First off, everything is extremely rigid - his stance, the bricks are all perfect rectangles, the heads look exactly like MS Paint circle tool, the collars for some reason all form a perfectly straight line. Try to make things more organic and natural. No doubt you've already seen this piece. See how dynamic it is?
Where is your light source? It seems quite inconsistent in several places.
Also, the sunglasses animation is flat-out pointless and nonsensical; animation for the sake of animation? Adding a small bit of animation does not improve the piece itself; if animation is to be included it should be a part of the piece itself, not just something tacked on as an afterthought.
Why so much dithering? Almost everything is dithered. Dithering may be a common feature in pixel art, but one thing you should learn is that to achieve the best results it should be used sparingly and carefully, if at all.
You still need to work on toning down your colours; almost everything here is at pure saturation. This is especially prevalent for the text, which seems extremely garish (and for some reason not affected by wrinkles or shadows).
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Weekly Challenge: Look Behind You!
First off, everything is extremely rigid - his stance, the bricks are all perfect rectangles, the heads look exactly like MS Paint circle tool, the collars for some reason all form a perfectly straight line. Try to make things more organic and natural. No doubt you've already seen this piece. See how dynamic it is?
Where is your light source? It seems quite inconsistent in several places.
Also, the sunglasses animation is flat-out pointless and nonsensical; animation for the sake of animation? Adding a small bit of animation does not improve the piece itself; if animation is to be included it should be a part of the piece itself, not just something tacked on as an afterthought.
Why so much dithering? Almost everything is dithered. Dithering may be a common feature in pixel art, but one thing you should learn is that to achieve the best results it should be used sparingly and carefully, if at all.
You still need to work on toning down your colours; almost everything here is at pure saturation. This is especially prevalent for the text, which seems extremely garish (and for some reason not affected by wrinkles or shadows).