#thomas the tank engine analysis

[weirdowithaquill]

Traintober 2023: Day 18 - Blueprints

Crovan's Gate Works is Home to many Blueprints:

Crovan’s Gate Works is one of, if not the, largest steamworks in the United Kingdom – and the single best equipped. It services steam locomotives from all four of Sodor’s railways, as well as engines from across the country and further. Many of the engines who appeared in the infamous ‘The Great Race’ movie – especially those from Europe – were actually engines being overhauled at Crovan’s Gate when Mattel sent people to do research for the film. The works has machines that can make any part needed for an engine on the Fat Controller’s railway, and beyond – but that’s not all they have.

In a dark, slightly dusty room underneath the main offices, there are filing cabinets. Row upon row of the things which stretch out through the basement. And in these filing cabinets are the blueprints. There are thousands of these blueprints carefully sorted and filed away in this room. Everything from the designs of the A1X Terrier through to the Streamlined Coronation class. It’s all in this one room.

And it was originally the folly of Sir Topham Hatt I, back in 1897.

When he was the CME of the Tidmouth, Knapford & Elsbridge Light Railway (TK&ELR), Topham Hatt began collecting old blueprints. Some people collect stamps, others collect coins – but Topham collected blueprints. He had already copied many of the Great Western’s blueprints during his time as an apprentice at Swindon Works, and these he kept with new plans sent to him by his friend William Stanier in his office.

When building the TK&ELR Coffee Pot engines, he consulted a huge number of blueprints, trying to find something he could build considering the extremely low amount of resources he was allocated. And he did utilise some ideas from the various blueprints he had acquired – specifically a redrawing of the ‘blueprints’ used for the Novelty from the Rainhill trials… only the blueprints Hatt had were extremely well-drawn fakes, which did a bit of messing with the exhaust system. Topham Hatt mixed these blueprints with several others, but the exhaust system became infamous for spewing out dirty brown water.

This led to Topham Hatt deciding that the best way to avoid such an embarrassment in the future was to get more blueprints. He managed to bargain the blueprints of almost every engine he ever bought into the deal, with one notable exception: Henry.

Henry was built using stolen blueprints which were muddled and half-right. Hatt never managed to nab the stolen blueprints for himself, which made diagnosing Henry all the more difficult. It was actually Richard Hatt – Topham’s great grandson – who found the formerly stolen blueprints. He managed to find them in a garage sale!

Percy was another engine whose blueprints did not fully arrive with the engine. The warehouse Hatt bought him from had a grand total of around 59% of his original blueprints, with the other 41% being scattered across the West Country, the Midlands and Wales. If you can believe it, Topham Hatt went on the hunt for these blueprints all throughout the 1930s, and was able to snag the last one from the wreck of a bombed house in Cardiff in 1941.

When British Railways was formed in 1948, the now Sir Topham Hatt utilised his new position on the board of the company to gain access to every blueprint British Railways had under its control. Carriages, trucks, engines – even railway adjacent lorries, ships and buses all had blueprints that Sir Topham was able to have copied and sent to Crovan’s Gate. These were all placed in a special room and have been updated since.

Sir Charles Topham Hatt also added to this collection – but for a very different reason. In the 1960s, as Sodor gained more independence – and more diesels – it became increasingly clear that the island had to repair its engines on its own. To this end, Sir Charles began having copies of engines he bought sent to Sodor so that in the event of repairs, the works at Crovan’s Gate would be able to use the original blueprints before beginning the overhaul, saving time and allowing the workers to know what parts the engine might need. Sir Charles also had updated blueprints of all of his engines drafted, as many of his older engines had been heavily modified since arriving (such as Edward, Henry and Gordon), meaning that new, accurate blueprints were required. The first of these would be Edward’s when he went in for an overhaul after his ‘Exploit’ in 1965.

Today, there are thousands of blueprints kept at Crovan’s Gate Works, with new ones added each year. These are often copies of blueprints for locomotives built outside of the UK, as it is believed that Crovan’s Gate Works has a copy of the designs for every British locomotive, carriage, and wagon to have ever run – bar those which never had blueprints.

Back to Master Post

[sudriantraveler]

I think it's a pretty neat little visual through-line that in 3 out of 4 of the stories in Thomas the Tank Engine we see Thomas either approaching or going past this signal box and the associated signals.

That box marks the approach to Vicarstown yard limits. That's just about the furthest point Thomas is usually allowed to go. So it's neat that a book all about Thomas wanting to go out and see the world is very consistent in showing the reader the point where the yard ends and the world begins.

We don't see this signal box in the fourth story, because by that point Thomas is at Wellsworth and not Vicarstown, but there is one change Dalby made to the original Payne illustrations that I kinda like, because it helps to complete this visual through-line.

In this illustration above of Thomas traveling with the breakdown train, the Dalby version has added a signal (along with a few other minor details).

