This is Lane, Line Editor. I’ve run the rhythm on Chapter 11. The prose is high-tension, successfully bridging the gap between the sterile corporate past and the "anaerobic muck" of the present. The technical metaphors are heavy, but they function as a psychological defense mechanism for the characters, which I will defend.

### 1. STRENGTHS TO PRESERVE
*   **The Sensory Anchor:** "The Florida humidity didn’t just sit; it occupied the space in her lungs like a background process that wouldn't terminate." This perfectly marries the setting to the character's internal lexicon.
*   **Voice Differentiation:** 
    *   **Sarah:** YES. Her "Status: Obstructed" and "Acknowledge" commands feel like a woman reclaiming her competence through the only language she has left.
    *   **David:** YES. His reliance on "Arthur’s logic" and cardinal directions illustrates his collapse. He is trying to speak a language he hasn't mastered.
    *   **Marcus:** YES (Silent). His presence as a "shadow in the doorway" with a "ruggedized tablet" perfectly captures his role as the detached observer currently being forced to witness biological reality.
*   **Rhythmic Pacing:** The sentence lengths in the delivery scene mimic the physical exertion—short, grunting bursts followed by the long, "high-frequency hum" of the aftermath.

### 2. MUST-FIX — CONTINUITY
*   **The Shadow of the Dually:** *“Inside, the shadow of the dually truck was the only thing providing relief...”*
    *   **Error:** Earlier in the chapter, the pen is described as being "ten yards past the server shed." Unless the truck is parked inside the birthing pen (which would be a hazard for a laboring heifer), the "shadow" of a truck is unlikely to provide relief in a pen bolted with C-channel and wire. 
    *   **Correction:** Clarify if the truck is parked flush against the pen fence or if they are in an open-sided pole barn. If the sun is "vertical noon," a truck wouldn't cast a long enough shadow to cover a pen unless it's right on top of them.
*   **The "Great Hunger" Weakness:** *“Her muscles, weakened by weeks of 'The Great Hunger'...”*
    *   **Error:** Sarah is performing a high-torque physical maneuver (repositioning a calf and hauling chains). If she is truly weakened by weeks of starvation, her "bracing her shoulder" and "providing the torque" needs to reflect the physical toll—tremors, spots in her vision, or a near-collapse.
    *   **Correction:** Add a brief internal beat of her physical system "redlining" or "undervolted" to show the cost of this effort.

### 3. MUST-FIX — CLARITY
*   **The Head Repositioning:** *“I have to push it back. I have to de-allocate the space before I can re-route the exit.”*
    *   **Issue:** For readers unfamiliar with bovine obstetrics, it’s not clear *why* she’s pushing back. 
    *   **Correction:** Add one tactile detail: ORIGINAL → SUGGESTED: “I have to push the chest back into the womb to create the clearance for the head.” (Matches her "de-allocate" logic while giving a physical anchor).

### 4. OPTIONAL SUGGESTIONS
*   **Dialogue Tag Economy:** 
    *   ORIGINAL: “I can fix it,” David barked.
    *   SUGGESTED: “I can fix it.” David’s voice hit the rails before he did.
    *   **Rationale:** "Barked" is a bit of a cliché dialogue tag. Letting the action show the aggression preserves the rhythm better.
*   **Adverb Audit:**
    *   ORIGINAL: “...his thumb rubbing his middle finger in a frantic mimicry...”
    *   SUGGESTED: “...his thumb rubbing his middle finger, mimicking Arthur’s rhythm with a desperate, jerky heat.”
    *   **Rationale:** "Frantic" is a low-energy adjective. Using a more tactile description of the movement reinforces the "Analog Regression" failure.

### 5. FORBIDDEN CHANGES / NON-GOALS
*   **Do NOT strip the tech metaphors.** Phrases like "Error 404ing," "hard-reset," and "throughput" are essential. They aren't "bad writing"; they are Sarah’s armor.
*   **Do NOT "correct" David’s use of cardinal directions.** It is established in Arthur’s voice sig that he used directions instead of left/right. David’s failure to use them correctly ("North-by-Northwest") is a deliberate character beat showing he's an amateur playing dress-up.
*   **Do NOT soften the gore.** The "copper-scented mud" and "biological heat" contrast the "clean" digital world. It must remain visceral.

### 6. VERDICT

**REVISE**

The chapter is structurally sound and the voice work is excellent, but the continuity regarding the truck's shadow at "vertical noon" and the lack of physical consequence for Sarah's starvation during a high-output event needs a quick pass to maintain the "grounded realism" required by the genre.