 All righty, let's watch us in full first. There's audio. Hi, can I please do the house salad? Yeah, you got it. And um, can I do a piece of bread on the bottom and on the top, please? Okay. Maybe, maybe just throw in a piece of meat in the middle, with uh, with a bit, with some cheese on it? You know, why not? So uh, cheeseburger? No, I said house salad. It's a funny lie, I don't like this. All right, can I please do the house salad? So my question is, and I'm just gonna bring this down here, you have that in terms of where the character is looking, which I like a lot, like a little reference point of this. The question is, are you planning on putting a character there, even if it's just kind of, you know, somewhat there as like a compositional balance? Because if so, I would, I would consider putting the character a bit more here. I want to expand this a bit more so I can draw on it. Yeah, this is gonna work. So, you know, something like this and then, I know he's looking up and not really at us, but I wonder if that could be something interesting, where it's kind of this looming character, holding the menu, whatever here, or writing things down, and then adjusting the eyes a bit more towards that direction. But, you know, that's, it's not huge. Just the thought, here's what you think. And this is actually just so that you can see your frames in here as well. For me, this is one frame off. So, if I tell you, frame 28, it's actually frame 27. Sorry, lots of RAM to get to the beginning. But, again, I like the idea, and I'm only saying this because he's always very, very centered in terms of the composition, but it makes it all very clear. I don't, I don't mind that it's like this. I'm just, I'm just wondering if you're gonna plan on having another character there, because if not, it's also kind of like this is a really ginormously tall person next time. But other than that, my main concern is stuff like this, in terms of timing. You got it? You know, why not? It's cute, but it's a ginormously big move over a very short period of time. You know, why not? It's also headed into like a W pose, and I think this could be really cute where, you know, why not? Like his voice, like, okay. He's on it, you know, why not? Why not? And I think this might almost be too big, because he's, he's a bit, you know, unsure, a bit shy, a bit like, you know, like a little bit, you know, here and there, but kind of cute, that yummy, yes. Okay, okay, why not? So, that to me feels like what if this would be more of a keep that, it's almost like that arm goes up, the forearm goes up, maybe a bit here, with a little bit of squeeze in the hands, and almost leaving this here, and then just doing your shoulder shrug, the way you have it here, but take out that big part. It's more like a little shy, you know, why not? And the biggest accent would be in the head. Why not? Because then you're back in here, you know what I mean? And then that would leave right into this pose. And to me, that's the big contrast to me is this, which I like, and I'm concerned at this, is too much, too big, too much energy that takes away from this. Although careful with this one, because you're leaning straight away from us, and it might be more interesting to potentially lean away this way. I'm thinking in terms of, here's the character, and you're like, or, let me think a lot, this might not be very structured in terms of feedback here, but what if he leans this way? Reason being, here's the guy, even if he's off-screen, here's the guy that he feels might judge him, because he technically knows he's going to order a burger, not a salad, but he's just going to pretend, but he wants all those extra things. And I love all that stuff, like this is really cute. I love all this, watch out a little bit of a tangent there, I will clean up, clear the silhouette a little bit. Same thing here, maybe bring that a bit lower to the left, it's not right under the chin. But I like this idea, that's really cute. I love all the little back and forth in terms of what the body is doing, right, going from here to here, that's great. That again, it feels like a bit too close to the mouth, I would separate this a bit. I know it gets a bit tough, because then you're further out with the elbow, giving, you know, upper arm like this, I want to make sure that you don't break that wrist. Anything, even if the fingers are here, and you're just kind of halfway cutting into the face, but this feels a bit too, I always feel like we want to keep eyes and mouth, a bit clear, unless there's a specific reason for it. This feels a bit broken, although I recognize the meme here. So it might have to be a bit, you know, it's again, if you're tricky, you bring that out, this is a bit more comfortable like that, in terms of the hand and the forearm, but then we're over the face. It just feels close to broken, or just not quite possible in terms of his size. I feel like the forearm would be, is not really intersecting with the chest a bit. But anyway, I understand what this pose is, and where this is from. And that's to me the biggest change here, in terms of this to this. Timing-wise a bit concerned, and I feel like it takes a spotlight away from this. And this is a nice defeated. Everything is low, wrist low, this points down, points down, everything's pointing down as in. I know. So this is all great. Like this is my general view. Going back to why I said about leaning, what if? Again, this is me thinking out loud, you don't have to do this at all. But my thought process is, if the character's here, the waiter, the character here is slightly embarrassed, concerned, a bit shy, and almost wants to lean away. Like this character, like the judging aspect, almost threatening, looming judge here, makes the character lean generally more this way. So everything that you're doing has a slight lean this way, as I want to be away from this character, because I'm slightly embarrassed. And when he's done with all of this, and you can have a little moment of leaning a bit closer, but then at the end, when he's done, again, I feel like if everything is leaning this way, when he's done here, okay, imagine now he's leaning more this way, because now he feels comfortable. He's like, yeah, I feel comfortable leaning close to you, because I told you what I want to eat, and it's solely fine. And I totally mask the fact that it's not a salad anymore. And then he goes, so you want a burger? He goes, no. Again, straight up, and then, and that's why he goes again away from the character. This might be too heady, like taking too far in terms of body language, but I always kind of like when you have two characters, what is their relationship in terms of the closeness of it, and like his personal space, does he want to get close or not, and why? Again, being shy or not, or arrogant or not, or confident or not. Other than that, it's really cute. I really like it, but I'll leave it at that. You let me know what you think. If that is helpful comments, if that is helpful comments, definitely not helpful English, but if that, since this is your first submission, if that's kind of what you're looking for, or if you want me to address other things, or go into more details, given that this is step, it's also rough-ish. So let me know. Let me know if this is working for you, or if you want me to adjust certain things. Alrighty, thank you.