#reactors out of context

[reactorsoutofcontext]

"Yuri on Ice aired at 2:30 AM in the morning. The gay witching hour. They could do whatever they wanted."

-hbomberguy

[amischiefofmuses]

.

[prettyboypistol]

Mercs reaction to safe word use?

Mers Reacting to Safeword Use! (+18)

scout

confused for a second, then realizes that you said the safeword

literally jolts back and starts rapid fire apologizing, asking what you didn't like/what he shouldn't do

would probably not want to continue the hot n heavy aspect, but would be down for lovey-dovey intimacy(be it sex or just cuddling)

soldier

literally freezes when you say it, then gets close and whispers "did i scare you?" in the most vulnerable voice you've ever heard from him as he kisses your cheeks slowly in apology over and over again

feels super guilty about it, but once you explain why you used the safeword, he's a little relieved that he didn't terrify you

kisses and hugs before going back to business!

pyro

pauses as they try to understand what you said- that word didn't sound happy... OH SHIT

lets you make the first move to them, scared that they might scare you, but their hands are up and they're clearly concerned for you.

probably too worried that the stress will cause a relapse into Pyroland, so no more sex, but you get a super loving partner to cuddle up to!

Demoman

the chillest reactor you're gonna get.

"Oh, sorry mate." and pulls away "you down to keep going or was that too much?"

He's so down to go your speed after that, but if you just want to stop a certain action and for him to keep his energy, he can absolutely do that!

Heavy

the second chillest reaction, but he assumes that you've changed your mind about sleeping with him because a lot of people reject him because of how big he is down there (and everywhere else, but that doesn't bother him really.)

"Are you okay? Did I hurt you?"

After a little talking, you two are perfectly fine again and sharing kisses before back to having fun.

Engie

somehow worse than Scout

panics about hurting you, apologizes for being a brute and coming off demanding/not being a gentleman, he doesn't know whether to cover his face with his hands or hug you

Sadly it ends with you mostly comforting him haha, he's just worried he hurt or scared you! He's terrified of you being intimidated of him!

Spy

Third chillest reaction, mainly due to his sass factor.

He won't demean you for using the safe word, but he will crack a joke like "Oh, can't handle the heat? Alright love, we can turn it down a bit."

Doesn't check in on you, but intrinsically knows what you safeworded about due to body language and context. He doesn't make a big deal out of it- safewords are normal to him. It's not an issue

Medic

a little upset he scared you, but also upset that he couldn't go full crazy yk? Like of course you take priority, but he wasn't going to actually inject you with horse steroids!!! (maybe)

Abides by your boundaries and kisses it better

Lowkey wants to talk about it later but doesn't know how to bring it up

Sniper

the most INSECURE MF

if you safeword with sniper, he immediately disengages and pulls away out of shame and self-doubt that he can please you or have sex with you right

he apologizes and gives you comfort, but it's eating away at him inside that "he can't even fuck right"

[pen-and-umbra]

After some thought, it's probably best that SE gave Sephiroth a source of regret that influenced his future life. It is consistent with the events unfolding in Crisis Core and provides more insight into his state of mind following Genesis' desertion.

In Ever Crisis: First Soldier, Sephiroth was faced with a choice: either follow the request to kill someone or allow the people he had grown to care about to die. The decision resulted in a squabble with Glenn and a degree of estrangement. Later, EC Wutai segment shows that the event had left a lasting impact. Not only does Sephiroth appear to be more reluctant to resort to violence first thanks to Glenn, but he is implied to lament the fact that he couldn't save everyone (Rosen).

This contrast is evident in the inner conflict of being praised as a 'hero' (a manufactured image) versus the reality of being one. Sephiroth resolves to embody a true hero, striving to uphold strength and 'save everyone,' avoiding the difficult decisions of choosing who lives or dies as well as the burden of killing or witnessing death under his command. Sephiroth failed to convince Rosen and failed to find another way that brought about no casualties. Even ten years later, he pushes himself to clear a path for cornered grunts, fueled by his insecurity over past failures.

This insecurity also connects nicely to the events of Crisis Core. Sephiroth pushed those missions on Zack because he had a history of failing to persuade someone (Rosen) to change their minds, and the prospect of reliving the same situation while confronted with someone he cared about was unthinkable. It demonstrates that Rosen's case affected Sephiroth, leaving a lasting impression on his actions and decisions.

Even further, the desire to save and prevent casualties is evident in FFVII Rebirth, when the ShinRA squad, led by Zack and Sephiroth, is flung into the mountain stream after the rope bridge collapses. Sephiroth successfully grabs younger Tifa, but is unable to reach another grunt in time. The camera stays on the scene for a while, focusing on his slightly haunted expression.

Following the cut, Sephiroth spends hours looking for his washed-away squadmate. Allow it to sink. After two hours, the rest of the company was still recovering from a dip in a harsh stream, but he was up and about, scouting the cross-country area and going out of his way to find the missing rank-and-file. It's a testament to more than just physical endurance. It strikes a stark contrast to how the episode concluded in the original game, where Sephiroth chose not to search for the missing person, leaving them potentially stranded or deceased. In the remake, it was clear he disliked losing people.

And yet, despite the efforts, it just kept happening. He couldn't save Angeal, he couldn't sway Genesis. By the time he arrives at the Nibelheim reactor, his confidence in his ability to save the day must have plummeted.

It oddly echoes what Cloud goes through at the beginning of Advent Children. And, chillingly, an illusory Sephiroth in Sector 8 in the first part of the remake delivers a biting remark to Cloud:

“You are too weak to save anyone. Not even yourself”.

Which sounds almost projection-like in the context of a broader compilation.

@pen-and-umbra

[natequarter]

just one last timeblr thing and then i swear

0 notes

💣 commiedyke Follow

just watched the president of gallifrey down a bottle of ibuprofen citing 'what's the worst it can do, kill me?' mum come pick me up i'm scared

💣 commiedyke Follow

ok so apparenly time lords are immune to ibuprofen. why did the professor not just tell me this when i asked

#ace speaks #literally he stood in front of me whilst i was watching all of this and said. nothing. #i was thinking romana might DIE and he said NOTHING #duuuude i hate this shitass plsnet

7 notes

👑 fred Follow

watching some 90s earth show with ace let's see how this goes

👑 fred Follow

oh no she's hot

#shut up romana #might have to use that as my next face... #also who thinks buffy and spike should kiss #btvs #<- new tag!

5 notes

💣 commiedyke Follow

hey why did the professor die and turn into a prettyboy

#ace speaks #like wtf not even a warning? #unwarranted #imagine if your dad turned into a cute edwardian one day and then he lost his memory #yeah i know my struggles are unique

2 notes

💣 commiedyke Follow

watching buffy with the lads (<- a couple of loser time lords + leela) let's see how badly this goes lol

💣 commiedyke Follow

UPDATE: romana just said the vampire lady was hot shit (not in those exact words but you get me) and tbh she's not wrong

💣 commiedyke Follow

her exact words were "i'd die to be her" btw

💣 commiedyke Follow

UPDATE 2: she did die to be her

🎻 the--adventurer8 Follow

yeah this has happened before :p

💣 commiedyke Follow

w. what do you mean. before. professor what do you mean before. professor????/

#ace speaks #he can't keep getting away with this

84 notes

⚔️ warqueenextraordinaire Follow

Just regenerated. Thoughts?

💣 commiedyke Follow

WHAT THE FUCK DUDE

⚔️ warqueenextraordinaire Follow

I'll take that as a no then

#Harsh

69 notes

🪨 vislorturlough Follow

guys i solved it. it's maff boy

✈️ donewiththisshit573 Follow

Can you fucking STOP

#he'll never know if he was right and you keep MOCKING HIM???

8 notes

💣 commiedyke Follow

leela just told me she doesn't have periods????? never mind 'other mammals don't do this' apparently other HUMANS don't do this? we can evolve that shit out??? brb killing myself

#ace speaks #more like ace SCREAMS amirite lads

5 notes

🚬 fitz-crier Follow

ineed hium ttothrow me intotthe hesrrt of acnucelar reactor. ansd causeeworld war rthee.

0 notes

⚔️ warqueenextraordinaire Follow

Does anyone else on this website ship Scully and Mulder or is it just me

💣 commiedyke Follow

i regret getting you into 90s scifi so much

#you have no idea

30 notes

🐧 coordinatorsupreme Follow

What is "Friends"?

💣 commiedyke Follow

posts that are funnier without context

57 notes

[irisbaggins]

Spoilers ahead for the finale!

An aspect of the final battle that got lost after Viola's amazing attack, was the fact that Tula nearly killed her son. And that, I think, is something I would really like to delve my teeth into, to properly look at what happened.

The thing that struck me the most during Tula's attack on her son, was that Jaysohn did manage to snap her out of it. In the context of the story, Jaysohn grappled his mom to get her to stop, and even after getting viciously bit by her, he still managed to get her back to herself. He managed to get to his mom fast enough, and used himself to protect the others from the mindless being Tula had become. And, even when faced with near death, this little kid manages to get back up and attack the creature that did this to his mother. Not once did he blame her, having understood enough about the situation to realise his mom was not in control. He knows, he understood, that this was Phoebe, not Tula. And so, the moment he is able to free his mom, still wounded and near death's door, he goes after Phoebe so that his mom won't be taken again.

