Not taking away from any of the amazing writers, pencilers, colorists, or any other talents involved in these books, but this time we’ll praise the cover artists… Here we have:
Incredible Hulk (vol 4) 2F. Stephen Segovia Exclusive.
She-Hulk (vol 4) 1P. Miguel Mercado Trade Dress.
The Incredible Hulk (vol 1) 181O. Kaare Andrews Exclusive Facsimile Virgin.
Wolverine (vol 7) 33G. Scott Williams Exclusive Virgin.
…and three (3) David Nakayama Exclusives:
X-Men (vol 5) 25J. Rasputin
X-Men (vol 5) 27I. Mystique
X-Men (vol 4) 21H. Rogue

https://preview.redd.it/m07tmkxgi81d1.jpg?width=2048&format=pjpg&auto=webp&s=a069dd209bca819edad29814e0bbd2b76eaa50db

As Reddit doesn't allow posts to exceed 40,000 characters, Eastwood's edition had to be split into two parts because his whole career cannot be ignored. The second part will be posted tomorrow.

Here's a new edition of "Directors at the Box Office", which seeks to explore the directors' trajectory at the box office and analyze their hits and bombs. I already talked about a few, and as I promised, it's Clint Eastwood's turn.
Eastwood was a troublemaker at school, and he had a bunch of odd jobs such as lifeguard, paper carrier, grocery clerk, forest firefighter, and golf caddy. In 1951, he was drafted into the United States Army during the Korean War and was discharged two years later. Through this, he got into contact with a Hollywood representative, who got him into acting classes and started his acting career. He got his start by starring in the hit show Rawhide, but he said he was exhausted by the experience. This caught the attention of some film producers and he decided to act in films directed by the then-unknown Sergio Leone. His career was on the rise, and then he got the chance to make his directorial debut.
From a box office perspective, how reliable was he to deliver a box office hit?
That's the point of this post. To analyze his career.

It should be noted that as he started his career in the 1970s, some of the domestic grosses here will be adjusted by inflation. The table with his highest grossing films, however, will be left in its unadjusted form, as the worldwide grosses are more difficult to adjust.

Play Misty for Me (1971)

"The scream you hear may be your own!"
His directorial debut. It stars Eastwood, Jessica Walter and Donna Mills, and follows a radio disc jockey being stalked by an obsessed female fan.
Before his colleague Irving Leonard died, he and Eastwood had discussed the idea of producing a film that was to give Eastwood the artistic control he desired, and his debut as a director. Eastwood said he was ready, "I stored away all the mistakes I made and saved up all the good things I learned, and now I know enough to control my own projects and get what I want out of actors."
The film was a huge success for Eastwood, and it also received positive reviews. So far, his directorial career was off to a great start.

• Budget: $950,000.
  
• Domestic gross: $10,600,000. ($81.7 million adjusted)
  
• Worldwide gross: $10,600,000.
  

High Plains Drifter (1973)

"They'd never forget the day he drifted into town."
His second film. The film stars Eastwood, Verna Bloom and Mariana Hill, and follows a mysterious stranger who metes out justice in a corrupt frontier mining town.
Eastwood reportedly liked the offbeat quality of the film's original nine-page proposal and approached Universal with the idea of directing it, which would make it his first directed Western. The screenplay was inspired by the real-life murder of Kitty Genovese in Queens in 1964, which eyewitnesses reportedly stood by and watched. Holes in the plot were filled in with black humor and allegory, influenced by Sergio Leone.
It was well received, and the film even surpassed Play Misty for Me at the box office. Eastwood was just going up.

• Budget: $5,500,000.
  
• Domestic gross: $15,700,000. ($110.4 million adjusted)
  
• Worldwide gross: $15,700,000.
  

Breezy (1973)

"Her name is Breezy."
His third film. It stars William Holden and Kay Lenz, and follows the relationship between a middle-aged real estate agent and a young hitchhiker.
This was his first directed film without starring on it. And his lack of presence certainly hurt the film; it received mixed reviews and flopped at the box office.

• Budget: $750,000.
  
