However, Rocky trained Donnie to accustom his body to repeatedly absorb heavy impact, and uses Viktor's lack of technique and reliance on power punches to his advantage. Viktor enters the tenth round with a slight lead, but begins to tire, as he had never gone past the fourth round in prior matches without knocking his opponent out. Donnie knocks Viktor down twice in the round, causing a number of Viktor's supporters, including Ludmilla, to leave the fight. Seeing that his son is unable to defend himself and might end up like Apollo, Drago throws in the towel, stopping the fight and allowing Donnie to emerge victorious. Drago hugs Viktor after the fight, assuring him that it is okay and that he is proud. Finally at peace with his past, Ivan focuses on developing a deeper bond with his son, accepting his failure to improve on his legacy. Personality Unlike the flamboyant Apollo Creed and the brash James "Clubber" Lang, Rocky's opponents in previous films, Ivan Drago is quiet and non-boastful. Driven by his desire to be the best at all costs, Drago focuses on this single-minded manner in which he pursues his goal - and it deprives him of his humanity. Many viewers and critics have suggested that Drago was meant to symbolize the U.S. perception of the Soviets: immense, powerful, and emotionless. This is made evident by his cold-blooded pulverization of Creed in an exhibition match as well as by his callous reaction toward news of his opponent's death. Drago generally allows his wife and trainers to talk on his behalf to the press. In the original film, the character only speaks in terse, short statements. For Creed II, Stallone added more lines for the character than the original film. Rocky IV - Rocky vs Drago Directors Cut In this director's cut edition of the film, from Stallone himself, Drago is positioned as more of an individual experiencing greater conflict between being an instrument of the Soviets and of his own ambition as a 'warrior'. More lines of dialogue in the opening fight scenes and the press conference scenes humanise his character and detract from the stereotype purveyed in the original theatrical cut. The juxtaposition of Rocky as the 'pure' American hero versus the Soviet machine is instead reimagined as a more nuanced warrior vs warrior affair, with the backdrop of the politicising of the fighting being a source