. You can start whenever you want. You can submit whenever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. Alright, thank you.