• Domestic gross: $200,000. ($1.4 million adjusted)
  
• Worldwide gross: $217,753.
  

The Eiger Sanction (1975)

"His lifeline, held by the assassin he hunted."
His fourth film. Based on the novel by Trevanian, the film stars Eastwood, George Kennedy, Vonetta McGee, and Jack Cassidy. It follows Jonathan Hemlock, an art history professor, mountain climber, and former assassin once employed by a secret government agency, who is blackmailed into returning to his deadly profession for one last mission.
The film received mixed reactions for its writing, and it wasn't a box office success either.

• Budget: $9,000,000.
  
• Domestic gross: $14,200,000. ($82.4 million adjusted)
  
• Worldwide gross: $14,200,000.
  

The Outlaw Josey Wales (1976)

"An army of one."
His fifth film. Based on the novel Gone to Texas by Forrest Carter, it stars Eastwood, Chief Dan George, Sondra Locke, Bill McKinney and John Vernon. The film tells the story of Josey Wales, a Missouri farmer whose family is murdered by Union militia during the Civil War. Driven to revenge, Wales joins a Confederate guerrilla band and makes a name for himself as a feared gunfighter. After the war, all the fighters in Wales' group except for him surrender to Union soldiers, but the Confederates end up being massacred. Wales becomes an outlaw and is pursued by bounty hunters and Union soldiers as he tries to make a new life for himself.
Eastwood was fascinated by the novel and he bought the film rights, hoping to star on the film. He got Philip Kaufman involved as screenwriter and possible director, but left after disagreeing with Eastwood in the material adapted to the screen. Kaufman insisted on filming with a meticulous attention to detail, which caused disagreements with Eastwood, not to mention the attraction the two shared towards Locke and apparent jealousy on Kaufman's part in regard to their emerging relationship. This caused Eastwood to take over as the director. Kaufman's firing angered the DGA, as he did most of the pre-production, and sanctioning a $60,000 fine. This resulted in the Director's Guild passing a new rule, known as "the Eastwood Rule", which prohibits an actor or producer from firing the director and then personally taking on the director's role.
The film received critical acclaim, and in subsequent years, is ranked among Eastwood's greatest films. It was also a huge success at the box office, doubling his previous highest grossing film. It was also one of the few Western films to receive critical and commercial success in the 1970s at a time when the Western was thought to be dying as a major genre in Hollywood.

• Budget: $3,700,000.
  
• Domestic gross: $31,800,000. ($174.5 million adjusted)
  
• Worldwide gross: $31,800,000.
  

The Gauntlet (1977)

"The man in the middle of..."
His sixth film. It stars Eastwood, Sondra Locke, Pat Hingle, William Prince, Bill McKinney, and Mara Corday. It follows a down-and-out cop who falls in love with a prostitute, to whom he is assigned to escort from Las Vegas to Phoenix for her to testify against the mob.
While it received mixed reviews, it became another box office success for Eastwood, becoming his now highest grossing film.

• Budget: $5,500,000.
  
• Domestic gross: $35,400,000. ($182.4 million adjusted)
  
• Worldwide gross: $35,400,000.
  

Bronco Billy (1980)

"The most outrageous of 'em all."
His seventh film. The film stars Eastwood and Sondra Locke, and focuses on the financially-struggling owner of a traditional Wild West show and his new assistant.
It became another critical and commercial success for Eastwood, who referred to the film as one of his most affable shoots of his career.

• Budget: $6,500,000.
  
• Domestic gross: $24,265,659. ($91.9 million adjusted)
  
• Worldwide gross: $24,265,659.
  

Firefox (1982)

"The most devastating killing machine ever built... his job... steal it!"
His eighth film. Based on the novel by Craig Thomas, it stars Eastwood, Freddie Jones and David Huffman. The Soviets have developed a revolutionary new jet fighter, called "Firefox". Naturally, the British are worried that the jet will be used as a first-strike weapon, as rumors say that the jet is undetectable on radar. They send ex-Vietnam War pilot Mitchell Gant on a covert mission into the Soviet Union to steal the Firefox.
The film received mixed reviews, but it earned almost $47 million, becoming Eastwood's highest grossing title as director.