No signal box still, we are by now very much away from the big station and out into the countryside. But the addition of that one signal I take to mean that this scene, which previously could have been anywhere on the mainline, is now specifically the yard limits for Wellsworth. The illustration is also similarly framed to the previous ones set in Vicarstown, with the reader looking from behind Thomas as he moves out and away towards the open countryside.

So now this visual indicator of Thomas venturing out into the wider world is consistent through the entire book.

[steam-beasts]

CGI Henry's personality; my take

So, Henry in the cgi era is a BIG soft crybaby in the cgi series, a nervous and worrisome guy. A lot of people didn't like it. I like seeing the model era and the cgi/brenner era as one in the same and have an idea as to why he changed.

My take on the reason(s) Henry goes from a irritated jerk to a soft, nervous guy is this;

Anxiety, trauma, fear and guilt

As we know, well...it's obvious that Henry's been through some traumatising stuff. I'm no expert on ptsd, but I feel that the "Tunnel incident" and the Flying Kipper accident are two main contributors that caused Henry to gain anxiety that very slowly but surely worsens over time. Worsening anxiety can be due to age, so that may also be considered a reason for Henry's anxiety as well as trauma.

Retconning his personality in TAB, we'd just see a grumpy and irritated engine. Instead of him begging the turntable operator to go faster, he'd be complaining about how his livery will get ruined. Here's a scenario;

___________________

Just as Thomas settled into his new berth at Tidmouth, he noticed another engine coming on to the turntable; he was a big green tender engine, with red stripes like everyone else and had the exact same shape as that grumpy blue engine, Gordon. The green tender engine had an irked look on his face, and was eyeing the cloudy sky a lot.

As the turntable began turning, the engine instantly began complaining "Turn! Turn! Turn faster! Ugh, could you be any slower?". The turntable operator rolled his eyes. The engine just whined "Faster, or my paint's going to be ruined!".

Thomas frowned immediately, raising a judgemental eyebrow and looked over at Edward.

"Who's that grumpy engine? Is that Gordon's brother?" He asked in a whisper.

"Oh, that's Henry, Thomas. He's usually like this, I'm afraid and no, he isn't Gordon's brother...he's..." Edward nervously trailed off a little as Henry finally reversed into one of the berths.

"...well, he's a...faulty design"

"Huh...?"

"I'll explain a bit more tomorrow" Edward finished. Thomas looked over at Henry, who still held an annoyed look on his face. A drop of water suddenly fell on his buffer, and the green engine jolted before backing up further into the shed. Turns out it was beginning to rain.

Thomas couldn't help but snicker at Henry's reaction "Pff...don't tell me he's afraid of the rain!"

Edward just sighed "Well, I suppose you could say that, Thomas. Though, he's more concerned about his paint, especially after the tunnel incident..."

Thomas felt his eyebrow raise again, his interest piqued at the mention of "tunnel incident".

"Tunnel incident? What happened, Edward?" He asked curiously. Edward stared at Thomas for a minute before gazing up at the rain, a solemn look in his eyes "Well...me, Gordon and Henry agreed not to discuss it..." he said, his lips curled into a smile "But you seem eager to know, so...alright" Thomas perked up and listened intently.

"Once an engine attached to a train, was afraid of a few drops of rain..."

________________

In the classic era's later seasons, the anxiety is very subtle, and when the HiT era comes, it's becoming noticeable.

In my au (before the whole monsterfication occured), Edward had been taking notice of Henry's increasing worry and timidness. Having known Henry the longest, he took notice quicker and began getting a bit concerned. He discussed it with Gordon, but Gordon just passed it off as Henry "going soft". From then on, they both dropped the subject, but Edward's concern would keep lingering around from time to time.

In the CGI era, the anxiety had gotten worse and no one is doing anything to help Henry. I kinda have a headcanon that Gordon would sometimes complain to Henry about his timidness, he would probably go;

"Ugh, I don't know how you've turned into such a soft wimp, Henry. You used to be a lot better than this. Disgraceful"

After hearing these type of remarks, Henry would sulk to himself. He would sometimes reflect on how he was back in the past, whenever he'd reflect, he'd remember how he treated engines like Edward, Thomas and Percy. That would be moments where he'd be reminded of how much of an irritated jerk he once was which would make him feel guilty.

This is all I gotta say about CGI Hen-Hen for now.

[feigeroman]

The Vicarstown Car Ferry

Above: This is not the Vicarstown car ferry train. I just needed a screenshot of a car on a train, and this was the closest I had to hand.

Every year, the Island of Sodor receives thousands of visitors from the Mainland, and obviously, the vast majority come by rail. A significant number, however, choose to arrive by car. Nowadays, this is no trouble, as they can simply drive across the Jubilee Bridge, which carries the main A950 road over the Walney Channel.

