 Alrighty, you got a version here with audio. It looks like a bug trapped under a glass. I googled that bug, it's some sort of demonic cricket that takes chunks out of your skin when provoked. Chunks is the word that Google used. All right, let's watch this again. Looks like a bug trapped under a glass. I googled that one. It's pretty good when I look at this going to take out the scrubbing, hold on. I usually check for kind of the guiding of the audience where watch out, she just has a bit of a move here and then he does it at the same time. I understand that she's moving and he's reacting to her, but it's also a little bit like she anticipates and then he already moves. You might argue he's hyper aware and just, you know, for every single move, but I'm concerned that it's going to be a little bit of she's about to go back and say something and now we're here. It's not huge, but I would still potentially wait a bit longer. I don't know, it's a little thing here. It looks like a bug. Even when she talks to her, he starts to nod. I'm slightly drawn between the two and then you got a big move on him and then she moves back at the same time. Trapped under a glass. See, this is nice because she's done, which, you know, eyeliner wise makes no sense yet. She can't look that far back. So what you could do is also, she says all this and then fully turns around where we are. That's the nose and that's my awesome drawing and we can't see her eyes. So really it guides the audience fully back to him. And then when she goes back, he has such a big move and we want to look at him and there's this big distracting move. So I'm going to go back to her and because she's not moving, I'm resting here and then I'm going back. So it might be something where she does this, turns around, right? So we don't see her eyes. So once we see no eyes, we go to him. You rest on him and then even if she moves back, slow it down so she doesn't go back so far. She just get up and do a sight move, but because you don't see her eyes, we can stay on him. And I don't mind that one because he says chunks and goes back, but I think you could have this and then she looks and not happen here kind of at the same time. Just a few frames later. I do like that to that. Then now he gets closer to her pose wise. You're mentioning here, you're not quite sure about the poses. So if I look at, so that's the first thing. Sorry, I'm rambling, but that's the first thing that I look at. You got two characters or more making sure that everything is very clean. Unless, unless of course, this is blurred out and you just really always focus on him. And this is just kind of there for context. And even though it is a close up, you're intentionally blurring her out, you know, so that it's always on him. I mean that could be one other way. I definitely like this, that he's so tense that he's protecting his hand, it's squished in the arm, shoulders are up. I think that as a compressed pose, given his state of mind right now, I think that's great. Even like the lips, like everything is tense. Tense, you can even tense up those fingers a little bit. Make this even a bit sharper. Like everything is tense, tense, tense. And I like that he does this. Usually I would go like, watch out for arm worn arm gestures overuse, but I like that it's, you're not relaxing this upper arm. You're still tense, but you want a point, but you keep it sharp and you keep this going. I like that a lot. And even here, it's not a lot of movement. He's still tense. He wants to look at her, but he's not going to change his pose that much. Not sure about this, but now you're getting a bit into a slight W and a twin pose, even though there's an offset here. This could also be a thing of chunks. Chunks, like I don't mind that he steps back. I like that he wants to get back from this. Like he's, he's disgusted by the takes chunks. That's why you're taking a step away from the potential dangers. I like the idea of stepping away, but could it be something where he goes chunks, and then it's more like, like we're like, like imagine it disgusts him or he's kind of like, oh, or in pain versus that. I wonder if this is a bit too generic. And you can push the idea of imagine the creature would take chunks out of him. What would his pose be? Does he wave it off his body? Does he like, like, like I said, a shiver through or whatever it is. I think that might be potentially more original. I know there's like a super lazy critique in terms of making more original, but I'm, that's just the thought here, where this might be not pushed enough. And then chunks, maybe you go with contrast with, I hear chunks and I feel like that's a big piece and you're going for a little piece, maybe. I'm not sure. As you're saying, you're not sure either, but this seems to me a bit more generic. One arm out. I think this is, this is an interesting direction. I think this could be, again, it kind of depends. Depends. You can also do out of your skin when provoked chunks, chunks. I mean, if you're already doing something, and maybe, maybe you want to go broader, maybe slightly overanimated on purpose, he could have his arm closer and imagine he is having a claw towards her chunks. And he's kind of pantomiming like his fingers are clawing chunks. Like he needs, he's doing that type of thing is the word that Google used. And maybe I wouldn't relax there. Maybe just kind of keep that arm into a suppose and leave it there. And it's more like, that's your accent in terms of a funny, what's, what's kind of acting out chunks. And then the rest is then in his head again. I'm not sure you need this in another, another bigger pose. Or it's chunks, chunks. And it's kind of like, I guess this might be way too on the nose. I'm slightly, usually I don't want to act out words, but I'm slightly entertained by the idea of him acting this out with his, with his fingers being, you know, the creature's mouth. Chunks. And then like a little bit, like an extra little grab. There's a one, two suppose with a little munching here in his fingers. That Google used. And then you just have a bit of a head tilt. Maybe not sure, again, not sure need this. I will probably stay in whatever pose you're here and just relax it a little bit. And this goes into very subjective territory. So I'm going to leave it at that. The only other thing I would say is that the reason why I'm also entertaining the idea of her turning around is that it gives her a more complex move where she could be, the head could maybe be here. And when she gets up, she will be here. She travels a bit and turns and right now she is here. And when you go back, it's basically a straight backwards move where there's no big change in the line of action and the posture. You can't really tell anything that moves straight away from the camera is a bit hard to decipher. So I will probably vary that pose and give this a bit more complexity on the way back there. Alrighty, let me know what you think. I know these are some bigger changes and definitely some subjective notes. So feel free to disregard and use what you want and let's discuss. Alright, there's an email you can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. Alright, thank you.