 All righty, let's check this out here. All right. Mostly on the dragon. So here, so this pose needs to be like that, right? Since it came over and did the whole like that. So we know wings would be like this and then they start turning over and at this point. And then I probably just work on the orientation and the overall flow and timing of you know the the whole setup, how it comes over, whoo, whoo, like stuff like that. And then, excuse me, and get into the flaps. This feels a bit weird just looking at this, but it's kind of like a cuts coming out of here. And it's very, like it doesn't do much. Like at this point you can probably just turn the wing so that, you know, when it goes from something like this, something like this, you could potentially, see if I'm flying like this, it could be like a slight adjustment where one wing might go up a bit and one go lower. Like just an adjustment for it to turn sharply. Not sure if we need a flap. This could just be in glide mode. And you can, you know, during all of this as you do all those turns, I think the first thing I would do is lead with the head so that if you have the head like that, you know, front view, when it turns and goes this way, the first thing that would happen is the head goes from this to that, right, turns like this and the nose towards the path. So the top view, if you have something like this, um, change colors here, you would then at this point have, you know, the body oriented along the path, but then the head is curved. That head turns around in all rotations to face, um, towards the path and the prey. Watch out. It feels like your, your dragon slows down, ease in here. Make sure that there's none of that has to be a full on linear key as it goes through here until impact. The translate going forward is going to be something like that, where like it goes forward. That's the mode of impact, a full broken curve, uh, broken tangents to really get that impact on the head and neck. Meaning that by now, this is fine, right? But then the body will probably be more something like bring up here. You know, however you want that pose to be, but um, even the tail will be back there. Like you want, you want to have that big swooping curve that this continues and then as it continues forward, you know, like the head will be here and that's when the body catches up, which you could then still have the tail, you know, part of the legs could still point towards there and then, you know, the wing could be broken up like what the hell's going on. It's, it's not about plat mechanics anymore. And then the other wing, uh, you know, could be most folded back underneath or something, but starting to get pulled, right? As everything gets pulled this way, everything starts to follow also that curve. That makes sense. That's cool though. It's kind of interesting since you're, I can't envision the impact to be more like that where it's, the head is here, right? And then the body just did its curve like that. So you got that and then boom, that type of thing, right? Tail and wing somewhere. Um, and you are at this point, you're rolling it so that it's the opposite so that you got, those are here, but the head is here and then the body is here. Um, my only concern is that you get a very empty half here, unless what you're doing is that, which you can absolutely. The dragon does its role on this side and those are the side steps over there. And it's then at the end, you know, is here, which you totally can, a good side step and then kind of slide to a stop and get ready to fight again. That could be something, which would be also very interesting because then you're really using the space again where the dragon crosses over and then those are crosses over, which is very cool. Um, so yeah, if you want to do that, that is totally fine. All right. Thanks. All right. 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. All right. Thank you.