Tula, however, was aware of everything she did to Jaysohn. She was painfully aware of how badly she hurt her son, how she nearly killed him. And, as Brennan describes;

She is broken, in a way she has never been before. She nearly killed her baby, used as a puppet because she's alive when she should have been dead. The Blue that keeps her alive is what nearly caused her to kill her son. Tula nearly lost everything, yet, once more, it was hope and love that brought her back once more. Her son brought her back.

However, she was silent for the rest of the battle until Phoebe finally fell, and Jaysohn nearly died. She was quiet, too horrified with what she nearly did. Perhaps, had more time been afforded to that moment with Tula and Jaysohn before he decided to retaliate against Phoebe, there would have been...something...that went on. A focus on the fact that it was Tula who went for another member of their family, whilst Ava went for the ground and the reactor. What would that do to her, I cannot help but wonder. What did that do to her, in the immediate aftermath, when she could slow down and process what happened. She must live with the knowledge she nearly killed her own child, and that, had he been just a little weaker or just a little slower, she would've succeeded. She might have been able to bring him back, like she did with Sybil...but she would have to live with the knowledge that she took her son's life. And that thought is horrifying.

Yet, it makes her gentleness with Lukas later all the more significant. Even with the blood of her son on her hands, she still chooses to hope for a better tomorrow. She still chooses to give Lukas - and herself - another chance, another tomorrow. Bad things could have happened, but they didn't, and they all made it out. The "what ifs" will remain in the shadows, in the nightmares, but in the daylight, she will keep her head high. It doesn't lessen the impact of her deeds or her burdens, but it can make them bearable. And, with the addition of her son's refusal to blame her, it makes it just the little easier. She deserves a new tomorrow, too.

[paper-mario-wiki]

one of the things that appeals to me the most about the idea of a reaction video is the chance it allows me to break out from the opinions of not only people who are already aware of something i like, but also from people who might already have a significant amount of context for the thing they're engaging with. when watching a lets play of someone playing the new final fantasy, i will not be as entertained by their reactions because, to some extent, they already know what to expect broadly from the game. beyond that, even if it's a streamer who HASN'T played final fantasy, but is nonetheless connected to the greater sphere of gaming knowledge that would have passively instilled in them basic knowledge of things like chocobos and sephiroth and the buster sword and whatnot, there is still diminished impact in their opinions, because their opinions had at some point already been tempered by foreknowledge of some kind.

i have been enjoying the fallout show a great deal. i think that the quality of it is undeniable (pirate it, by the way), which means that the people watching the show are getting an accurate sampling of not just the setting and atmosphere of the games, but also the writing, the depth of the world design which has been built up over decades, and even to some extent the GAMEPLAY, as the story of the show matches the pace of a main story in the games in their sidetrackability (the golden rule of the wasteland "thou shall get sidetracked by bullshit every time"). that quality (and the positive reviews that come with it) leads to a much broader spectrum of reaction videos coming from it.

what i mean to say with all of this is that i find it incredibly enjoyable to watch, like, some 40 year old piano teacher (this is a random description, i havent actually seen any musician-type reactors watching fallout) who doesn't play video games form sincere and thorough theories about what vault-tec is up to, and critiquing the guiding principles of the brotherhood of steel, and commenting on the nature of discrimination against mutants, is VERY enjoyable to me. i think that observations which are not based in preconceived notions of what you already may know about the media can be so much richer to take in.

[chungledown-bimothy]

Top 10 battle maps on d20?

thank you for saying 10 lol (for the sake of fairness, I'm just going to talk about the physical maps in the dome- this is a Rick Perry et al appreciation post, as cool as the ones from Starstruck, TUC2, and The Seven (from what I've seen) are.)

THE BEAR. That goddamn motherfucking bear. Like, what the fuck, Aabria. The rest are gonna be listed by the episode title, but the bear deserves its own level of classification.

Deep Bleu Sea. The way it forced risky and/or very creative mobility, the boats moving, all of it.

Times Squaremageddon. I love it for all the same reasons as Deep Bleu Sea, the reason it's lower is because I like the ACOC aesthetic better than NYC lol

Reactor Charlie/The First Stoats. The puzzle in Reactor Charlie fucks SEVERELY, and how it transforms for The First Stoats is also such a big part of why I love it that I can't leave it out.

Scramble in the Sewers. The water rising was awesome both as a mechanic and how it was physically represented. And again, I love a mobility challenge.

Attacks on the Tracks. It was an actual, functioning model train. Incredible.

Arcade Ambush. Simpler in layout, but the challenge of possibly getting sucked into the games was really fun. And the context of it being in the first season, with its much lower budget than later seasons, cannot be ignored.

For Candia!. This one is a relatively unpopular opinion, I know, but I loved the swing they took with the scale change. The way it forced the players to literally look at the big picture and consider the tactical advantages and disadvantages of the two scales being offered to them. So we got the feeling of a proper siege taking back their castle as well as moments like the confrontation between Amethar and Calroy.

The Baron of Bricks. The wolf was in the soup and also the spoon tries to kill you.

The Ending of All Things. Say what you will about now Neverafter ended narratively, but the battle set FUCKED.

[helluvathings]

Random observation, but I've seen a lot of posts in this fandom that begin something like "I know everyone has been hating on (insert either Blitzø or Stolas), and it's unfair because..." And it's funny, because I remember a poll a while back asking who's in the right, and something like 70+ percent of respondents said they were both part of the problem. The vast majority is neutral.

I mean, obviously it's human nature where if you have a favorite, and people are writing essays against your favorite, it feels like that character is being attacked from all sides. But I wonder if part of the perception that either everyone is against Stolas, or everyone is against Blitzø, doesn't also have to do with the way feedback toward each tends to appear.

This is just experiential so take it with a grain of salt, but the comments on the episodes, as well as reaction videos, tend to be biased for Stolas. Which makes sense. He's more openly vulnerable. Seeing his pain is easier, and his mistakes are subtler. He expresses love, grief, and sorrow like a Disney princess, through song and romantic gestures. Since his mistakes are typically subtle and only really reacted to by Blitzø (bristly, temperamental) or Octavia (so-called angtsy teenager), they stand out less on a first watch.

Blitzø's mistakes are bigger, volatile. His pain manifests in an uglier way. On first watch, reactors tend to dismiss him as a jerk/idiot/or even a villain. But further analysis, context, deeper thought, add complexity to his character, and the more you consider Blitzø's perspective, the more serious Stolas's (accidental) missteps feel. In light of that, seeing all the initial positive responses to Stolas can be frustrating, because it's like no one is looking deeper: so essays/videos show up detailing all the reasons that yes, Stolas is wrong too, almost as a reaction to the more positive initial Stolas takes.

I do think there are more in-depth 'Stolas messed up' essays than Blitzø ones, because everyone knows Blitzø messed up. The show makes it clear. Stolas is less obvious. His issues haven't been strongly addressed in his character arc, and sometimes get glossed over by casual reactions/analyses. And that can get frustrating to people who want to see both sides.

At the same time, if you're a Stolas fan looking for reactions, the abundance of 'this is why Stolas isn't great' content probably does get discouraging. People sort of take his sympathetic qualities for granted, and dig into his flaws. While people take Blitzø's flaws for granted and dig into his sympathetic qualities.

At least that's my two-cents for why some fans seem to feel everyone is favoring one side or another, when it seems like most the fandom does recognize mutual fault.

[whatwenthereagain]

Okay so I was reading the Wikipedia page on the Chernobyl Elephants Foot and ran into this gem. I looked into it and found that it is a true fact.

Some context for you:

The Chernobyl Elephants Foot is a big mass of Corium, concrete, and other junk that formed after the fuel rods of Reactor Four melted together into a big radioactive blob and settled in the basement below the ChNPP. Back in 1986, this thing would deliever a lethal dose of radiation in just under a minute of close proximity. The material it is mostly made of, Corium, is arguably one of the most dangerous materials on earth.

Reasearchers and scientists wanted a sample of it to figure out its true composition. They tried some conventional methods, such as a remotely controlled drill, but none of those attempts worked for various reasons. So, what do a bunch of Soviet scientists do when something just won't break? They pull out a gun.

They literally sent in a man to shoot it. They looked at this incredibly dangerous thing with the power to kill a man in under a minute, and said "Ah yes, gun."

AND IT WORKED! The AK-47 broke off a chunk of it. Theres still a mark on it from being shot as well.

TLDR: Researchers were struggling to get a sample of a very dangerous and radioactive object called the "Chernobyl Elephants Foot," so they shot it with an AK-47 using armor-piercing rounds and it worked.

(also ChNPP means Chernobyl Nuclear Power Plant)

[reactorsoutofcontext]

"I want bloodshed in everything. Comedys, romances, dramas, kids films, podcasts-"

"Podcasts?"

"-Religious events, sporting events, bat mitzvahs, bar mitzvahs-"

"Quinceaneras"

"-Toyotathon-"

"Sweet sixteen."

"-Honda days. Kwanzaa-"

"And my birthday!"

"-And Benji's birthday."

"Wow"

"Blood should be everywhere."