• Budget: $21,000,000.
  
• Domestic gross: $46,708,276. ($151.1 million adjusted)
  
• Worldwide gross: $46,708,276.
  

Honkytonk Man (1982)

"The boy is on his way to becoming a man. The man is on his way to becoming a legend."
His ninth film. It's based on the novel by Clancy Carlile, and it stars Eastwood and his son Kyle. It follows Red Stovall, a country music singer and composer. With his nephew Whit by his side, he travels to Nashville to perform at the Grand Ole Opry in the backdrop of the Great Depression.
While the film received acclaim, it earned just $4.4 million, becoming his second worst performer.

• Budget: $2,000,000.
  
• Domestic gross: $4,484,991. ($14.5 million adjusted)
  
• Worldwide gross: $4,484,991.
  

Sudden Impact (1983)

"Dirty Harry is at it again."
His tenth film. The fourth installment in the Dirty Harry series, directed, it stars Eastwood and Sondra Locke. The film tells the story of a gang rape victim who decides to seek revenge on her rapists 10 years after the attack by killing them one by one. Inspector Harry Callahan, famous for his unconventional and often brutal crime-fighting tactics, is tasked with tracking down the serial killer.
The film received mixed reviews from critics, but it earned over $150 million worldwide, Eastwood's first film to pass that milestone. It's also very popular for including the iconic catchphrase, "Go ahead, make my day."

• Budget: $22,000,000.
  
• Domestic gross: $67,642,693. ($212.1 million adjusted)
  
• Worldwide gross: $150,642,693.
  

Pale Rider (1985)

"...And Hell followed with him."
His 11th film. It stars Eastwood, Michael Moriarty and Carrie Snodgress. A couple and their daughter, along with a few others, are driven out of Lahood, California, by goons working for a mining baron. However, a stranger enters their life to assist them in their fight.
There was no stopping Eastwood: another critical and commercial success.

• Budget: $6,900,000.
  
• Domestic gross: $41,410,568. ($120.2 million adjusted)
  
• Worldwide gross: $41,410,568.
  

Heartbreak Ridge (1986)

"The scars run deep."
His 12th film. It stars Eastwood, Marsha Mason, Everett McGill, and Mario Van Peebles. The story centers on a U.S. Marine nearing retirement who gets a platoon of undisciplined Marines into shape and leads them during the American invasion of Grenada in 1983.
The film was inspired by an account of American paratroopers of the 82nd Airborne Division using a pay telephone and a credit card to call in fire support during the invasion of Grenada, and fashioned a script of a Korean War veteran career Army non-commissioned officer passing on his values to a new generation of soldiers. Eastwood was interested in the script and asked his producer, Fritz Manes, to contact the US Army with a view of filming the movie at Fort Bragg. However, the Army read the script and refused to participate, due to Highway being portrayed as a hard drinker, divorced from his wife, and using unapproved motivational methods to his troops, an image the Army did not want.
It received mixed reviews, with some deeming the film as "imperialist propaganda". But it was still another box office success.

• Budget: $15,000,000.
  
• Domestic gross: $42,724,017. ($121.7 million adjusted)
  
• Worldwide gross: $121,700,000.
  

Bird (1988)

"There are no second acts in American lives."
His 13th film. The film stars Forest Whitaker and Diane Venora. It is constructed as a montage of scenes from saxophonist Charlie Parker's life, from his childhood in Kansas City, through his early death at the age of 34.
Eastwood, a lifelong fan of jazz, had been fascinated by Parker ever since seeing him perform live in Oakland in 1946. He approached Chan Parker, Bird's common-law wife on whose memoirs the script was based, for input, and she lent Eastwood and arranger Lennie Niehaus a collection of recordings from her private collection Before Eastwood was involved, Richard Pryor was originally cast as Parker.
Despitive positive reviews, it performed poorly, earning just $2.2 million in North America.

• Budget: $14,000,000.
  
• Domestic gross: $2,181,286. ($5.7 million adjusted)
  
• Worldwide gross: $2,181,286.
  

