 So, checking out this version here, as we are going through, it seems fairly similar to the previous one, so I'm just going to stick with this guy with the newer one, not to a crazy compare. I think it works pretty well, I think you can at this point get out of step mode and start splining. I will go for a starting pose, probably take this arm back to this, it gives you a cleaner silhouette, so this arm here is in clear, not forming a tangent here. And as you go into spline, you will have a compression with the root, so her belt line will be down here and a bit back. So she goes back a bit to anticipate and pushes forward, goes into that, and it will be cool if I'm looking at this, throughout here it feels like that orientation is the same. So she's always kind of like this, so if you need that, as you go, she starts going down a bit, right? So she goes forward, she's always in the same orientation and you have it here, but it has that feeling of that arched back, it's always like this. So make sure that visually it gives you actually the opposite curve, right? You can potentially have shoulders up and she's getting ready. And then you got that jump, this is nice, that you got your full extension, to stay fairly stretched out throughout. For this it would be neat, you know, as you go with more breakdowns to have one leg definitely reaching that wall first. So it doesn't feel like it's kind of like a flat splat and you potentially, again it's going to have to need more breakdown, but it feels like you're doing a jump and it kind of stays and you would have to have something where there's an organ and a drop, right? Unless you're using this for a jump and she goes to this and immediately tries to get up, which you could do, but then you would have to have not this here, meaning it feels like you're starting to jump and then there's a little pause and then she starts going up and that's why it feels like a splat. If you're not doing a jump, drop, slide, slide, slide, trying to get up and you're doing one where she jumps to run up, you would have to go from this to here to the next frame already going up where she's really going up and struggling with defeat and pulling herself up so without that type of pause where the route is not going up. I mean, that's clear, but she goes up and it feels like she's doing this, so it should be continuous. Let's get up there and I feel like you could add, you know, one or two slips here. It feels like you're doing one leg and then she's just trying. At least it feels like you would almost have to have a higher wall so that you can go from here to a pose where she's just a bit higher. It just feels like she gets on this and gets stuck and is already struggling and you can see with the elbows which is a nice touch and then slip so it feels like she could have a bit of a bigger, a bit more success, getting a bit higher, but then you get into that, right? And I think that timing wise will have to be a bit faster. It has to be a slip and with the slip you have to really feel how the only thing that prevents her from falling down is her hands holding, so you're going to have to have that. Those have to be fully extended. Arms fully stretched out, shoulders up and then either she kind of has to fall back with her head a bit, right? Everything falls down. Hands are holding on. That stretches the whole body and her head snaps back. You want to feel that impact of if you're falling down and you're just holding on with your hands. And then she tries again. This, that works, right? Tries again. Careful as you spline this out from here to here. That's very big. You're going to have to have a lot more breakdowns. Imagine she might go first with her head but push herself up where it feels like she's kind of pulling her back this way and then she might bring herself up with her arms and then she brings up her leg. So make sure that that's nicely staggered. And after that, this feels like she's not, like it feels like she has really big boobs in terms of that's the wall. She is like this with her arms and that's her boob. And then she's like this, only because of the orientation of those arms. And you want to make it feel that she's really hanging on, that she's flat against the wall. And this orientation, like this, I would see her arms being down here and she would be here. I mean, that would be her pose. Arms very flat. And then make sure that as you continue, I know when she does that, it's, you know, the timing is not so even. It's not so beep. It feels more like it will pop. And then, you know, give it a little more of a, ah, or even her shoulders could sag a bit more. And it would involve the chest a bit. So when the heck goes forward, the chest is affected by that. And her, her, same with the hips and with the slight little, you know, little, I wouldn't say a wiggle in the legs, but still a little bit of adjustment. All right. That's what I have. Thank you.