-The Pink Popcast

[steampunkforever]

One of the notable triumphs of Soviet Cinema was Sergei Esienstein's development of the Montage. In the interest of time I'll simplify years of film history and analysis to a much shorter explanation: showing two or more images in series gives new meaning to them by forming a relationship through context. A man with a neutral expression is just a man, but by cutting to a slice of cheese we register his expression as hungry, or loving if we cut to a child, or scared if we cut to a snake. There, now you can skip film class and show this post to your professor as proof of attendance.

Cut together more abstract visuals and run them in series and you develop themes and narratives. Set them to a landmark musical score and you have Koyaanisqatsi.

Koyaanisqatsi is a movie about the imminent destruction of the planet. It's a movie celebrating the human race. It's a documentation of the anthroposcene. It's a condemnation of modernity in its very title, translated from Hopi to mean "life out of balance." It's a movie about how cool highways and nuclear reactors and military jets and brutalist architecture are. It's a great film to put on at parties.

Going through a particularly stressful point of my life right now, and at the peak of my distress I decided to spend the night in, turning out the lights and sitting on the floor, letting Philip Glass' enchanting score wash over me as I sat mesmerized by the film's celebration and condemnation of life out of balance.

This is cocomelon for film majors. I mean it, Koyaanisqatsi is the perfect film to put on in the background of a houseparty. It's like an Apple TV screensaver for the sophisticated. With Philip Glass to provide the atmosphere and rich visuals of 16mm timelapses, this is the perfect non-narrative for setting the artistic mood of a space. This is the most pretentious thing I've ever said and I wholly stand by it.

Go watch Koyaanisqatsi. It's an unmatched experience.

[sephirthoughts]

1, 2, 13 and 49 for Genesis, please! 💜

Oooooh Genesis! Yayy I love him! Thank you for the ask!!

1. Canon I outright reject

That his actions in Crisis Core were insane, evil, or in any way made him a villain. Genesis may have been envious of Sephiroth, to a point, but he had hero-worshipped him since childhood. Some people seem to forget that context when they talk about the interactions between the three Firsts in Crisis Core (also the terrible English localization destroyed the plot of that game).

Genesis was a huge Sephiroth fangirl, as a kid. He wanted to be a hero too. He was told he would be. He spent his life up to that point training and working his ass off for Shinra, only to find out in the worst way possible that A: his entire existence was an intricately constructed web of lies, and B: he was going to die before he even got to start living. And it was all because of something the people he'd trusted and dedicated his life to did to him.

Of course he freaked out and ran away and started attacking Shinra, he was in a panic and doing everything he could to find a way to survive. Zack is the protagonist of Crisis Core, so Genesis is the antagonist, but Zack is working for the evil moustache-twirling villains, who are the real cause of all the conflict. Genesis never wanted world domination, he just wanted a fair goddamn chance.

2. A canon or headcanon hill I will die on

transmasc Genesis i will die on this hill come at me cowards

13. Dumbest thing they’ve ever done

Sephiroth

Ok real answer: The dumbest thing he ever did was that shitty way he approached Sephiroth in the reactor, when he wanted his cells. However, I don't see it as the nasty, bitter verbal attack people seem to translate it as. That would make ZERO sense in the context of their friendship and even just the rest of the conversation.

I actually get the strong impression that Genesis was trying to do a "shock him with the cold hard truth and he'll see the light" thing. Also I think he truly thought that if Sephiroth understood that Shinra did the same things to him, he'd rebel against them too, and come to his side. He wasn't saying "you're a monster" he was saying "you're a monster just like me."

Tragically, he didn't bet on how mentally and emotionally fragile the "big strong hero" Sephiroth really was, or how deeply it would shatter him to be told he wasn't human. Sephiroth's mind rejected it so hard he had a psychotic break, after all. Of course he reacted badly to the way Genesis approached him.

But I don't think what Genesis said was meant to be as horrible as it sounded. His delivery was flippant and bitter because he was fucking pissed off at the world, not because he was really trying to hurt Sephiroth. It was a case of two well-meaning people crashing headfirst into each other's deepest wounds and disaster ensuing. A perfect tragedy.

49. Favorite toy as a child

Genesis was given pretty much whatever he wanted, as a child, and subsequently, didn't place much value at all on things. His fancy toys and games gathered dust in his too-large bedroom, that was filled with all the gifts his parents gave him in place of love and attention. The only way to get approval was to earn it, by constantly being exceptional, and better than other kids.

However, he had a wooden sword (rough hewn and amateurish in design, hardly more than a stick) that he clung to like it was the most valuable and precious object in all the world. His parents had no idea where he got it wanted him to throw it out, but he was fiercely protective of it.

He left it in his bedroom when he left Banora to join SOLDIER, and it can be assumed that it burned with the rest of the town. There is absolutely no proof that he went up to his old room and carried that one worthless little thing away with him, that would become the symbol of both the childhood dreams and the childhood friend, that he could never get back.

Thank you so much for the ask!! I love talking about Genesis!! ♥️

[ashinaisshin]

Excerpts from the annotated voice script in ff7 remake ultimania plus – some scenes related to Sephiroth

The ff7 remake ultimania plus (the offical English version is releasing in November?) contains a large section of voice script of the game, which includes the script along with many annotations from the devs that provide additional context and voice direction. It is also accompanied by a series of Q&As with FF7R co-director Motomu Toriyama. Here I translated some parts of the script and a few Q&As specifically related to Sephiroth. I also translated the in-game voice lines in a way that’s closer to the Japanese script, instead of using the actual English localization.

1. Sephiroth imitates Cloud’s mother saying her last words when Cloud first encounters him in Sector 8 (Chapter 2)

[Nibelheim in flames]

The same shot was in the original FFVII, taken from the perspective of Cloud who has fallen on the ground. He is looking at the door of his house that’s engulfed in flames. Cloud is whimpering, his voice barely coming out.

Cloud: Mom… Mom…

Sephiroth (offscreen): Were the planet to die, this hometown of yours that burns so brightly would also disappear. The voice of the woman pleading in tears for me to spare her son… the sensation of me cutting her down – they would all disappear.

[Sector 8, illusory alleyway]

Cloud struggles to breathe as he confronts Sephiroth.

Sephiroth: To lose the connection which binds us would be harder to bear than my own death. Cloud, lend me your strength. Don’t worry, it’s a simple thing.

Sephiroth continues to tease Cloud even further.

(The following lines are the last words of Cloud’s mother, which only Sephiroth knows. It is also spoken with an awareness to somewhat imitate the tone of Cloud’s mother.)

Sephiroth: Cloud… You have to run… Run away… And live…

Cloud looks puzzled. Sephiroth grins. Realizing that those were the last words of his mother, Cloud suddenly opens his eyes wide and raises his sword –

Cloud: You bastard!

Scenario Staff Q&A, answered by Motomu Toriyama

Q: The Sephiroth in this scene and the Sephiroth that appears at the Edge in Chapter 18 seem to share the goal of “preventing the demise of the planet”, so are the two of them related?

A: The Sephiroths that appear in different occasions are manifested in a variety of ways – some of them are hallucinations that only Cloud can see, some of them are illusions created by Sephiroth, some of them are mimicked by the men in black cloaks, while some of them are Sephiroth himself. Since all of them act according to Sephiroth’s transcendental will and consciousness, they all speak of the same goals and toy with Cloud’s psyche when they approach him.

Q: Sephiroth has the line “That is a precious memory we share [referring to Cloud throwing him into the mako in Nibel Reactor]” (t/n: the English localization here is “That is the crowning moment of our time together”), which is reminiscent of Cloud’s line from FFVII Advent Children: “Stay where you belong… in my memories.” What was Sephiroth’s intention behind saying this?

A: Physically, Sephiroth is already dead, and even the fact that he died at Cloud’s hands is one of his “memories with Cloud”. Since Cloud is one of the few people who understand his history and can even be called his comrade or nemesis, he would like to maintain a strong bond with Cloud, and this is the sort of feelings that are driving him to use the word “memory”.

2. Sephiroth tells Cloud to enter the Singularity with benevolent intentions (Chapter 18)

[After opening the portal to the Singularity]

Sephiroth: Come quickly, Cloud.

This sounds like a call to the Reunion, but Sephiroth’s true intention is to urge Cloud to come to the other side of the wall so he can show him the truth about the fate of the planet. He is calling out to Cloud with benevolence. A brief smile appears on his face before he enters into the wall. Cloud stares at the wall for a moment in hesitation, but he steps forward to follow Sephiroth. However, Aerith grabs onto Cloud and stops him.

3. Since Cloud refuses to join him, the real(?) Sephiroth follows his original strategy to manipulate Cloud (Chapter 18)

[The Edge of Creation]

Sephiroth: Seven seconds till the end. But, there is still enough time.

Sephiroth curves his lips into a menacing smile. If Cloud wouldn’t fight alongside him, he has no choice but to toy with Cloud as he guides him along his path, like he has always done.

Sephiroth: The future is up to you, Cloud.

When Cloud turns around, Sephiroth is nowhere to be seen; only a black feather dances in the air.

Scenario Staff Q&A

Q: The way “seven seconds till the end” is phrased seems to be hinting at something. Please tell us the meaning behind this phrase.