White Hunter Black Heart (1990)

"An adventure in obsession."
His 14th film. Based on the novel by Peter Viertel, it stars Eastwood, Jeff Fahey, George Dzundza, Alun Armstrong and Marisa Berenson. It follows a famous movie director, John Wilson, who goes to Africa to make his next movie. He is an obstinate, contrary director who'd rather hunt elephants than take care of his crew or movie. He has become obsessed with one particular elephant and cares for nothing else.
Despite positive reviews, it made just $2.3 million domestically, not even 10% of the budget.

• Budget: $24,000,000.
  
• Domestic gross: $2,319,124. ($5.5 million adjusted)
  
• Worldwide gross: $2,319,124.
  

The Rookie (1990)

His 15th film. The film stars Eastwood, Charlie Sheen, Raul Julia, Sônia Braga, Lara Flynn Boyle, and Tom Skerritt. It follows a veteran police officer teamed up with a younger detective, whose intent is to take down a German crime lord in downtown Los Angeles, following months of investigation into an exotic car theft ring.
It received negative reviews for its acting and story, and it became another flop for Eastwood. That's three bombs in a row. Ouch.

• Budget: $30,000,000.
  
• Domestic gross: $21,633,874. ($51.6 million adjusted)
  
• Worldwide gross: $21,633,874.
  

Unforgiven (1992)

"Some legends will never be forgotten. Some wrongs can never be forgiven."
His 16th film. It stars Eastwood, Gene Hackman, Richard Harris and Morgan Freeman. It follows William Munny, a widower with two young kids, who was once a very vicious gunfighter who gave up everything after marriage. Now, a man named Schofield Kid brings him an offer that he cannot refuse, forcing him to come out of retirement for one last job.
David Webb Peoples wrote the script all the way back to 1976, and it was optioned by Francis Ford Coppola, but he lacked the funds needed to helm it. By Eastwood's own recollection, he was given the script in the "early 80s" although he did not immediately pursue it, because, according to him, "I thought I should do some other things first". Eastwood has long asserted that the film would be his last traditional Western, concerned that any future projects would simply rehash previous plotlines or imitate someone else's work. He dedicated the film to his close friends and mentors Sergio Leone and Don Siegel. Hackman initially refused to participate as his daughters were upset that he was starring in too many violent films, but he became fascinated by the script that he agreed.
It opened with $15 million and it legged all the way to $100 million after playing for almost one year, closing with $159 million worldwide, his now highest grossing film. The film received Eastwood's best reviews of his career, with many considering the film as his magnum opus as director. It received 9 Oscar nominations, and won four: Best Picture and Best Director for Eastwood, Best Supporting Actor for Hackman, and Best Film Editing. So Eastwood, on top of being a reliable box office draw, was now a 2-time Oscar winner.

• Budget: $14,400,000.
  
• Domestic gross: $101,167,799. ($225.2 million adjusted)
  
• Worldwide gross: $159,167,799.
  

A Perfect World (1993)

His 17th film. Kevin Costner, Eastwood and Laura Dern, and follows an escaped convict who takes a young boy hostage and attempts to escape on the road with the child, while being pursued by a Texas Ranger.
The film received critical acclaim, and has appeared as one of Eastwood's best films. The film disappointed in North America, but it earned up to $100 million overseas (Eastwood's first film to gross that much) and ended with $135 million worldwide.

• Budget: $30,000,000.
  
• Domestic gross: $31,130,999. ($67.2 million adjusted)
  
• Worldwide gross: $135,130,999.
  

The Bridges of Madison County (1995)

"The human heart has a way of making itself large again even after it's been broken into a million pieces."
His 18th film. Based on the novel by Robert James Waller, it stars Eastwood and Meryl Streep. The film is set in 1965, following a war bride, Francesca Johnson, who lives with her husband and two children on their Iowa farm. That year she meets National Geographic photojournalist, Robert Kincaid, who comes to Madison County, Iowa to photograph its historic covered bridges. With Francesca's family away for a short trip, the couple have an intense, four-day love affair.
It received more critical acclaim, and made over $180 million worldwide, becoming his highest grossing film. For her performance, Streep was nominated for an Oscar for Best Actress.

