lilenui

[lilenui]

So I've been slowly (very slowly) making my way through the cast of Wishing On Space Hardware, starting off with certified QT Kipchoge Ordsley and the mysterious Magenta Man. Eventually I'd like to have the whole team in here, or at the very least the core cast 🙏

As for their suits, I've cobbled together the most basic gjallarhorn officer's uniform, a sort of pared down gjallarhorn pilot suit, and uniforms of the maintenance crew.

[lilenui]

Heero Yuy gets invited to Tekkadan

I'm very sorry @tinyozlion, I start watching Wing and the first thing I do is drawing one of your blorbos getting a sucker punch to the throat. But in my defence, he has been shown to be quite resilient so I'm confident he'll get back on his feet and resume his brooding in no time.

[lilenui]

every time I do a web search, right at the top I have AI info dumping on me

just give me the top result please

[lilenui]

Considering that Shino basically rode his OC into battle I'm 100% certain that, had Shino been allowed a life of a normal, contemporary teen and had he been introduced to The Fandom of any kind, he'd be The BIGGEST FAN. He'd memorise all the lore, he'd know All the transformations, he'd make fanfic and fanart (badly(affectionate)). He'd RP and go to conventions, he'd make OCs, he'd rotate his blorbos in his mind and make their figures kiss. And eventually he'd meet his cute BF Yamagi through a dedicated discord chat, and they'd go on to share their geekery happily ever after. It ofc goes without saying they'd have a fandom-themed wedding.

[lilenui]

The text on Shino's recent card goes like "I kind of wonder why he named it Ryusei-Go, but I don't care enough to have to listen about it for an hour." Oww.

[lilenui]

[lilenui]

Something I am endlessly delighted by when it comes to Iron-Blooded Orphans character design is how expressive it is. And I don't just mean that in the sense of conveying a character's emotions, although obviously that's a big part of it. I mean how it deftly captures different kinds of expression and changes the way a character comes across as a result. They don't just have one form of smile and frown and so on. There was a lot of effort put in to account for mood and tone.

If, for example, you look at Shino's trading card art, you'll see him run the gamut from cocky, to goofily macho, to genuinely kind. And those are all facets of him as a character, very succinctly conveyed, such that you can tell what way he's approaching somebody else depending on which smile he's wearing.

I don't know if that is the right way to describe what I mean, or if I have a point beyond 'isn't animation cool?', but hey, it's an excuse to post this little collection of grabbed images, including the ones where Shino appears to *only* be wearing a goofy macho grimace (I'm sure he'd be very happy about that).

...I feel I would be remiss if I didn't also include the ones for Akihiro, which, while less pertinent to my point, do confirm that, yes, plenty of the official art of these guys is of them shirtless.

[lilenui]

I think I need to be honest up-front: this was written in response to this post. But it is not strictly meant as a response to that post, hence why I am making it its own thing and not tagging the OP.

If the original author finds this - I don't agree with what you wrote, it weirded me out in ways that got stuck in my head, but I do not take that to be a reflection on your intentions in writing about a thought you were clearly enthused by. The tone of what follows below is a result of various things I'll hopefully be able to articulate in due course and not a personal attack. Likely this intention will matter as little as yours did to my reaction; that's the nature of engaging only with each other's writing. Block or respond as you see fit.

Everyone else - I apologise in advance. This is going to be decidedly less good-natured than donning my make-believe barrister's wig to (with permission) address a mutual's criticism of Iron-Blooded Orphans. Again, you'll hopefully see why as we go.

Finally - content warning for discussions of fictional depictions of the sexual abuse of children, violence, and similar such thorny topics.

So.

The track on the Iron-Blooded Orphans Season 2 soundtrack primarily associated with McGillis Fareed has the title 'In a Fury'. My partner once described it as anxiety in musical form and that's a very fair assessment. It's a strident, insistent, constantly rising composition that amply conveys the restless, perpetually on-edge energy of a character at odds with the social elite to which he initially appears to belong. Indeed, McGillis gives voice to this aspect of himself at the end of Season 1, defying softer emotions that might steer him away from committing a deadly betrayal by claiming he has "lived my life in anger far too long."

