Ok, so I was wrong about Captain America: Civil War...
...but only a detail in the storyform, not about the Main Character--
--it's still Tony 
I watched the film again - giving it a couple weeks after the first time to see if maybe I had missed something the first time around. After the long conversations here and the couple of podcasts I recorded, I was starting to convince myself out of my original assessment.
My thinking was that there might have been a substory with Steve and Bucky and that perhaps that was something that ended in Success/Bad...but I got to tell you there's nothing there except the storyform positioning Tony as the MC and Steve as the IC.
An important distinction, and one I started talking about this week, is the idea that the storyform doesn't see characters, it sees perspectives. Yes, Steve has the issues about being a "man out of time" but as far as Dramatica is concerned, that only matters in terms of a Main Character perspective. For it to be a Main Character perspective and part of a larger storyform, there needs to be an actual Influence Character perspective challenging that point-of-view.
There isn't.
I was thinking maybe I missed something with old Buck or maybe that new girl but really all she does is stare at him and tell him what he already knows about compromise. Steve and Bucky function like I originally thought - as objective characters within the Overall Story Throughline perspective.
On the other hand, Tony as the Main Character Perspective comes with not one but TWO characters sharing the same Influence Character Perspective. I'm not sure how I missed it the first time, but Peter Parker TOTALLY takes over for Steve in the middle and offers that Influence Character perspective in Steve's absence--classic Dramatica hand-off.
Both Steve and Peter share the same point-of-view: they don't want to sit around when they can do something--it's always your fault if you didn't take action. You can actually see the wheels in Tony's head turn when the kids says this to him (as if he's heard it before).
Seeing both Steve and Peter as sharing this same ALTERNATE approach to solving problems, you can begin to see how they influence Tony throughout forcing him to reconsider his justifications.
No one is doing any of that to Steve from an Influence Character perspective.
The one thing though that I do think I got wrong was the Problem and Symptom -- I think I had them swapped.
Instead of Avoidance as the Problem and Control as the Response, I think Control is the Problem and Avoidance (or Prevent in this case) is the Response. There's far more chasing and stopping then there is freedom and control. In addition, Tony's growth from Control to Uncontrolled is much stronger than Avoidance to Pursuit - "eyeballing" that shot is essentially proof of a character who has moved into an Uncontrolled motivation as opposed to his original motivation of Control (or allowing Control).
This also makes the Overall Story Solution Uncontrolled--which makes sense if you see Tony's actions and the fight at the end as complete Uncontrol and then, of course, Steve shows up at the end to break everyone out (Uncontrolled).
I keep bouncing back and forth between Failure and Success. Setting the above I do have a choice of either Doing or Obtaining in the 3rd Signpost (the airplane battle). My original choice would be in Doing - which would give the same Plot Progression as my original storyform - but that makes it a Failure, which I don't think is accurate (esp. with Zemo's line "did I?" in response to failure).
Setting it to Obtaining - gives Learning - Doing - Obtaining - Understanding for the Overall Story and a Story Outcome of Success. I can see Learning in the beginning, all the disinformation and the setup of the accords, Doing is the chase through the streets, Obtaining is the capture of them and the breakout and the escape to Siberia - that actually works better for Obtaining. The Understanding is Tony understanding who was really behind the bombings and the understandings that Zemo feeds them about what his plan really was all along.
This gives Tony a Plot Progression of Progress - Future - Present - Past which is great because we have that Past part there at the end - plus, his Uncontrolled Solution and Judgment of Good shows a return to old form (previous self). Present would be the moment in the jail where Arrow-guy calls him "futurist" and all that stuff...
...which is interesting because it almost seems like Tony has two Main Character Signpost beats after the 4th Story Driver. This is why his growth feels somewhat false - it's like Jenny in Forrest Gump she only changes because she knows she's sick and is going to die...which is really just another instance of her using Forrest to get out of a jam when the argument was setting her up to change before that revelation.
Likely the same thing would have been better here - continue Widow's little jibe towards Tony with Arrow guys line and the other Avengers calling him out on his Present situation, then he gets the information as he leaves and then he makes the change.
As it is now it's like he starts to get the Understanding before that Present signpost has a chance to play out. To solidify the argument he probably should have started changing or moving in that direction before getting the information, so it's not a matter of some extraneous piece of information generating the change instead of the Influence Character/Relationship Story dynamic.
This gives a Relationship Story Problem of Faith which is MUCH NICER than the previous Temptation one in the other storyform. The belief in each other, the belief or trust that the other one isn't LYING about something super important - that motivates the Relationship, and then his letter at the end about how he will always be there - that's an indication of that Faith still driving the Relationship (and proof that it's unresolved).
This sets up Steve and Peter to have an Influence Character of Consider. That feels way better than Feelings, esp. since both are involved. The whole argument is about choice--about having that choice, and being able to choose (or consider) what you want to do.
Overall I think this storyform is reflected more strongly in the film than the previous one. It's interesting to me the difference between a story driven by Avoidance and a story driven by Control. I mean, was Wanda's mishap a problem of Prevention or a problem of Control? Control seems to be the stronger option, and everywhere you go control--or lack of control (Vision's distracted mistake) cause more problems than pure Avoidance.