• Budget: $22,000,000.
  
• Domestic gross: $71,516,617. ($146.5 million adjusted)
  
• Worldwide gross: $182,016,617.
  

Absolute Power (1997)

His 19th film. Based on the novel by David Baldacci, it stars Eastwood, Gene Hackman, Ed Harris, Laura Linney, Judy Davis, Scott Glenn, Dennis Haysbert, and Richard Jenkins. It follows a master jewel thief who witnesses the killing of a woman by Secret Service agents.
It received mixed reviews, and disappointed at the box office.

• Budget: $50,000,000.
  
• Domestic gross: $50,068,310. ($97.4 million adjusted)
  
• Worldwide gross: $92,768,310.
  

Midnight in the Garden of Good and Evil (1997)

"Welcome to Savannah, Georgia. A Ccty of hot nights and cold blooded murder."
His 20th film. Based on the book by John Berendt, it stars John Cusack and Kevin Spacey. It follows the story of antiques dealer Jim Williams, on trial for the killing of a male prostitute who was his lover. The multiple trials depicted in Berendt's book are combined into one trial for the film.
It received mediocre reviews, and flopped at the box office.

• Budget: $30,000,000.
  
• Domestic gross: $25,105,255. ($48.8 million adjusted)
  
• Worldwide gross: $25,105,255.
  

True Crime (1999)

His 21st film. Based on the novel by Andrew Klavan, it stars Eastwood, Isaiah Washington, Denis Leary, LisaGay Hamilton and James Woods. It follows a journalist covering the execution of a death row inmate, only to discover that the convict may actually be innocent.
This was another project that received mediocre reviews and flopped at the box office.

• Budget: $55,000,000.
  
• Domestic gross: $16,649,768. ($31.2 million adjusted)
  
• Worldwide gross: $16,649,768.
  

Space Cowboys (2000)

"Boys will be boys."
His 22nd film. It stars Eastwood, Tommy Lee Jones, Donald Sutherland, and James Garner as four aging former test pilots who are sent into space to repair an old Soviet satellite.
It received very positive reviews, and earned over $128 million worldwide.

• Budget: $60,000,000.
  
• Domestic gross: $90,464,773. ($164 million adjusted)
  
• Worldwide gross: $128,884,132.
  

Blood Work (2002)

"He's a heartbeat away from catching the killer."
His 23rd film. Based on the novel by Michael Connelly, it stars Eastwood, Jeff Daniels, Wanda De Jesús, and Anjelica Huston. It follows a retired FBI agent who recently had a heart transplant but still takes up the job to nab a killer.
It was another film with mediocre reviews and flop status.

• Budget: $50,000,000.
  
• Domestic gross: $26,235,081. ($45.5 million adjusted)
  
• Worldwide gross: $31,794,718.
  

Mystic River (2003)

"We bury our sins, we wash them clean."
His 24th film. Based on the novel by Dennis Lehane, it stars Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Marcia Gay Harden, and Laura Linney. It follows three childhood friends who are reunited 25 years later when one of them suffers a family tragedy.
Michael Keaton was originally cast in the role of Det. Sean Devine, and did several script readings with the cast, as well as his own research into the practices of the Massachusetts Police Department. However, creative differences between Keaton and Eastwood led to Keaton leaving the production. He was replaced by Kevin Bacon. This was the first film in which Eastwood would be credited as composer.
The film had a slow roll-out, but it was aided by strong word of mouth, closing with a wonderful $156 million worldwide. It also received acclaim, and was named as one of Eastwood's greatest films. Sean Penn received universal acclaim for his performance, with some naming it among the best acting of the century, particularly for one scene (if you watched it, you definitely know which scene). It received 6 Oscar nominations, including Best Picture and Best Director for Eastwood. It won two: Best Actor for Penn and Best Supporting Actor for Robbins.

• Budget: $25,000,000.
  
• Domestic gross: $90,135,191. ($153 million adjusted)
  
• Worldwide gross: $156,595,191.
  

Come back tomorrow for Part 2

Don't suggest directors for the next edition here. Save it for tomorrow.

