 Alrighty, let's check this out. There's no sound. Some of these notes are expecting a kaka. I do like that beginning a lot here. Love that. I love that it comes in a curve. I like that it comes back. I think we could, instead of coming about like that kind of streamline, not like out like this, but a bit cleaner in those lines. It's a bit more graphic, but then I do like, I think we are coming. Slowing down maybe a bit too fast. This is literally like four frames or so, but I would have these guys or just have to slow it happen later or bring the wings up a bit sooner. Just a bit. It's really tiny. And of course, I'm going to watch it. I'm going to get used to it. Tiny, tiny, tiny. I feel like a slight slowdown. A bit too soon as this comes down here. Love this. Love this. Why? Because we have the stopping of the momentum, right? The offset pose and then asymmetrical shapes of the wings, body kind of staying put and that momentum continuing this way with the lower body and the tail. Like that's a great moment. Right through there. Then careful. Then we're going back into weeps one axis. Everything's very straight. The tail goes up and down in one axis. The wings are going down and up shapewise the same timing. Why is the same? There's no offset. So I would tweak. I give this kind of organic awesomeness love to all of this here. Careful this one. There's something where the character goes up, but then it's kind of stuck in that angle. I think you can kind of put a little bit more with that angle, but then it's this. A, the shape of this, this feels needlessly complicated. I think I would smooth this down to a bend at the end with the membrane up just because of the resistance. Like this just feels too broken. And then at the end here again, we're smoother with the tip is then reversing. And then here's where you can start bending things. So to have less wind resistance in there, then you can start bending these more. It's fine. So what I was saying here is that character goes up and then here feels weird because A, the body is mostly in the same position. I see some moving down here, but it's mostly the same. It also feels like it's just kind of hovering forward. So it doesn't have that up and then drop like this will be up. And then we already be rotate down and drop a bit sooner. Same thing here. This feels like we're going up hit a wall and then we just float straight. This one's a bit too slow. That one, this was like it goes through swamp water. Definitely faster. And then you want to go up and lead with those upper sections here is that we have more of a bend like that in the wings. And you want to move maybe the membrane over so we understand that a bit better. So it's not this I don't stick with this, but this is an odd silhouette. And then this feels weird because now we're getting to like a frog cowboy, cowboy riding something here pose with the legs. I'll bring those knees in and keep it a bit more animalistic. Not to say that some animals can't do that, but this just feels very odd. But to twin almost as well. It's just a bit of an odd shape. And then same thing here, still with that tail where it starts to just be really low for a long time. And I think we can break from the weight and what, you know, maybe a realistic creature would do. Who knows, but I will bring this into a nice silhouette where you have a nice curvature in that tail. Even through here, through the strain, maybe, you know, the muscle, the tail is up and then so that we don't have this happening where we are like, what is this? Like a third leg, like what's going on? That's just an odd, odd pose here. And then that way on that landing, imagine you have something where again, this was this was like a human landing, that's my other thing. Instead of going so far back, I think you can easily have upper body, a bit more forward, legs could be just, you know, higher up there. The head can still be up there, but there's a forward lean to this. And this just feels weirdly squirrel landing like a human in a dragon costume. So to me, it's more like you're around this area and even then bringing that neck up if you can in a nice little shape there, less of a bit like that, softer if possible. But something where if that tail was still up here, right, the nice shape on that impact, now the tail will come down, a nice impact in the tail, because to me, it seems like it's just hanging and then it's just kind of there. There's nothing going on there. It's like nine meshes with the silhouette of that leg, which also feels a bit odd. And then watch out at the end. This section feels really locked, like it's really holding on tightly. To me, it's more like, well, this would hold on tightly. You can bring those fingers back into maybe something where you hold on to this, but this could be in this here, this here, maybe with a rotation up a little bit, with a membrane down a little bit, something so that when this is happening, which again, this is in one axis, which is a bit odd, I think we can get that into a bit more of a complicated rotation sooner into profile. And through all of that, there might be a twist in here, which in turn changes that arm, which in turn moves the wings around a little bit. This feels like we're just kind of long for to arrive at doing much, and this is just select, select, rotate back in one axis and stop. I know there's more because I see the angle change in here. It's just generally how it feels like. All righty. That's that. But I would say this is awesome. Love this. It's that kind of stuff that would love to see more applied through all of this here into that ending as well. All righty. Thanks. All right. 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