A: The dimension where Cloud confronts Sephiroth in the final scene is something like the Apocalypse; it is the edge of space and time at which the planet arrives – a place where time is stopped. Little time is left for the planet, which Sephiroth refers to figuratively as “seven seconds till the end”. Once the progression of time resumes, whether the world will end for good after seven seconds, or perhaps some forces will be able to alter the course of space and time – this is, I think, as Sephiroth says, “up to Cloud”.

[wordsandrobots]

IBO reference notes on . . . spaceships

@gonk2020 kindly responded to my plea for the means to procrastinate over the essay I should be finishing with a suggestion I take a look at the ships of Iron-Blooded Orphans. So I'm going to do exactly that! Warning for an image-heavy post and spoilers for the whole show and both spin-offs.

[Note: I've compiled this primarily from English-language sources, including fan-translations. There will certainly be additional details I've missed in material that hasn't received a translation.]

A dash of context

Mecha shows and sci-fi in general often revolve around an aircraft-carrier gimmick, where a larger vessel (treated in naval terms) functions as the base for various smaller craft (treated in aviation terms). Terrestrial-based shows will often make the carriers aircraft in their own right (Eureka Seven and Argento Soma spring to mind) to emphasise the advanced technology on display, while extraterrestrial adventures like Macross go full-bore on substituting ships for spaceships. It's a good conceit, providing visual diversity as well as a moving headquarters from which the heroes can operate.

Gundam falls squarely into this pattern from the start. The original anime's White Base functions in space and on Earth as a flying warship, deploying the Gundam, Guntank, Guncannon, and various 'core fighters' along what are recognisably aircraft carrier catapults. Other ships in the setting are shown to operate similarly, with flight decks, conning towers, and a sea-vessel-like aspect (albeit remixed into a weirder style for the Zeon side). Thereafter, the wider Gundam franchise has mostly followed suit. Successor series like Gundam SEED, Turn A Gundam, Gundam 00, and Gundam Reconguista in G all follow Mobile Suit Gundam in portraying flight- and space-flight-capable aircraft carriers of some variety as a key part of their fictional militaries.

Where Iron-Blooded Orphans deviates from this trend is, like fellow outlier Gundam Wing, by eliminating the terrestrial part of the equation. Gone are concessions to atmospheric travel; here, spaceships remain in space and are treated closer to a Star Trek 'tall-ship' model, with shuttles providing the necessary bridge from orbit to the ground. As in Wing, this is not a concession to physical realism: IBO features full-blown artificial gravity and functionally-perpetual sources of energy. Rather, it serves to retract the 'get out of logistics free' card previous flying aircraft carriers provided to their casts. While Gundam has always erred on the side of making logistical concerns count (damage to the White Base is emphasised alongside the frailty of its supply lines), here they are absolutely key to how the plot unfolds.

Tekkadan not having access to the unbounded resources of their opponents in Gjallarhorn matters. That they cannot take their ship, the Isaribi, with them to Earth is a highly significant step towards the desperate nature of Season 1's final battle. They have to rely solely on what they can transport down in a shuttle and then scrounge along the way. Similarly, it is significant in both seasons that one cannot simply land a spaceship where reinforcements are required. This introduces delays, heightening the tension and the stakes. It's a canny choice, for the kind of story being told.

World mechanics

For want of an official classification scheme, I'm going to group the ships that appear throughout the series based on size, function and power-plants:

Surface-to-orbit shuttles

Small non-Ahab reactor ships

Medium Ahab reactor ships

Large Ahab reactor ships

Huge pseudo-colony ships

This done, we can look at commonalties shared by some or all of these groupings in terms of how they are depicted.

Life support: The most important detail, as far as establishing the setting's technology goes, is that living in space is relatively straightforward. Ahab reactors provide artificial gravity. Concerns about oxygen, food and other consumable supplies are never raised as a serious issue. A brief moment in spin-off game Urdr Hunt even suggests that ships maintain some sort of protective forcefield (capable of resisting a lightning strike – it sort of makes sense in context), which could imply cosmic and solar radiation can also be neutralised. Basically, to all intents and purposes, space travel is a completely solved problem.

Offensive and defensive capabilities: Battles are carried out almost exclusively with conventional ammunition (shells, missiles); there are no laser/beam weapons due to the deflective effects of nanolaminate armour, which also conveys a high degree of physical resilience. In the original Gundam timeline, mobile suits are devastatingly effective anti-ship weapons; it is outright stated that ships are no match for 'suits, due to the latter's manoeuvrability and damage output. Here, the equation is somewhat more balanced. Most ships can retract their vulnerable conning towers and their missiles can target and obliterate 'suits in open combat. However, particularly powerful or well-equipped mobile suits may still threaten ships single-handed and sustained attack by more generic models is sufficient to knock out weaponry and propulsion. There is also mention of 'anti-ship napalm', a short-range weapon presumably intended to burn through hulls, and ships prove extremely vulnerable to the Dáinsleif mass-drivers, which can punch deep into their interiors. Nonetheless, it would be fair to say IBO ships are atypically sturdy for the Gundam franchise.

Toughness: Exactly how sturdy may be illustrated by Eugene crashing the Isaribi face-first into a space station in order to draw a Gjallarhorn fleet away from a battle.

This works. Spectacularly. The Isaribi leaves a massive gash around the station core, causing enough havoc the whole structure starts to lose orbit. Meanwhile, Tekkadan pull away with barely even superficial damage. And sure, the square-cube law is on their side, but at the same time, it's hard not to be impressed, especially since we are talking about a ship of Calamity War vintage. Ramming is not only feasible as an offensive tactic, it seems to be actively designed for.

Power output: In addition to their durability, spaceships show off an abundance of power and thrust, owing to the aforementioned Ahab reactors. Wisely, the writers opt not to give exact figures, simply indicating one ship towing another is no big deal. We see the Dawn Horizon Corps' flagship towing three ships of comparable mass at once, with similar feats carried out by other vessels in their fleet. This of course feeds back into the ramming tactics, since all that additional motive force enables one ship to shunt another with relative ease (presumably provided the impact goes at an angle to the direction of the target's own main drive).

Mobility: Above all, ships are of a piece with the other mobile weapons. Despite the nautical terminology, they do not always behave with stately grace, instead zooming about and engaging in manoeuvres entirely unbounded by gravity. This is what struck me the most about the show's depiction of spaceflight: it captures a sense of speed that sci-fi shows usually leave implicit out of deference to an impression of scale. Here, craft hundreds of metres long execute rapid arcs and spins with an ease comparable to the much smaller mobile suits. Furthermore, they can be operated using the same Alaya-Vijnana man/machine interface technology, with Eugene twice straining his augmentation to fly multiple ships simultaneously. The attack on Earth's defensive lines that culminates in ramming Glaðsheimr One involves using a captured assault ship as a shield to protect the Isaribi from incoming fire. It's a phenomenal sequence, showcasing the advantages of abandoning weight when writing space battles – and demonstrates that ships in the Post Disaster timeline can dance as well as they punch.

Now, on to the specifics.

Surface-to-orbit shuttles

Mars shuttle

Fittingly, we start with the vehicle that first takes our protagonists to space. Straight away we have to discuss how it is launched from Mars, namely by being shot up a large, upward-curving runway. This is an example of 'sky-ramp launch', which is pretty much exactly what you think and represents a theoretical means of removing the need for multi-stage rocket assemblies. Both parts of the process are reusable: an orange sub-flyer helps propel the shuttle up the ramp and then separates to glide back to the ground while the main body flies onwards.

It's a fascinating idea that I don't believe has ever actually been tested in real life and perhaps makes more sense in a Martian setting where the lower gravity would undoubtedly render it more practical. However, this is by all appearances the standard method regardless of planet, as the Earth-based Vingolf facility has a similar ramp. So we can assume this, like life-support, is an established, widely-practical technology.

The shuttle itself is a chunky affair, a streamlined cockpit and passenger module giving way to a wider, squarer cargo section big enough to comfortably hold two mobile suits. Its wings are articulated and kept folded vertically for launch, only opening out once it has separated from the launch vehicle (which also unfolds wings for the descent back to Mars). In orbit, the shuttle proves capable of outrunning a Gjallarhorn patrol, albeit one distracted by the sudden appearance of Gundam Barbatos, but is vulnerable to both mobile suits and the cannons of a pursuing ship.

What happens to the shuttle after the Isaribi arrives in the nick of time and Tekkadan disembark is unclear. Neither it nor its flight crew appear again, so we must assume they detached and returned to Mars while the battle raged on without them. Likely this would have been relatively easy since all hostile forces were concentrating on chasing the Isaribi and couldn't stop to deal with anything else. Those two pilots must have had quite the hair-raising story to tell when they got home.

Earth shuttle

Although it shares the same general outline, the craft that takes Tekkadan down to Earth at the other end of their journey is much larger and beefier. Comfortably able to accommodate several launches (vessels on par, size-wise, with the Mars shuttle) and with room for multiple mobile suits to attach to the hull, this is a relatively gigantic vehicle for traversing the atmosphere. The passenger module looks laughably small, stuck on the front of cargo section that brings to mind that line from Rocket Rider's Prayer about a 'highly polished brick'.

A pair of large external propellant tanks are attached to the upper surfaces of the wings, giving the impression it can achieve considerably greater thrust than its Martian counterpart, as would be necessary for ascending from Earth. We don't get confirmation of whether this shuttle also launches with the aid of a booster, although there seems no reason to assume otherwise. Regardless, its heavy-duty nature is obvious.

