 Alrighty, let's play this in full here and Cool All right, let's see. You are mentioning secondary motion and hood straps and effects and swirling knives All that good stuff. There's a change in the path. It's cool Doesn't seem like you tell me Is there anything you can do with the face? That's the only thing I would say is anything, sorry if I missed this, if you mentioned this before, just any type of changes in there. I'd be kind of cool to get a change of expression unless the rig can't do that. I'll probably, even if it's by one frame, offset these guys as they come down. I like all this, this is all cool. Just then a bit too in sync with the up and down. I like that this is slightly different there. But in the arms they don't hit, even if it's just one frame and you can have like a one frame delay and then a two frame change on the up. So it's a bit snappier on the down still, but then a bit more relaxed on the top with the offset. Even here as both elbows go up you can probably push that a tiny bit more. That's cool, I like the compression how this slides out. You might potentially even pivot more off this angle so that the foot is more in line with like the angle of that leg, if that makes sense. Like the leg is kind of pointed this way, but this is maybe a bit too much. It's all good here, but I think it will probably push out a bit more. It's probably the effect of the walk. There's just a slight floaty feel on this. I think the rotation is where we'd also help with making this look less like just a floating card. There's a bit more rotation in there and probably on that land is also a bit of a flat foot so imagine that foot is more angled like this. I'm exaggerating here, but you know, and the angle of the leg is like this. It takes the shoe with it as well and then on the impact it might have still a little bit of compression there but one side is higher and then bam on the full compression there it's flat. Now speak of that run. I still feel like giving all that energy around here which is all really cool. I still wish that these guys were faster but that might just not be possible. The other thing that feels a little bit off. So there's a slight disconnect between this and this. Let's see here and I think now that you have that side to side, there's an ever so slight feel like I like to have a slight rotation in the body there but there's an ever so slight feel like this is doing one thing. This is doing another thing. They don't quite mesh together or you want to go shoot. Let's see here. So with that, you might even have a bigger curve in the body with the head leaning over into this and then counter shoot into here. Just a bit more. Watch out your spacing there. It has a little bit of a stoppy feel right there because it's in the same spot somewhat visually. As you move down, it kind of stays and then it pops up. You might have on that one frame, might be already here, have a little bit of a wrist up to lead into this. Here we'll probably cheat just the angle and bring that knife down just a bit lower if it's not so flat towards us. That's cooler. Kinda the same thing here. As we come down, we kind of resting on these two frames and then pop. I'm just wondering if that can be smooth out a bit. So I'm just, I might just be me. I'm just registering a little bit of pause there. So now we should just be more up and then really snapping into this. Then probably one thing you can do as you go up. Depends. I mean, maybe that's what I'm reacting to. This overall stiffness of this as the body moves, arms are moving together, wrists like on something like this. Like there's no drag or delay or anything or offset in those things. That's why I think I'm reacting where you have nice looseness here, but then the rest is a bit stiff. And I wonder if, I don't know if you want to go with that comment on the previous submission like Naruto where the arms are lower, but this seems a bit broken there. I'll watch out if you can reshape that a little bit. But it gives you a little bit of a twin thing. So maybe you might also go with contrast or it's so do-do-do-do-do-do-do. And then as you progress, the arms are lower. I mean, that could be something to think about with a slight offset. And then you come back up into this where I would even go higher with the shape. So it's not always so flat for the anticipation to then go into here. Let me see. I know you are here. Okay, that's cool. So yeah, maybe you get to this and as you run faster, faster, faster, faster, they go a bit lower to come back up into that. Yeah. But it doesn't help that he's always in that somewhat bored, bored angry, bored stern, stern face there. I wish you could do something there. Do-do-do-do-do-do-do-do-do-do-do-do-do-do. That's cool. Can't see the face, but it's cool to see that little color there. I think that helps. Even this foot, I would probably tilt over it this way. So it's angled. So we can see this side a bit more. It's not so flat towards us. That's cool. If you have those flaps, you can bring, you can get these out there maybe from the speed of the turn. Same thing here. I would still offset even if it's by one frame. So they're not at the same time there. It's cool. They're offset in the legs and as they come up, that's cool. I like that timing still of that land and hop that hole there. That's cool. And now covering the eyes. Nice. Yeah, that's kind of it. And as you mentioned, this is purely for practice, given some of the similarities of the shot design, just if someone was watching this. All right, thank you. All right, 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. All right, thank you.