(Deflection, of course. Those 'soft-hearted' emotions - friendship, love, trust - pierce him clean through and he must reject their importance to keep pushing forward [the catch in Steve Cannon's voice when he delivers that line in the dub... man]. It is only at the end, when all else is ruined, that he can freely admit to wavering.)

And this is key. That anger and the roiling mass of ambition, violence and spite stemming from it is the engine of McGillis' attempts to remake the world. His rage at being mistreated, at the rotted husk of former ideals he perceives Gjallarhorn to be, at the powerlessness defining his childhood - it underlies everything he does. Cold, unrelenting, uncompromising fury.

McGillis is simultaneously a complex and extremely simple character. He is an adapt political manipulator and inspirational leader, able to instigate a Gjallarhorn-wide mutiny with only a few years' planning. He shows compassion towards those in similar situations to himself and empathy for those who, like him, were and are crushed to the bottom of the social heap. He has a personal ideology he attempts to communicate to those he believes receptive to it.

At the same time, he is a deluded fool. A child who never grew up, who thinks an old legend and some out-dated traditions will trap everyone into bowing down before him. It is the unsustainable contradiction between these two aspects that renders his plans into sandcastles, as he turns his formidable skills, ferocious intelligence and unrelenting determination towards bringing about an impossible storybook ending. Therein lies the point, a warped perspective born of extremis, the entirety of the concept.

In 2025, do I really need to point out how common it is for people to pour not-inconsiderable talent into pursuing ends that can only exist in their imaginations? I'm sorry if this makes you uncomfortable. I'm sorry if you need McGillis to be either genius or idiot, if you need there to be a firm switch between one and the other, a point where he tips over the edge. Because you're not going to get it. It doesn't exist in the text.

McGillis went over the edge before we ever met him, before even the earliest we see him, as a prepubescent child, scarfing down bruised apples stolen from an adult he stabbed in a dark alleyway. He has been falling his whole life, habitually batting away every fragile rope that might have helped him out of the abyss.

He looked at a cruel, unforgiving world - a world of poverty and exploitation, where children can be bought and sold for the gratification of the wealthy - and chose to beat it at its own game. "I was in need of power," he states, reflecting that those without are left to "[crawl] on the ground." An enraging state of affairs. Changing this, lifting himself from powerlessness to being the most powerful person around, became he raison d'etre - the goal that kept him moving.

This, so far, is what Iron-Blooded Orphans tells us about McGillis, when his full backstory and motivations are finally revealed.

The post I mentioned at the top approaches McGillis as a character who embraces toxic forms of masculinity owing to the shame of being deemed non-masculine as a result of having been raped as a child. I do not buy this line of thought, for several reasons. Partly, I simply didn't find the position well-argued (not a crime, it happens). Partly, there are errors in the post's description of the story (Carta's dad is *sick*, not dead, which casts her position as head of the family in a more nuanced light) that I think hew against the presented interpretation. Mainly, though, I don't agree with it because it requires reading a degree of homophobia into the setting and Gjallarhorn specifically that I do not believe is supported by the show.

As anyone reading this far almost certainly knows, there are canonical gay and bi characters in Iron-Blooded Orphans whose existence is treated as utterly unremarkable. Yes, the creators positioned Shino's bisexuality as a twist reveal. But Eugene - Mr I-Am-A-Man-Now-I've-Had-Sex-With-A-Woman himself - comforts Yamagi following Shino's death in ways that portray shared affection between men as normal, literally rejecting the suggestion there is anything wrong with Yamagi for grieving the boy he loved. That's the message the show has about the presence of queer people: we exist and are valued no differently from everyone else trapped in meat-grinder systems.

And initially, I thought this was the whole of my discomfort with the post. That it span off a theory about a character whose sexuality and gender position are never labelled and imputed 'shame' into a situation where the only form of disdain shown to pervade McGillis' immediate environment is based on social position. Because we are given plenty of examples of how he is looked down on as a 'bastard son', thanks to rampant snootiness about bloodlines and origin, culminating in his not being a true Fareed contributing hugely to the failure of his plans.