As the shuttle goes through re-entry, the viewports are sealed with heat-shields to protect the occupants. Once inside the atmosphere, it is capable of splashdown. I don't think we should necessarily take this as a standard procedure so much as a consequence of Tekkadan's intended destination and lack of experience with these matters. Nevertheless, it proves perfectly buoyant in the waters off Makanai's island retreat.

The shuttle was provided by the Montag Company, ostensibly in exchange for half-metal mining rights on Mars, although in reality this is just McGillis Fareed putting Tekkadan where he needs them to be. Interestingly, the Moon Steel manga has the Montag Company arranging lift-off from Earth for the protagonists at one point, suggesting there are ways to circumvent the official channels in the other direction as well. Normally, transfer to and from the ground like this would appear to go through orbital stations like Jutland One.

Two more of the smaller shuttles are seen on Mars when Yamagi and Eco deliver Gundam Flauros back to Chryse during the battle with Hashmal. One of the larger type is featured briefly early in the Moon Steel manga, while another appears on Vingolf during McGillis' uprising. Here we see it can fold its wings too (even if the angle this is drawn at makes that look a bit peculiar) and we get a look at the landing gear left unseen in previously. This shuttle is coloured an all-over grey, lacking the orange on the external tanks from Tekkadan's version, but this may be a colouring error since it or a very similar shuttle is shown later with the orange in place, as per the earlier model.

Small non-Ahab reactor ships

Launch

The boxy 'launch' is a utility craft deployed by virtually every major group we encounter over the course of the series. They are used by the Dort colonists, by Tekkadan and the Montag Company, by Gjallarhorn, by workers at the Oceanian Federation's industrial centres, and by the Turbines. In Moon Steel, a launch is even the main characters' principal mode of transport for a couple of chapters.

I'm actually making an assumption that launches do not use Ahab reactors. Given the size of the mobile suit-grade reactors, there's no reason a ship of this scale could not include one. However, we never see launches generating artificial gravity and based on that and the lack of mention of such a device (from what I can tell) in the Mechanics & World captions, I'm prepared to place them in this category. In any case, contrasting sharply with the shuttles, they have an entirely space-based design – basically a moving shipping container with thrusters facing along the cardinal axes.

Launches act mainly as transport, ferrying goods and people between colonies and ships. 25m long, they are large enough to carry mobile suits (see Moon Steel), can act as refuelling posts, and even operate in an offensive capacity. The weapons loaded during the Dort uprising are described as 'debris missiles', suggesting a role in keeping the area clear of collision hazards. Due to Gjallarhorn's sabotage, we never learn how effective these would have been in a combat scenario.

The launch belonging to the Dort Colony Network news team features an antenna on top of the cockpit and a couple of spotlights bolted to the cargo section. It also has the company logo sprayed on the side and I find it a bit of a shame this kind of flourish wasn't added more widely, since otherwise the only external variation is in colour scheme.

JEE-M103 Kutan Type-III

Manufactured by the (presumably) Europa-based Teiwaz subsidiary Euro Electronics, the Kutan is the first ship on this list to serve an exclusively military purpose. That is to say, while the official description indicates this type of craft can be used to carry a variety of different loads, we see it used exclusively as a delivery mechanism for mobile suits. Not to mention that it has a pair of inbuilt vulcan guns on its forward arms and can be equipped with additional cannons if required.

The 'Type-III' in the name refers to the configuration with large boosters and propellant tanks added on the back, plus triangular side armatures to store mobile suit weapons. The inner body is otherwise identical to the Kutan Type-I. Although it is engineered to transport a only single 'suit inside its arms, a second may easily latch on to the upper hull. A Type-III is used to return Gundam Barbatos to the Isaribi following a refit aboard the Saisei, indicating it can traverse considerable distances in a useful time-frame. We later see one reach an isolated refuelling station from Mars, when Tekkadan rush to the Turbines' aid. Though comparatively tiny, it operates on a scale similar to much larger vessels.

Unusually, this is done without an Ahab reactor. The Kutan is built instead around a hydrogen engine, which gives us some idea of how space-travel might have looked prior to the adoption of the more powerful reactor. This also has consequences for the Kutan's defensive ability, since nanolaminate armour is normally reinforced by a supply of Ahab particles. While the armour is not completely useless without that boost, the Kutan would be much more vulnerable to attack than its cargo, which explains why, Shino's stunt in Earth orbit aside, these transporters are not used as combat vehicles.

Indeed we can see from Shino attempting to fight Ein while still attached to a Kutan that it hampers his mobility considerably. The supplemental boosters are an explosive hazard and he is quickly trapped within the transporter's arms by Ein's grappling cable. There is a kit-only configuration that applies the various components from the Kutan to a 'suit in what might be a more usable layout, as a backpack and leg-extensions. But on screen, the more sensible tactic is clearly for the transporter to race in, release its cargo, and retreat as quickly as possible.

Skidbladnir

The Urdr Hunt mobile game includes another Kutan, this time in a civilian setting. Personal vessel of archaeologist Kozo Mendo, Skidbladnir is a variant that might even be a Kutan Type-II, since it shares the main body of the Type-I/III but is fitted with a different set of arms.

The ship has additional fuel tanks and what appears to be an expanded living module or cargo hold. We do not see the interior beyond the cockpit, so exactly how many amenities Mendo has crammed inside is left to our imagination. Regardless, the modular design of the Kutan has allowed it to be remixed into a craft capable of reaching debris zones or ancient shipwrecks and manoeuvring close enough to get a good look at them.

It is implied to be a somewhat ramshackle affair, breaking down twice over the course of the game and leaving Mendo and his Hunt guide Slice in need of rescue. Aside from the irony of repeated failures affecting a vessel named for "the best of ships" (Grimnir's Sayings 44.2, The Poetic Edda, Oxford World's Classics 2008, p58), this adds to Skidbladnir's outlier status. No other vessel we see is in such bad shape as a baseline (it goes without saying, this thing is useless in a fight, immediately getting downed by a pack of plumas when certain archaeological investigations prove horribly successful).

Exactly how Mendo came into possession of his ship remains unexplored. According to the kit manual, Kutans are primarily operated in the Outer Sphere, so it could be that he acquired one in the vicinity of Mars or Jupiter. And perhaps the technical difficulties explain how he was able to afford to buy it. For now, we can only speculate. What is certain is that Skidbladnir is a rare example of the Millennium Falcon 'small owner-operated spaceship' trope appearing in Gundam, and thus opens up a host of possibilities for small-scale private – and extremely hazardous – space-travel within the Post Disaster timeline.

Medium Ahab reactor ships

Biscoe class cruiser

Our introduction to IBO's spaceships comes in the unassuming form of the Wilm, which delivers Gaelio Bauduin and McGillis to the Ares base in orbit of Mars. Like the Kutan, the Biscoe class is designed around mobile suits: two 'suits can be stored in the lower section of the hull and launched by folding that entire section downwards. Beyond this, the Biscoe does not carry any armaments, although it can deploy signal flares. In terms of range, the Wilm reaches Mars from Earth within the space of two weeks, a feat not to be sniffed at, although it's never clear if this being markedly quicker than Tekkadan's initial estimate for the opposite journey is due to Gjallarhorn having access to more direct routes or the Biscoe's speed relative to the Isaribi.

While the Biscoe is presented as a Gjallarhorn product, it has also found its way into civilian use. Both the Montag Company and Moon Steel's Tanto Tempo own Biscoes, with the latter's use of one in an action sequence demonstrating the ship possess the ability to fire smokescreens as well as flares. This is not the last time we'll see Gjallarhorn vessels in the hands of outside entities.

Past prominent appearances at the start and in the third quarter of Season 1, Biscoes are relegated to bulking out fleet scenes. I should note that the official designation of 'cruiser' seems a bit of a misnomer, since in modern naval parlance, this means a large, multi-role vessel. The term would surely fit the Halfbeak much better than this glorified cargo ship.

An intriguing detail translated in this Reddit post is that Biscoe can go in and out of a planet's atmosphere. This makes sense of the large landing struts built into the lower hull (kept retracted in its on-screen appearances). I raise an eyebrow at the idea of this ship descending to the surface. Scale-wise, it's smaller than the shuttle Tekkadan take down to Earth but I'm not sure how it would lift off back to orbit in the absence of anti-gravity mechanics. Then again, with the presence of 'inertial control systems' capable of cushioning a mobile suit's fall from sub-orbital heights, maybe there is a case to be made that the setting does have the necessary technology to allow something like this to move easily within a gravity well and we just don't see it happen.

Erda II

Owned by Afam Equipment, management company for the Radonitsa Colony in orbit of Venus, the Erda II is a modified Biscoe class ship. In its original configuration, it sports three additional thrusters, two on top and one below, and the pre-existing engines have been extended along the sides. The section above the bridge has also been built out, creating an additional deck. The result is still recognisably a Biscoe and retains the ability to deploy mobile suits by opening up its lower hull. However, unlike the base model, the Erda II can only hold a single 'suit. This seems mainly due to the addition of a catapult mechanism designed to quickly eject its passenger to the rear of the ship, a feature more commonly found on larger warships.

