Pretty much, yeah. A lot of the licks I play have an even number of note on the strings my design.
I guess you answered the second question now right? So how about the slamming of strings? 
Usually no, and I have no idea how. Occasionally yes though. At the moment I’m definitely slicing. Also, I’ve found that the having the point of rest for my right hand being after the target string rather than before is helping too.
Ok I guess it’s hard for anyone else to evaluate how things feel, but if it feels good to you and it sound good too, then what’s the point in trying out all these other “not so good” feeling hand positions. What you already are doing seems to be a kick ass DWPS with great consistent tone. You seem to have little problem blazing through the pentatonic scale, which to me is like a litmus test for if you do escaping picks strokes. So to me when you demonstrated a picking style that clearly works, it’s hard to see what the problem really is.
But then again, it’s very different being the one playing and feeling it.
I think I’ve found a good way to put it - the better it feels (string resistance wise), the more likely I am to clip other strings!
Ok that’s making things clearer. But looking down at your hand when it feels the best, is the pick then mostly trapped beneath the strings all the time?
One thing I have yet to see you try is controlling the amount of edge picking with the thumb. I know I said it before but that’s totally key for a movement to get the right string resistance. If I try to pick the lowest strings without bending my thumb, I have no chance of getting trough the string consistently without using a LOT of added muscle power.
So when trying out new movements it’s really important not to forget that part of the equation.
Hmmm! I usually have quite a pronounced pick angle, at least I thought I did. I might not have angled my fhumb, but it was definitely hitting the strings with the edge. Will upload something else shortly
Re: Place of rest
Well, that looks great! I’m happy you found a way of thinking that helped. And I really think the mental aspect of playing as just as important as the physical. Like when you tense up, it’s often only because of a mental state of maybe proving yourself for example imo.
I have no idea why this resting place thought works for you but just keep going because you seem to have a great foundational technique. When ever you pick up the guitar, try to get to this mental (and physical) place before working to hard on anything else.
Other then that, you got more than enough speed in you hands for you to play anything really. The only thing I’m thinking about is that you generally (this goes for myself too) play at this top speed all the time. And even if this hurts to hear, there is a lot of small flaws in the synchronisation that you run the risk of getting worked into your technique if you only practise at that tempo.
I know Troy says that you should try out motions at high speed but when you get them, it’s imo important to lower the speed a bit to make sure everything is played “perfectly”. I’m not talking slow slow speed here but just a bit under maximum.
Last thing, I see you attempting rotational picking with UWPS and I simply don’t think that works. Most UWPS players either use wrist deviation or arm. Just like you say, the strings get in the way of the rotational motion. I’m sorry if I didn’t get that you were trying that earlier. You never really showed how that actually looked when playing in any of the videos, I think.
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OK, I’ll see if I can use the resting aspect in a more deviation-based manner. Tomorrow though, that was a lot of guitar technique for one day.
Ok, I think the resting aspect is only really working for that technique I developed by accident. Interestingly, I can’t seem to get the twist technique and the deviation technique to work together. Anywho.
Does anyone have any insights about my problem about the body of the guitar being in the way when deviating on any kind of pick slant?