I considered responding directly and pointing this out, along with information the poster likely weren't aware of regarding the IBO spin-offs, which depict Gjallarhorn as having no problem with same-sex marriage. But as mentioned at the start, I was weirded out by the whole exercise: absent any social stigma being present in the text, why *should* we read McGillis as ashamed over having been raped by older men - over, that is, something done to him, that is never directly addressed by the other characters - to the point it defines his every action thereafter? I do genuinely think there is something interesting to be said about masculinity within Iron-Blooded Orphans. At the same time, I doubt this is a useful angle to take on that subject, since it feels actively contra to how Gjallarhorn was intended to operate as a representation of oppressive forces.

However, after chewing over my thoughts about this for a couple of days, it hit me that there's another component to my discomfort. See, I've long admired how IBO frames McGillis' abuse, how it focuses entirely on him and his reactions throughout. I just couldn't quite articulate why this particular approach, lingering on the effects and eliding the incidents themselves, worked as well as it does.

Now I can. It's because that whole sequence in episode 43 is a showcase of the violence to which McGillis was subjected as a child. He's knocked over the head and kidnapped to be put to work at a brothel. He's beaten by other boys there as a result of 'stealing' their clients, then ambushes them in revenge for same. He pre-emptively(?) attacks the students at the Fareed 'school' with a cricket bat to establish dominance. And finally, when he is taken to Vingolf as Fareed's 'son' and notes in his monologue that his position hadn't changed, despite outward appearances, we see him in the aftermath of being raped again, with his body covered in bruises.

There's no hemming and hawing here, no special exception made for sexual assault, not attempt to dress it up or prettify it as a separate case to the rest of the sequence. It's all violence. That's all it is. Violence inflicted on a child by adults in more powerful positions.

Just the same as Tekkadan endure.

And like Tekkadan, he responds with anger and by internalising that the only way to survive is to be stronger than the other guy.

Do you see why that's important? Not just for the thematic parallel but because it places the emphasis on the phrase 'sexual violence' in the correct place. It's. All. Violence. IBO makes no bones about being a setting where children are sexually abused. One of the earliest images we are shown regarding poverty on Mars features young girls being exploited in this manner on the streets. McGillis' situation provides a greater focus on the issue, in ways that do stand out and are worth interrogating for that. Yet it remains commensurate with the existence of child soldiers and young women funnelled into high-risk freight lines. The exact flavour of shit matters far less than the basic truth that all these characters are drowning in it.

I don't like the idea of reframing McGillis so the emphasis is placed solely on the sexual aspect. I think doing so undermines the arc of his backstory and the ways it acts as a counterpoint to Orga and Mikazuki. It is also wrong in some very particular ways.

If we follow the visual logic of the flashback sequence, McGillis responds to being kidnapped and put to work at the brothel with dead-eyed resignation. Only when he is attacked by the other boys do we see his rage at the situation ignite, leading to him later sneaking up on one of his assailants and striking him with a chair.

Remember, McGillis says his despair prior to finding The Life of Agnika Kaieru was caused by having reached the Fareed mansion - theoretically a position of far greater power than he ever previously enjoyed - only to find that nothing had actually improved regarding his station in life. He was still being raped behind closed doors. All his work and effort, all the things he'd fought for, had come to nothing.

This moment - his lowest ebb and his revelation - occurs following yet more sexual abuse and is inextricably tied to that. But like his first expression of anger, it isn't signalled as being caused by the sexual abuse in particular. It's the whole situation, the lack of power that enables the abuse, that seems utterly inescapable.

McGillis latches on to the belief one person, even as wretched as he is, can change the whole world. And it must be the whole world that changes, because in every direction, the world has only ever greeted him with violence.

(Except for those other Seven Star children, who admire him for the capabilities he honed to pursue power and survival, who stun him with that same admiration, because when has anyone ever praised him or told him to have confidence in himself, told him so directly that they are impressed by him? But he'll deny that part until he's bleeding out on the floor.)

This really is a question of framing. I talked recently about viewing engagement with fiction as an act of hallucination*; that is, of exercising our minds to fill in the gaps writers leave, even if we don't consciously register this effort. This is a guided process. The gaps are present within a structure designed to channel our expectations and understanding. True, that structure may fail: there are always going to be signals and signifiers lying outside our particular places and times. Yet to engage honestly with a work, we must pay heed to where we are being directed; otherwise, we simply cannot assign praise or blame accurately.