That is my interpretation of the Erda II's halved carrying capacity, anyway. The shots of McGillis' Biscoe launching his Schwalbe Graze play havoc with the scaling, such that the mobile suit appears about 50% smaller than it should be. It looks like the animators got the perspective wrong, a not uncommon occurrence in the early part of Season 1 (c.f. McGillis being portrayed as taller than Gaelio in some of the scenes on Mars). The Urdr Hunt game serves us much better for consistency, as we see several mobile suits interacting with it from the outside, such as Gundam Asmodey being forced to ride on top of the hull for a few instalments.

To address this, the ship is later retrofitted with an expanded hold – basically a large shipping container bolted on the back. This doubles the ship's length, easily fitting both Gundams and their corresponding catapults, and has its own set of thrusters to make up for the removal of the Erda II's ventral engine. It is hard to say if this has a detrimental effect on the ship's speed or manoeuvrability since it never does anything that would demonstrate either. It is equally hard to say why a company ostensibly concerned with municipal infrastructure should need to be able to launch mobile suits into battle in the first place. But that is tied to the presently-incomplete backstory of Hajiroboshi (nee Marchosias), which Erda Afam, namesake of the ship, likely piloted during the Calamity War.

Further details from the official description are that the Erda II is armed with a single machine-gun and that it dates from the founding of the company, suggesting Biscoes are quite venerable. Interestingly, the standing crew consists of only two people, the elderly Dexter and Sinister. While we might expect little manpower to be required for the Skidbladnir or a relatively small vessel like this, McGillis is able to briefly operate a full-size warship single-handed. Eugene is able to fly two or three at once. Clearly, a high degree of automation exists, as it does for mobile suits – another facet of space travel being trivialised in this setting

Large Ahab reactor ships

Calamity War shipwrecks

There isn't a lot to say about the shipwrecks shown in Urdr Hunt, mainly because they *are* wrecks and we thus do not know what they looked like when they were intact. I'm not even sure which way up the second ship encountered is supposed to go.

Doing my due diligence and checking the art-books, neither of these are based on unused concepts for, say, the Halfbeak or the Skipjack. They appear instead to be entirely new designs, depicting vessels owned by Angelica Elion and Makie Fareed, Calamity War Gundam pilots and progenitors of the 'Seven Stars' lineages to which they gave their names. The Elion ship is in a worse state, falling apart as it drifts along the orbit of a comet. Its systems are offline, its generators, barely functioning. The Fareed ship, on the other hand, retains a breathable atmosphere and enough power to allow Mendo to boot up the computers in some form of administration room. From this he learns it fought a mobile armour during the War.

We should not be surprised the power in these vessels lasts as long as it does, given they are almost certainly using Ahab reactors. Nor do I think it unexpected that warships would have played a role in defeating the mobile armours. That Mendo can access the Fareed ship's systems may speak more to his familiarity with old software than anything else, but it could also be an indication of how little has changed, technologically, since the War.

Beyond this, the wrecks do at least confirm spaceship design was once more varied than it is in the present day.

Freighter

Speaking of the present, the 300m long cargo ship is as ubiquitous as the launch. Seen in vast numbers as the backbone of the Turbines' operations and in use even by space pirates like the Brewers, this is an entirely uniform design, rarely so much as changing colour between appearances.

Utilitarian, featuring sixteen container modules arranged either side of a rounded-off rectangular core, with a bridge at one end and two standard thrusters at the other, it is an unglamorous vessel and tends to fare quite badly when it shows up in more than an illustrative capacity. See for example Akihiro's family's freighter getting overtaken by pirates, or a couple of Turbines' ships being sunk by Dáinsleifs. These ships are pretty much defenceless, requiring mobile suit escorts to stand a chance of making it through hazards.

This draws attention to something Iron-Blooded Orphans does differently from its stable-mates; to whit, spending time on everyday space-travel. In most Gundam series, civilian traders rarely occupy much of the story. The narratives focus on military action that has suspended normal life. To an extent, this is of course what IBO does as well. But it also portrays space as a realm of industry and commerce. Cargo makes up the bulk of the traffic crossing the solar system. There are designated shipping routes, the Ariadne Beacon network that allows Gjallarhorn to track, protect and (as seen in Moon Steel) charge vessels for the privilege. There are routes outside the beacon network, more perilous and tricky to navigate, allowing the Turbines to dominate Outer Sphere smuggling. There is, in fact, a whole ecosystem based around the transfer of goods, with impoverished, homeless women at the very bottom, exploited as expendable crews.

We must also consider what isn't shown. The Skidbladnir is the only ship serving a nominally scientific purpose. Tourism is a valid solution to Radonista Colony's woes, yet none of the characters have the opportunity to be real tourists. Interplanetary passenger travel – in itself, separate from VIPs getting military escort – is never touched on. Our attention remains fixed on the functional, unglamorous side of a space-based economy, as befits IBO's wider themes, with the freighter as the functional, unglamorous emblem of this strata of society.

Armoured assault ship

Our second major 'default ship', almost all the warships fielded by non-Gjallarhorn groups are variants of this fish-like type. This includes 'hero' ships such as the Isaribi and Hammerhead, which I shall cover separately, and the Mercurius, Tanto Tempo's main combat vessel. Like most other mobile weapons in IBO, these armoured assault ships date from the Calamity War. Even assuming their compatibility with the Alaya-Vijnana means they were developed during that conflict rather than prior to it, this makes them over three hundred and twenty years old. If I have not stressed it enough already, technology in the Post Disaster setting is phenomenally durable.

Armed with two sets of twin-barrelled cannons on rotating tracks either side of the main hull, several point-defence turrets behind those, missile launchers, and a pair of harpoon anchors, these ships can perform a range of combat roles, from long-range bombardment to close-quarters grappling. Naturally, they also function as mobile suit carriers, usually coming with a ventral catapult deck and an articulated 'fin' for 'suits to latch on to during recovery via a hatch in the rear of the ship. Going by the Isaribi, they have three mobile suit hangars, each accommodating three machines.

For propulsion, the ships most often have two large thrusters situated where the 'tail' joins the main body, although those in the Dawn Horizon Corps' fleet have a single thruster at the tip of the tail instead. Smaller thrusters at the front of the side blocks are kept shuttered until required to alter the vessel's trajectory; they also permit flying backwards when the main weaponry needs to be aimed at a pursuing enemy. Vernier jets are placed all across the ship, with significant arrays of them stretching along the tail, providing the aforementioned manoeuvrability these ships enjoy.

One thing never clearly established is how large a crew an armoured assault ship is supposed to have. The best guess we can make is taking the Dawn Horizon's total membership (2500 people) and dividing it by the number of ships they own (10). This gives us 250, but includes both their mobile worker corps and their human debris, so may not be representative of the average ship crew, specifically. Still, the number is slightly lower than the compliment of a much smaller modern destroyer (destroyers are around 150m long; the AAS is 340m) and accounting for automation and the extra space required for life-support and supplies, seems quite a reasonable figure.

[It's not especially relevant but the original Star Trek's USS Enterprise, at 289m in length, supposedly had a crew of 203.]

NOA-0093 Isaribi

At a glance, the chief distinguishing feature of the Isaribi (formerly Will-O'-the-Wisp) is a shortened prow that renders it even more fish-shaped than its class-mates. It otherwise has all the same weapons and fixtures of a standard armoured assault ship. This leads us immediately to the question of why it has such a distinctly shortened appearance, aside from the boring Doylist answer of 'to make it stand out because it's the protagonist vessel'. Sadly, I can't think of an interesting suggestion here. We simply don't see the Isaribi doing anything that another such craft would be unable to. From Eugene's operation of the hijacked Brewers' ship, we know for certain they can all move with similar deftness, and even the ramming tactics would surely be as effective with the standard bow shape.

Perhaps ramming suggests a possibility: maybe in its former life as Will-O'-the-Wisp, it lost the forward section in battle, with the current shape being a money-saving fix. On balance, though, it's more likely this is merely another variant and the Isaribi naturally provides our clearest look at the capabilities of a ship like this. I've already alluded to the retractable bridge; during battle, artificial gravity is also disengaged so that power can be routed elsewhere. Oddly, everything then stays weightless even while the ship is performing combat manoeuvres, suggesting inertial control remains in operation to offset the varying acceleration (that's technobabble for the writers not wanting to throw everybody against the back wall every time the thrusters engage). Oh, and relatedly – via the inbuilt seat-belts that stop pots and pans floating away – the galley hob uses gas flames. I wont' talk in detail about the interiors but I find this too idiosyncratic not to mention, the replication of such a mundane (but efficient!) means of cooking in a sci-fi environment.

Other facilities aboard the Isaribi include a mess-hall, a gym, spacious single-occupant cabins, and common bunk-rooms. There is also at least one main cargo hold to go along with the mobile suit bays. The bridge aside, it is not obvious how the viewports shown in some of these rooms map to the ship's exterior when the glowing sections appear to be running lights not windows. Docking ports, though, are present, midway along the tail. Smaller craft like the Biscoe can also interface directly with the mobile suit recovery hatch. Concept art indicates the small rectangles beneath and fore of the port and starboard anti-aircraft guns are human-scale airlocks, and that there are ladders built into the hull, allowing access to the top of the ship. These are probably how the crew assembled in front of the bridge for the funeral after the battle with the Brewers.