Both movies released the same date

Disclaimer: This will be a "long" post for some, as it's supposed to be informative. If you don't like reading then idk what else I can do lmao, but there's no need in saying "I ain't reading allat, so I'll believe.." as that just promotes toxic behaviour.
So I did make a post explaining this a while ago, but it's a bit outdated and doesn't explain it in the detail that this post will. This post is actually based on a Twitter thread I made (I won't link it as Reddit weirdly formats it lol, if you wanna find it just search "Zain_Ahmed002 Twitter" and my profile will pop up"

Remnant

A lot of people misunderstand what Remnant actually is. I've seen it used as an umbrella term, far too many times. It's often used as something to explain the unexplainable, but in actuality Remnant has always been consistent and has been shown to us in a scientific way.
Simply put, Remnant is explained as the "tangible" mixing with the "intangible":
https://preview.redd.it/6e90art3k61d1.png?width=591&format=png&auto=webp&s=1cdf2e9e38c072b8f839ebfdbef9fe64e9786bb4
Afton, in TFC, expands on this explanation by saying how his body (current soul host) when paired with his emotion (pain) allows his soul to "follow" it to then lead it to its "eternal home":
https://preview.redd.it/hml0lgodk61d1.png?width=765&format=png&auto=webp&s=6a571be5af9dd4a8cd9213b4bcba9eee47291e00
Some people have an issue with the grammar of the first sentence, as people claim that ", and also the.." suggests that either or are required. But that's not true at all, both are required as the next line shows that both his body and his pain are required for the soul to follow.
Afton's hypothesis pairs with Talbert's description from above, and we can combine the two to form a simple formula for how Remnant forms:
https://preview.redd.it/m03alwp3n61d1.png?width=1101&format=png&auto=webp&s=c4890324d0ffd15c7d4d3719ccdcd98c709df539
Memories + Emotion
We learn through different parts of the canon that memories hold pieces of the soul, given Talbert’s description they latch onto the objects (Tangible). We also learn that the memories are influenced by the emotion, where a possession via the emotion of love will result in more positive memories. A great example of this is Jake, where he doesn't really recall the pain he felt when he had cancer as his "remnant" is formed from the pure emotion of love.
Not many cases involve a pure emotion, Andrew's and Jake's are the only one's specified to have a pure emotion and it explains why the way they possess objects id different (more on this later).
Current soul host
This is essentially a "fancy" term I made due to the lack of name given to this variable. It's essentially where the soul resides before it goes to "follow" the memories and emotions into the new object, which acts as the new soul host.
So, for a first-time possession, the current soul host will be the human body. And the object will be an animatronic or something, making the animatronic the new soul host. So that when that object dies/ breaks, the soul follows the same formula shown above to another object for it to act as the new new soul host. See what I mean?
We see this with Andrew, where he moves from William (his current soul host) into objects like Fetch, which then become his new soul host.

Limitations of Remnant

Emotions
As discussed above, certain emotions can influence the way a soul possesses an object. It all comes down to the "energetic radius", which Taggart explains as the distance an emotion can travel.
https://preview.redd.it/yzulsm3hp61d1.png?width=802&format=png&auto=webp&s=9bba4f42109b567f8f1188e90dee207c3ebe9bc3
https://preview.redd.it/onlh66uhp61d1.png?width=795&format=png&auto=webp&s=eb7e2dc890b542326817ce32c3acfc604b09512d
As Taggart explains, agony can radiate the furthest but love can still radiate/ "has its influence" to an extent.
We see this with Andrew, where he leaves current soul host of William, and then "infects" nearby objects at the distribution centre.
A "normal" possession would require very close - physical contact, like we see here with Charlie and it's why the MCIs were stuffed.
https://preview.redd.it/ugox48xyp61d1.png?width=355&format=png&auto=webp&s=013038f2b0dbd63a2d7e3468cb572b0415eeed04
This isn't to say that possessions with agony mean that the soul can be catapulted to an object far away, they still have to be nearby.. Just not physically touching.
Souls can't just willingly leave the object they're in
I have seen a lot of people theorise that souls can "leave" an object they're in, mainly with the new CassidyVictim video that's gaining a lot of attention. The claim is something like BV has a "half possession" and that he was able to leave Golden Freddy.. That's just not possible.
As explained above, until the soul host dies or breaks, the soul remains trapped in that object.
It's literally why Henry says that the MCIs are "trapped in prisons", as they can't just get up and leave. Some people use Susie from Coming Home or the MCIs seen in Follow Me as evidence of them leaving, but that's not the case as they're cases of soul splitting. I have made a post explaining that here.
So that's Remnant in a nutshell.
Now, emotions. Certain emotions have certain qualities.