Iron-Blooded Orphans presents McGillis' progress as a character via his reactions to violence and the development of his capacity for violence in response. The sexual aspects do not, as far as I can judge, receive special focus, and their consequences are depicted as physical harm. Above all, McGillis never reflects on it. He never gives an indication of how he personally feels about having been subjected to rape, specifically. Obviously he wants nothing to do with Lord Fareed, refusing to spend a night under the man's roof. But beyond that?

He speaks in generalisations about power. And there's nothing in the story to signal we shouldn't view his actions through that lens, through inequality and poverty and the simple logic of might making the rules. Do you really think the misery of having nothing and being kicked while you're down is a lesser motivator when shorn of sexually-charged aspects? If not, why would you give overriding weight to those aspects when they are present?

McGillis killed to survive before being kidnapped. The basic parallel to Mikazuki and Orga is established during the earliest point at which he is depicted. They only diverge afterwards, with Mika and Orga relying on each other and McGillis struggling alone, getting angry, and honing his ability to protect himself. Surely, then, it does a disservice to the story to pick out one particular form of violence as a distinguishing feature, rather than stressing these as comparable circumstances met with different strategies.

If this all sounds dangerously close to claiming there are 'right' and 'wrong' ways to read a piece of fiction, I can only own that there is an extent to which I do in fact believe that's true. You have to engage with what's actually on the page or screen, or else you'll never be able to hold a sensible conversation with either the work or other people who've engaged with the same created object. Hallucination run riot can be a problem. At the very least, it is important to grasp the line between 'this is what the story said' and 'this is what I took from that'.

I wouldn't be dwelling on the post that spurred this essay nearly so much if the user who wrote it hadn't attributed their read on McGillis and Gjallarhorn to the original creators of Iron-Blooded Orphans, praising the handling of a subject I'm not convinced is actually present in the text. We've all done this. It's why I document screenshots and rewatch scenes whenever I'm writing these ammeter analyses. I want to be sure I'm not misremembering - and believe me, I have done that many, many times! This isn't coming from a place of supreme confidence in my abilities.

I do, however, feel there is a lot of value in a story that casts such an extraordinarily wide net in its depiction of the exploitation and strife that follow from inequality. It would have been easy, for example, to salaciously render the Turbines as escapees from sexual violence. Instead, Lafter's backstory is focused on mundane work in perilous conditions. She was employed by a cost-cutting shipping line, because that's the kind of insecure job poor people - including those who are trafficked and otherwise enslaved - are forced into. It's of a piece with Tekkadan, with human debris and children made into disposable soldiers, and McGillis is of a piece with that too.

Why else would he put such stock in a group of Martian orphans, if not as proof someone like him can make a difference?

To summarise, then, my analysis is that McGillis is depicted as infuriated by his experience at the bottom of society's ladder and in response, while isolated and divorced from solidarity with his peers, he latched on to the accumulation of personal power as a solution. The mythology surrounding Agnika then led to him naively maximising this approach. His being raped is a particular aspect of those root social injustices but not a special case. Functionally, it serves the plot-expedient purpose of justifying his introduction into the Fareed household and rise within Gjallarhorn. It also, inarguably, acts as a gut-punch to the viewer, underlining the misery of McGillis' position. I'm not claiming it doesn't matter, simply that the way it is presented heightens rather than defines McGillis as a character.

My opinion is that this is superior to making McGillis entirely about the fallout from being raped. Firstly, because that's a topic I'm not sure any Gundam anime is positioned to tackle properly. More importantly, because the actual handling of violence in Iron-Blooded Orphans is extremely good and reading McGillis as an additional example of this fits better with what appear to be the overall thematic goals of the series. Also, I personally find it somewhat icky to make a bigger deal of homophobia and gendered expectations than the show itself does. Disentangling that from the more interesting question of how McGillis' development is weighted in episode 43 was the main reason I wrote this piece but I stand by my initial reaction, as I stand by my dislike of any attempt to modify McGillis away from a core of rage at his own powerlessness.