Finally, I would be remiss if I didn't point out that Tekkadan decorating the ship with their logo is far from an isolated case of 'warpaint'. Every armoured assault ship has some form of unique livery, from bland greys and whites for the Dawn Horizon's rank and file to the Rakou Pirates' skull insignia, rendered in pink on an expensive black background. Far from mere youthful exuberance, the boys are clearly engaging in a time-honoured tradition.

NOA-0132 Hotarubi

With Tekkadan's rising fortunes comes an additional ship. Combining the forward section of a standard armoured assault ship with reinforced cargo modules, this new vessel's purpose is to transport a greatly-expanded mobile suit force. The 'suits are stored in rows of containers within the modules and launched through large side hatches – a notably slower means than the Isaribi's catapult (especially since they must be recovered the same way) that trades-off against capacity

This is far from the only example of non-catapult-based deployment. While catapults certainly aren't the exception – Gjallarhorn's Halfbeaks easily skew the ratio hard the other way – they are not an essential component of space combat either. Mobile suits can produce extreme acceleration on their own, allowing them to quickly entire battle without external aid. This said, catapults and transporters like the Kutan must offer an advantage – likely in terms of conserving propellent, on top of sheer rapidity.

The Hotarubi's layout also dispenses with a tail section, replacing it with two long, vertically stacked thrusters extending directly from the forward hull. These are the same shape as the normal armoured assault ship engines, only about 50% larger. The scaling changes create a greater visual similarity to both the Kutan and the mobile suit boosters applied directly to Gundam Gusion when Tekkadan flies to the Turbines' rescue. I don't know if anything follows from most ships boasting a single pair of main thrusters beyond observing the commitment to symmetry that characterises Post Disaster ships. For the Hotarubi specifically, we can compare it to the similarly-arranged cargo freighter and note how much beefier it is, the engines' extra size allowing it to move as swiftly as the Isaribi when required. It is described as being able to make the trip from Mars to Earth in about three weeks.

Taking the brunt of a Dáinsleif barrage during the 'final battle' with the Arianrhod Fleet, the Hotarubi is abandoned, then scuttled via a self-destruct system to disperse a cloud of nano mirror chaff that blocks local laser communication and sensors. This necessitates piloting the Hotarubi via tether, then setting it loose to fly towards Gjallarhorn's lines on autopilot. Even as it provides cover for Tekkadan's retreat from the terrible situation in which they are caught, the ship's loss represents the final collapse of the success that led to its acquisition in the first place.

TIR-0009 Hammerhead

Naming conventions for ships in Iron-Blooded Orphans include the Norse origins of Skidbladnir, the familial connection of Erda II, and the Gundam mythology gag that is Mercurius. Meanwhile, Gjallarhorn's battleship class names (Halfbeak and Skipjack) borrow from types of fish, which is striking when set alongside Isaribi, meaning a fire set by fishermen to lure in larger catches. Isaribi itself is a continuation of a poetical theme set by Will-O'-the-Wisp and furthered by Hotarubi – the light of a firefly. And then, for the second 'hero' version of an armoured assault ship to appear, there's the crushingly literal Hammerhead.

Where the Isaribi truncates the standard design, the Turbines' flagship extends it, adding a wide, reinforced block to the front for the express purpose of ramming enemy vessels. The ship's main thrusters have been moved to the rear of said block, where they sit inline with the side modules. This does not appear to impede the Hammerhead's mobility at all, although it does activate additional thrusters situated at the other end of the modules (switched front to back from the normal placement) to increase its pushing power when in contact with a target. In this manner, it is able to crush one of the Brewers' armoured assault ships against a nearby asteroid.

To accommodate this hammer-head, the other weapons has been redistributed. The main cannons have been raised and lowered, providing it with a clear line of fire (something also seen on Dawn Horizon's single-thruster ships), and missile tubes have been placed on both the ram and the superstructure in front of the bridge. The bridge tower, which is slightly larger than the Isaribi's, features a unique cross-bar sensor array – each armoured assault ships sports a different kind of antenna but they are usually in the form of vertical blades. Other than this, the tower has the same functionality as on similar vessels, retracting for battle irrespective of any additional protection the ram confers. Sadly, this is not enough to save the ship from Iok Kujan's Dáinsleifs.

In keeping with its role as home to the polygamous family from which the Turbines take their name, the Hammerhead is more comfortably appointed than most ships. It is also extremely formidable, requiring Tekkadan to launch a high-risk covert boarding action during their initial engagement with it and thereafter proving its mettle against the Brewers. Under the control of a single pilot, it's reduced to a sitting-duck, taking massive damage from conventional and extraordinary artillery. Yet even after Naze is killed, it remains locked on course for Iok's forces, just barely deflecting off one Halfbeak to ram another broadside-on, destroying both vessels in the resulting explosion.

Dawn Horizon battleship

After covering the three named variants of the armoured assault ship, it is almost an anti-climax to end with one that never receives a proper designation. But I've left it to last because it represents several departures from the patterns observed so far.

The fin that on other ships appears to be used for mobile suit retrieval has been moved to the very end of the tail, suggesting it serves some other purpose; maybe as a radiator? The ramming prow has been built out to a significant degree, resembling nothing so much as a locomotive snowplough. The mobile suit deck appears to be completely inverted, with a hatch and catapult fitted atop the ship rather than below. 'Suits are launched along an extended deck, as if this was a true nautical aircraft carrier. Finally, as a consequence of that arrangement, the bridge conning tower is fixed in place, better armoured in its own right but unable to be safely stowed away.

To what extent this configuration alters the ship's capabilities is unclear. Functionally, the two present for the battle with Tekkadan – an orange flagship and a grey-yellow version that is disabled over the course of the fight – perform no action to make them stands out from the rest of the Dawn Horizon fleet beyond towing their single-thruster compatriots. We may assume the battleship to be somewhat tougher, at least from the front, but again, they demonstrate no special abilities, not even ramming anything over the course of their screen-time.

If we again take the Doylist meta-textual perspective, there's no deeper reason to this ship's unique appearance than creating visual interest and underlining Sandoval Reuter's position as Dawn Horizon's leader. And this might serve us from a Watsonian point of view, too: perhaps the impressive appearance is its main selling-point and the reason the pirate chose these craft as his own.

Halfbeak class battleship

At 400m long, Gjallarhorn's main warship is built on a slightly larger scale to the armoured assault ship, tapering from a pointed prow to a wide, almost bulbous stern. This gives it a more traditionally nautical outline (selected from various alternatives sketched by series concept artist Ippei Gyoubu), to my mind evoking an official and proper air; the sense this is what space warfare should look like.

I bring this up because the Calamity War shipwrecks belonging to Elion and Fareed – the most direct precursors available – do not share this aesthetic. Therefore it represents a deliberate design choice on Gjallarhorn's part, perhaps following the same concessions to appearances that can be seen in their uniforms, their aristocratic and heraldic traditions, and 'ceremonial' machines such as the Graze Ritter. This is not to claim the Halfbeak serves a purely decorative purpose; it is an effective battleship and not to be taken lightly. But I think there is room to consider it informed by the wider culture of the organisation, as a symbol in the same way that leads Lieutenant Crank to laud 'the Graze of Gjallarhorn'.

Regardless of whether there is anything to that idea, the Halfbeak appears equal and equivalent to the armoured assault ship in most particulars. Twin main thrusters allow it to keep pace with the smaller Isaribi and Hotarubi, and it possess the corresponding reverse engines. Its pointed hull is not only capable of ramming other craft, it can actively pierce their armour. Missile tubes, grappling anchors, cannons, and point-defence turrets are all present, although strangely, the latter are only placed on the upper structure, leaving the underside noticeably bereft of protection. This perhaps suggests the Halfbeak is expected to fight from range or that the designers felt overly-secure in Gjallarhorn's military domination. And, of course, the ship has a mobile suit catapult, operating on electromagnetic rather than mechanical propulsion, in a rare instance of a Post Disaster faction demonstrating ostentatiously 'advanced' (non-tactile) technology.

Speaking of ostentation, no overview of the Halfbeak is complete without looking at how the Seven Stars mark those they personally use. The ship assigned to the Bauduins is named Sleipnir, to match the Norse mythological figure present in their coat of arms, painted prominently on the hull. Similarly bedecked with her family crest, Carta Issue's flagship is identified as Vanadis in the SD Cross Rays adaptation of the show (another name for Norse goddess Freyja)*. It is later repainted with the Fareed Family crest after McGillis takes over her position.

Overall colour-schemes associate Halfbeaks with different fleets: blue for the Earth HQ Central Direction Defence Corps (latterly the Revolutionary Fleet), teal for the Outer Lunar Orbit Joint (Arianrhod) Fleet, and white and blue-grey for the Outer Earth Orbit Regulatory Joint Fleet. The Bauduins' personal vessel is, of course, a unique lilac. Beyond this the ships appear entirely identical, but there is a suggestion they vary internally, as the ship Isurugi Camice uses to reach Mars at the start of Season 2 is described as the McGillis faction's fastest. Its ID number (GHS-1889) is considerably higher than either Vanadis (GHS-0205) or the unfortunate vessel Vanadis collides with in the finale (GHS-0515), so if this tracks order of production, it could be that 1889's speed is linked to it being more recently constructed (for completeness, Liza Enza's ships is GHS-2015 and Iok's ship is identified via communications as GHS-0287).