Emotions

Emotions, mainly agony and love, can be a stand-alone thing, where it leaves a person and "pours" into objects.
Also to clarify, "Agony" is an umbrella term used to collate all negative emotions like rage and grief. Both of which have their unique qualities.
Rage and love seem to be emotions that can leave the human body, without taking the soul with it. An example of this is the "ice crystals" experiment Taggart researches and also carries out.
https://preview.redd.it/t5g6kc3ew61d1.png?width=783&format=png&auto=webp&s=ee8b2e17748a3b4ae9bdfcb52ea76ac818586979
The ice crystals made from the emotion of love were simply the emotion of love leaving the human body and pouring into the crystals, forming "beautiful ice crystals".
Taggart recreated this experiment, but with rage.
https://preview.redd.it/8h1o2w4nw61d1.png?width=821&format=png&auto=webp&s=e1473160c8a710cf4e2838bbb357134b94055756
And just like love, Taggarts soul didn't leave his body.
I'm mentioning this as grief also take "a piece" of the person's soul with it. This does not mean that the person "possesses" the object, it's just a tiny fragment of their soul as like I've explained right at the beginning of this post, memories can be intertwined with pieces of the soul.
It's mainly the memory that sticks, and the piece of the soul there pretty much does nothing. We see this with Henry's grief pouring into the Charliebots in TFC:
https://preview.redd.it/d7b2n046x61d1.png?width=741&format=png&auto=webp&s=e99c7ac3c3567c4267f6a9a698ece35fea36e7c6
https://preview.redd.it/vwq0dgt6x61d1.png?width=748&format=png&auto=webp&s=9843a0846b95a52f412696f8738d74d56cf58be4
https://preview.redd.it/yjzs24k7x61d1.png?width=790&format=png&auto=webp&s=105990f4f9fad814613e3db80035c7d1177f3cd4
Like I said, this does not happen with rage, as we see this with the Mimic and the Springtrap anomaly formed in the story In The Flesh, where they refer to the person as their "father" as they don't hold any of their memories, nor do they hold any piece of their souls
https://preview.redd.it/p382b6hix61d1.png?width=786&format=png&auto=webp&s=0623b4d1189effecb2ca91edb2c2d78bf37e1128
https://preview.redd.it/tile403jx61d1.png?width=567&format=png&auto=webp&s=1b9fdc013d84bb5335a26ca36a1c6d4d5ef820c2
Showing how emotions can latch onto objects and influencing them.

Conclusion

So to summarise: 1. Remnant is (Emotion + memories) + host + object 2. A soul can't leave the prison it's in 3. Emotions can give the remnant different properties and doesn't always require physical contact 4. Agony can be an emotion on its own, poured into objects
The end.

I don't know if this post is allowed, but I was playing Horizon Forbidden West, more specifically its expansion Burning Shores. I came across a character that not only looked like gianmarco, but sounded exactly like him. I felt like I was going insane as IMDB does not credit him to that voice. I waited 10 minutes during the credits, just to find out this man is actually the one voicing the character.
https://preview.redd.it/rrc2nbj8451d1.png?width=1108&format=png&auto=webp&s=6f0c85eece5cdbdeb889d0c0d61ce292e9754763
Gianmarco, if you see this, I fucking hated your character with a passion. You played the role too fucking well.
Here is to hoping you come to my city.
Edit:
I found the day I searched it.
https://preview.redd.it/yspebhcl551d1.png?width=926&format=png&auto=webp&s=ad9639aec2fea9e10b5691f46acead1022754572