He does not need to be more 'acceptably' traumatised to work.**

----

*My stance regarding the hallucinatory experience of engaging with fiction is shaped by having experienced occasional vivid auditory hallucinations for most of my life. I only put that together this week, but it means my viewpoint is one of not seeing them as especially out of the ordinary. Coupled to a passing knowledge of how most of what we experience via our senses is only an approximation of reality, it seems natural to treat these things as a spectrum.

**This is a real problem I've seen with how people approach fiction, where they latch on to things they *expect* to be significant causes of trauma over and above what the fiction is actively *telling them* is the reason. At some point, you have to acknowledge what is actually in the writing or the visuals, even if it didn't convince you, or else we'll all keep talking past each other. Again, I have been there myself.

----

OK. There. This was one of those things I felt compelled to write rather than was enthused to write. Nonetheless, I think there is enough substance here to justify posting it publicly and it is sadly too entangled in an emotional reaction for me to unpack another way. I am blessed by followers who don't spare much attention for my more overtly grumpy posts, so I'm half-hoping this will sink without trace. At the same time, I welcome contradictory reads on McGillis as a character. My engagement with IBO is always imperfect given this is a work I can only experience in translation, so if I have genuinely missed something obvious, please let me know.

(This said, character designs do not count. My first reaction to McGillis and Gaelio was 'oh there goes the yaoi bait' and then the show squarely put its foot down against this being a straightforward way to read them [you really think they didn't know what they were doing?], centring McGillis within the same extremes as Tekkadan and providing Gaelio with an arc where he focuses far more on somebody else, then gets blind-sided by his best friend stabbing him in the back before going on to make a string of horrible decisions. Yeah, they're pretty. They're in an *anime*. It's what's done with them as characters that matters.)

Anyway. Yes. I'm done now.

[lilenui]

OK, my lovely followers have spoken (or pressed the like button, which I am going to assume counts). For Shino/Yamagi day 2025, here is a preview of something that will very much become smut just as soon as I find the right brain key to hit to let me write porn without a long-term end-goal or a toothsome emotional tangle to unpick.

It will be fun. Eventually.

[Disclaimer: this is post-endgame content for Wishing on Space Hardware, a post-canon Iron-Blooded Orphans fanfic that involves me grabbing hold of every single loose thread, making one (1) very important alteration to the events of the series, and then running off towards the horizon, cackling and sprinkling consequences in my path like deranged confetti. It is the single longest story I have ever written, has received such glowing reviews as 'LOOK HERE YOU BASTARD' and 'HOW DARE YOU', and wilfully embraces polyamory as a solution.

What is the problem? Doesn't matter. The answer is polyamory.

Anyway, here's four dumbasses trying to safe-sane-consensual their way out of a wet paper bag.]

“So…” Eugene begins, staring around at a lounge decadent in size and luxurious in furnishings, “are we really doing this? Having an orgy or whatever?”

Yamagi breaks off from inspecting a bedroom that is likewise yet somehow even more so and gives him a look over his shoulder. “You haven't ever actually been to an orgy, have you?”

“Oh, and obviously you have?”

“I got invited to one once. But I ended up wussing out.” He shrugs. “Too many people, not enough time to work out what really turns them on.”

“I know, right?” Sri throws up her hands. “All the casual intimacy of a gang-bang and every other guy's stoned out of his skull anyway, so it's either going to get very boring, or you have to join them and what's the point of an experience you barely remember?”

“…huh.” Yamagi's eyebrow rises for a moment, then he turns back to Eugene. “You need a lot more than four for an orgy.”

The other man pinches the bridge of his nose, tamping down the suspicion his ears have started to go red. “Thank you, Mister Pedantic. What I meant was, are we really going to have a foursome on your wedding night?”

“Eugene.” Shino hurries up, taking hold of his arm with an expression of grave concern. “Buddy. Please tell me you are not trying to talk yourself out of doing this. Kudelia bought us a room here and everything!”

“I'm pretty sure she didn't do that just for – there are three bedrooms!”

“Oh fuck me.” Yamagi slaps his forehead, deciding he's not nearly drunk enough to deal with this. “Somebody stop him, he's trying to be gallant again.”