Civilian Halfbeak

Like the Biscoe, the Halfbeak makes its way into the hands of non-Gjallarhorn groups, albeit in modified form. The JPT Trust, a Teiwaz subsidiary with connections to the Kujan Family, has possession of such a ship, which features a forward hull widened and deepened to allow it to carry an exceptional number of mobile suits. The TIR-0102 Golden Jasley – namesake of JTP leader Jasley Donomikols, with the ID following the Hammerhead's as a Teiwaz-registered ship – is the only vessel fielded in the face of an enraged Tekkadan yet manages to deploy enough machines to make for a proper, large-scale battle.

This version sacrifices the main battery and mobile suit catapult in favour of heavier armour. As with the Dawn Horizon flagship, the bridge tower is also rendered immobile, which proves fatal for Jasley once Gundam Barbatos gets within striking distance. In the absence of the catapult, mobile suits exit via a rear-facing hatch. A similar hatch is present at the stern of a normal Halfbeak to allow 'suits to re-board. Here, it has been moved forward, closer to the expanded hangars.

Despite being larger and more modern than the Isaribi or the Hotarubi, the Golden Jasley does not distinguish itself in the encounter. Beyond sheer capacity, it is entirely outmatched in the face of Tekkadan's determination to avenge the Turbines. The most remarkable thing about it, in fact, is its existence. The Biscoe we may write off as little more than glorified launch, but the Halfbeak is a formidable weapon. For it to be shared with other entities, even in diminished form, says a lot about how elements within Gjallarhorn view their responsibilities as peacekeepers.

Because this is not an isolated incident: Urdr Hunt depicts another modified Halfbeak in the hands of the criminal Zahn Clan, who are outright stated to have various officials in their pocket. Whether or not craft like this exist for legitimate purposes – as export models or a variant not widely adopted by the main forces – these examples represent highly dubious dealings between a supposed force for law and order and those they are supposed to keep in line. Hardly a shock, given what else we know about Gjallarhorn and its abuses of power.

Skipjack class battleship

Twice the size of the Halfbeak, the Skipjack is the largest craft in this category. Featuring six mobile suit catapults, each linked to a hangar with a ten-'suit capacity, and bristling with gun batteries and missile launchers, it overshadows everything else in terms of offensive power. Its grappling anchors alone are bigger than a Biscoe class. This is unquestionably Gjallarhorn's capital ship.

Chronologically, the first Skipjack we see in action belongs to the Issue Family, showing up during Urdr Hunt to menace the Afam Equipment gang outside a resort colony near Earth. At this point, it is under the command of family retainer Okina Uroka, and no explanation is offered for why such a colossal warship should be (retroactively) in the Issue's hands and not have been used by Carta when she was commanding the Outer Earth Orbit Regulatory Joint Fleet. If I were to speculate – and why stop now? – we could take this to mean the class was only rolled out after the events of Season 1. But it could equally be that the Skipjack's scale grants a range simply not required within a fleet whose primary purpose is guarding the Earth. One may have been assigned to the Issues, in accordance with their status as the most powerful of the Seven Stars, and simply reserved for ceremonial use, to escort dignitaries and the like.

The flagship of the Arianrhod Fleet, on the other hand, serves as Rustal Elion's main base of operations and like the Issues' version is marked with his family heraldry to indicate his Seven Star status. It is this ship we see the most of, including some dramatic close-ups as Gaelio and McGillis have their final confrontation. These emphasise the scale, with even the catapult tubes being huge compared to those on other vessels.

Tthe Skipjack is not without vulnerabilities though, or rather it is left vulnerable thanks to choices made by its commander. Like the Halfbeak and the armoured assault ship, the bridge module can be retracted and covered over. Gjallarhorn military doctrine, as followed by Carta and others, would seem to be that this should be done whenever engaging in serious combat. However, Rustal's personal sense of dignity encourages standing tall in the face of opposition and he thus his bridge remains elevated as he observes the battlefield. Iok's imitation of this allows Amida Arca to score a direct hit on the main viewport of his Halfbeak during the Hammerhead's final stand, but unfortunately her mobile suit doesn't have sufficient firepower to actually break through. Rustal comes within a hair's breadth of a much more fatal impact when Norba Shino takes a shot at him with a Dáinsleif, being saved only by a last-second intervention that knocks off Shino's aim.

One wonders if he reconsidered disregarding the safety features of his own ship after that.

Huge pseudo-colony ships

Saisei

The regular O'Neil cylinder space colonies that populate the Post Disaster world are each 60 kilometres long from base to tip. At 7km, Teiwaz's 'large planetary cruiser' is positively diminutive by comparison, yet still shares more in common with them than any of the previous ships.

For one, it is constructed around a spherical core, something commonly seen on space-stations and colonies. For another, it has a rotating habitat section, simulating gravity via centrifugal force (the physics student in me is required to state that this is a pseudo-force, existing as a reaction to centripetal force, but the effect is still to make the inner side of the ring section appear as a floor). Within this has been constructed what is essentially a small town catering to Teiwaz executives. Filled with lush greenery, the tiered levels contain houses, shops, bars, and brothels, and at the ground-level, at least one artificial lake, which surrounds the mansion and grounds inhabited by the organisation's leader, McMurdo Barriston. Short of the estates of the Gjallarhorn elite and the Chyrse governor's mansion, this is the most luxurious location the series visits.

Concept art shows a standard-looking bridge module tucked away in the block at the twelve o'clock position (when view front-on), albeit one that must be larger than normal given its relative scale. There is a single main engine at the rear surrounded by four smaller ones, which are in turn counter-balanced by forward-facing thrusters mounted on the pylons surrounding the ring. The same principles of spaceship design persist all the way up from the launch to this.

Part mafia status-symbol, part corporate headquarters, the Saisei displays artistry not found in any other ship, its huge, decorative windows and curving superstructure providing a degree of grandeur beyond mere size. Rather intriguingly, its name translates as 'reproduction' or 'restoration', raising the possibility it was created in an act of reclamation. Is this a former mining base or tool of colonisation re-engineered as a show of wealth? Certainly there is a less glamorous side to the place, engineering facilities for mobile suit upgrade and maintenance, as well as a space-dock that can hold multiple regular ships. But that fits Teiwaz's business, so need not represent any hold-over from a previous life. I like the idea, though, that Jupiter's most powerful organisation reworked some huge industrial facility in order to lord it over the Outer Sphere.

—–

*Throughout this, I've referenced data files from the SD GUNDAM G GENERATION CROSS RAYS game, as documented by Steam user Ralen at https://steamcommunity.com/sharedfiles/filedetails/?id=1973868125. I use this information only where it does not contradict the text of the anime itself (see for example the game stating there were nine single-thruster armoured assault ships in the Dawn Horizon's fleet, when there were in fact only eight, owing to the second battleship). Cross Rays' occasionally loose adaptation of canon events means it's worth being a little cautious when using the game as a source.

Anyway, thanks to @gonk2020 for suggesting this topic. I can honestly say there was a lot more to talk about here than I ever expected!

[Index of other writing]

[sylvanus-cypher]

Okay I'm going batshit insane with Celestial Bodies builds and I'm about to make it everyone's problem. Watch out followers because I'm gonna be on this bullshit for a while, and if you don't understand what madness I'm spouting, check out Celestial Bodies here. They've got a bunch of free copies to go around, and I didn't specifically buy the tier that adds three copies to the community pool for nothing; go read it! I'm certain you Lancer fans would enjoy it

This is the layout L//F model of frame, a quick and quirky little guy notable for having all the HP of a tuberculosis-ridden Victorian child and the speed of a cat on crack. That Streamlined trait that doubles its movement? We're gonna be abusing the hell out of that to run loop-de-loops around bitches. This build will require exactly four components:

First, we'll need an ultra thruster in square configuration on the far left of the build. Normally, this oversized thruster would make us move 5 units per move, but Streamlined lets us move 10. For context, the furthest-reaching weapon in the game is range 6, and average unmoddified mech speed is 2.

Second, an ultralight reactor. Now, you might point out that this means exactly one lucky hit will instantly kill our mech. I would point out that I'm no coward and I can handle a little death every now and again.

Next, a recoil compensation processor. This crucial piece of equipment will prevent us from pissing in the wind with our main method of attack, God's Favourite Weapon:

The Big Fucking Gun[tm]. To prevent lighter builds from abusing this bastard, it specifically causes increased inaccuracy when fielded to anything smaller than a heavy build. Unfortunately for anyone on the business end of this thing, that's Not Fucking Enough, especially since one (1) RC processor gets us back to standard.

Since you get 3 actions per turn, the plan is comically simple: Zoom in with that 10 speed (1); introduce your target to the BFG (2); zoom tf out (3). With 10 entire movement speed, this means you can reliably go toe-to-toe with ultra mechs and swooce right out before they can so much as target you. You'll be reliably out of range of basically anything, and even if by some miracle you do end up in range the 20 movement you make gives you 6 entire evasion which makes you functionally immortal to anything with less than 4 full-auto attacks or explosives. You can straight-up outrun missiles.

Everyone else is playing Battletech while you're playing Project Wingman.

Anyways check out Celestial Bodies and maybe give them some support, the system they've crafted is really cool!