Shino gently shakes Eugene, an insistent push and pull, equal parts aggravated and kid-tugging-on-a-sleeve-for-sweets. “Yeah, it's my wedding night! Which I wanna spend with my husband, my boyfriend, and my boyfriend's girlfriend, because why the hell wouldn't I want to do that?”

“Yeah, but – Yamagi, come on – are you really –?”

“I literally dragged you into the taxi myself. How many times do I have to tell you – me and Shino getting married isn't going to change anything! Stop being such a – a –!”

“I think,” Sri puts in before they can find out exactly what term of abuse this situation warrants, “he's probably a bit worried about me being here. Isn't that right, Big Man?”

That, at last, puts a pause on proceedings. Shino lets go and shuffles his feet. Eugene brushes his jacket straight and pins Yamagi with a look of his own. “You want me. I get that. Shino wants all of us because of course he does. But you're the one who's always calling Sri 'awful'.”

“Well, she keeps calling me 'short-arse'.”

“That's true, I do.”

“Exactly! You two are – are you seriously telling me you'll be OK with –” It is ridiculous, in Eugene's opinion, that the times where he needs to talk seriously about love and sex and so on are when it becomes the hardest to get the words out. “I'm all for fucking until we can't stand up but I don't want it to get fucking awkward in the middle, you know?”

“That's actually a good point,” Shino agrees, scratching his neck and casting a glance at Yamagi, who rolls his eyes over-dramatically but then seems to accept that it is, indeed, a point.

He puts a hand over his heart. “I solemnly swear,” he tells Sri, “not to bring up the fact you nearly got Eugene and Shino killed by an evil robot again until at least tomorrow morning. Even if getting hurt protecting Atra and Akatsuki doesn't actually make up for it.”

She laughs. “In that case, I promise to temporarily ignore the fact you're a smug little jerk who needs to learn to let things go. Although obviously I'd sooner kiss an exhaust pipe.”

“Oh, yes, absolutely, no.”

Eugene groans, knuckling his forehead. “Urgh – that's what I'm talking about!”

“OK, OK, just to be crystal clear.” Jerking her thumb towards Shino, Sri asks Yamagi, “For tonight, you're fine with me and these two getting up to whatever we like where you can see?”

“Why else do you think I wanted you to come along?”

“Ooooh. I get it now. I'm a wedding present for your blushing bride.”

“I mean, I can think of places I'd tie the bow…”

“Hah! Ah, what a shame my kinks don't include being gagged. Worse, I bet yours don't either.”

“Guys…” Shino shakes his head, grinning more than he's genuinely despairing of them. “That's gotta have been the shortest peace treaty ever.”

“Fiiiine.” Yamagi moves across to the table where they put Atra's 'gift bag'. “I'll play nice.”

Sri shrugs. “Apparently, he doesn't actually hate me.”

Making a dubious sound, he picks up the bag, then goes to grab Eugene by the tie. “I'm still going to suck your boyfriend off right in front of you.”

“I mean…” She chucks Shino under the chin, and that grin focuses solely on her for a second, cheerfully lascivious. “Who hasn't?”

...

[lilenui]

A bit belated but there it is! My tribute to the ShinoYama day!

[lilenui]

Iron-Blooded Orphans fanfic index

An index for posts relating to my Mobile Suit Gundam: Iron-Blooded Orphans fanfic.

Wishing on Space Hardware

I began posting on Tumblr primarily to host the header art accompanying my Mobile Suit Gundam: Iron-Blooded Orphans fanfic series Wishing on Space Hardware. So let's start with that.

Fic header posts

A Handful of Rusted Petals

The Grandmaster

To Catch a Falling Star

Fragments of You/Pieces of Me

Let Sleeping Angels Lie

Between Family

The Ares Affair

The Haunting of Takaki Uno

Frozen Sunlight

Of Obsessions and Erotemes

Revolution for Beginners and Polyamory for Dumbasses

Under a Crescent Moon

Eugene Sevenstark and the Hesperus Treasure

Hope Against Hope

Love, Death and Cannoli

Fata Morgana

We Three Kings

History of a Catastrophe

Ragnarök in G Minor

A Day in the Light

WoSH ancillary material

IBO reference notes on … original(ish) characters

IBO reference notes on … actual, proper original characters

Section breaks master-list

The Wishing on Space Hardware playlist (story edition) v1.0

The Riden-Go II

Graffiti

Notes about writing the end of the story

Wishing on Space Hardware: Trivia and the cutting room floor

Some character sketches

Fanfic on Tumblr

System error (WoSH extra)

Falling for a fool (20 part post series, link is to part 1; Afterword)

Contact

Knots (WoSH extra)

Seasoned (WoSH extra)

Visual poetry (aka words and screenshots)

I've been thinking about smiles

Why are you crying?

You are a hero

Aren't you tired?

[lilenui]

Iron-Blooded Orphans meta index

An index for posts relating to Mobile Suit Gundam: Iron-Blooded Orphans.

Analysis and reference

Concerning Mika and Orga

Concerning Mika/Orga

Concerning the Bauduins

Concerning pilot strengths

Concerning character consistency

Concerning the Dort pilots

Concerning Barbatos

Concerning the timeline

Concerning McGillis

Concerning Tekkadan's flaws

Concerning Gaelio

Concerning the Valkyrjas

Concerning Mika/Atra/Kudelia

Concerning Mika and McGillis

Concerning paths not taken

Concerning Shino and physical affection

IBO reference notes on … Gjallarhorn (Part 1)

IBO reference notes on … Gjallarhorn (Part 2)

IBO reference notes on … Gjallarhorn (corrigendum)

IBO reference notes on … three key Yamagi scenes

IBO reference notes on … three key Shino scenes

IBO reference notes on … three key Eugene scenes

IBO reference notes on … three key Ride scenes

IBO reference notes on … the tone of the setting

IBO reference notes on … character parallels and counterpoints

IBO reference notes on … a perfect villain

IBO reference notes on … Iron-Blooded Orphans: Gekko

IBO reference notes on … an act of unspeakable cruelty

IBO reference notes on … Kudelia’s decisions

IBO reference notes on … the aesthetics of the mobile frame

IBO reference notes on … mobile suit designations

IBO reference notes on … the Gundams (part 1)

IBO reference notes on … the Gundams (part 2)

IBO reference notes on … the Gundams (part 3)

IBO reference notes on … the Gundams (Addendum 1)

IBO reference notes on … the Turbines, or ‘Tekkadan done right’

IBO reference notes on … deals with the devil

IBO reference notes on … odds and ends

IBO reference notes on … pilot ability

IBO reference notes on … queerness

IBO reference notes on … the lie of Agnika Kaieru

IBO reference notes on … the battle at the low-orbit station

IBO reference notes on … spacesuits

IBO reference notes on … the economic blocs

IBO reference notes on … spaceships

IBO reference notes on … the meaning of the Gundams

IBO reference notes on … the faces of Tekkadan

Other stuff

An Iron-Blooded Orphans playlist

An off-the-cuff McGillis Fareed playlist

IBO reference notes on … assorted head-canons

Gjallarhorn logo replicated

Index for Iron-Blooded Orphans G summaries and analysis

[lilenui]

｡.✧.｡.:*･'✧Happy 8th anniversary of Shino's bisexual coming out!☆･゜ﾟ･:.｡.✧.｡.:*･'✧

[lilenui]

God_I_wish_that_were_me.jpg to all of these 😩👌

I often think about how much Shino loves PDA, that man really loves draping himself over people, hugging them, hanging his arms off their shoulders. He has no issues whatsoever putting his face in kissing distance from his comrades in arms just to comfort them. Gives me such warm, fuzzy feelings.

[lilenui]

I often think about how much Shino loves PDA, that man really loves draping himself over people, hugging them, hanging his arms off their shoulders. He has no issues whatsoever putting his face in kissing distance from his comrades in arms just to comfort them. Gives me such warm, fuzzy feelings.

[lilenui]

I am rendering this to show you the treads I added to the bottom of the feet today.

Eventually.

After discovering a small but significant mistake in the geometry for the heel that took about an hour and a half to successfully correct.

*muffled screaming*

(I am still working on the Ryusei-Go palette, which is one where I have to battle with my screen's relative brightness to get correct.)