The bridge only opened in 1977, though, and any motorists arriving before then had to rely on the NWR's services to get themselves and their cars on and off of Sodor. And thereby hangs a fascinating tale about a little-known aspect of the NWR's history.

EARLY NWR EFFORTS

Above: The Vicarstown Bridge, in an undated view (obviously post-1975, given the presence of Spencer).

It all started with the construction of the NWR's own bridge over the Channel in 1915. In those days, there was no other link between Sodor and the Mainland, and thus no other way for goods and passengers to arrive. Some of those passengers wanted to bring their own horse-drawn carriages with them, and so was born one of the earliest vehicle-and-owner trains to run on Sodor. To begin with, it was simply a case of strapping the vehicle to a special carriage truck, and coupling it up to whatever passenger train its owner was travelling in. The truck then travelled as far as the nearest station to wherever the owner was going, where it was detached and the vehicle rolled off.

Above: For a time, the NWR also offered the use of a horsebox in conjunction with a carriage truck, so that the carriage’s owner could take his own horse with him, and avoid having to search for one at the other end of his journey. This cost extra, though, so there were few takers.

THE VICARSTOWN CAR FERRY

With the boom of private motoring in the early-1920s, there came a similar explosion in demand for the carriage of road vehicles by rail. This in turn resulted in the NWR running its first dedicated car-carrying trains - albeit only on an as-and-when basis, and with cars and drivers travelling in separate trains. The NWR did not return to vehicle-and-owner trains until 1927, when it launched a regular car ferry service between Vicarstown and Barrow-in-Furness - probably the best-known of all its car-carrying trains.

This new service had been made possible by the 1925 LMS Agreement, which gave the NWR running powers into Barrow, and in turn required Vicarstown to be converted for through running. Among the changes which resulted was the conversion of the adjoining goods depot to handle parcels and mail (goods facilities moving to a new depot elsewhere), and the closure of the existing parcels platform. This platform was thus free for conversion into a loading dock for the new car ferry service.

OPERATIONS

Throughout the fifty years the car ferry service ran, the basic pattern of its operation remained much the same, with only details like the motive power, rolling stock and timings seeing much change. It is thus worth looking at a typical journey for the service, starting at Vicarstown and ending at Barrow.

Below: A vague representation of how the loading process would have looked. I've employed a bit of artistic license with this photo: while the NWR did have some enclosed double-decker car carriers, these were never used on the car ferry services.

To begin with, the consist for that particular crossing was shunted into the station - the carriage trucks going to the loading dock, and the passenger coaches to one of the through platforms. Drivers and passengers boarded their coaches, leaving their cars to be loaded by the station staff. Once loading was completed, the carriage trucks were marshalled and coupled to the coaches. All shunting was done by the train engine, who then ran round to the front and hauled the train to Barrow. On arrival, the whole train was shunted to the loading dock there, where passengers and cars were unloaded together. The stock was then taken away for servicing. Of course, it goes without saying that in the opposite direction, the whole procedure was repeated, only in reverse.

In all, ten car ferry trains ran daily (five in each direction), with provisions in the working timetable for an extra four (two in each direction) if they were needed - say, during the busier summer months. To avoid overcrowding, a maximum of 20 cars were allowed on each crossing, and motorists had to book in advance. This enabled staff to work out how many carriage trucks were required, and what types, well ahead of time. It also allowed them to work out how many passenger coaches were needed - the rule here was that there should be at least one compartment for every car carried.

In the early 1930s, the NWR began allowing larger commercial vehicles to make use of the car ferry trains, and this required a slight amendment to the 20 cars rule. This amendment counted the size of a vehicle in car lengths - if, for example, a lorry turned up which was as long as three cars, then it took up three slots on that particular crossing. Any number of vehicles could thus travel on a single train, so long as their total length did not exceed 20 car lengths.

STOCK

The car ferry trains never had a specific engine allocated to run them - generally, any engine could do the job if they happened to be at Vicarstown or Barrow at the right time. As the NWR’s locomotive roster expanded, the car ferry became the exclusive preserve of the engines based at either of those sheds - the job generally being allocated to any engine who wasn't busy anywhere else that day.

The car ferry was also a neat way of getting an engine from one station to the other, without having to find an extra path for a light engine movement. For similar reasons, it was not uncommon for visiting LMS (later BR) engines to take charge of a Barrow-bound car ferry on their way home.

Below: An example of a long-wheelbase covered carriage truck. Many were later converted for parcels, newspapers or general goods traffic. This particular example went into departmental service, and in this view is carrying engine parts.

As far as rolling stock was concerned, this mainly consisted of both open and covered carriage trucks (henceforth referred to as OCTs and CCTs respectively). When the service first started, cars were carried on short-wheelbase OCTs, but these proved unpopular with motorists, as the cars often had their paintwork spoiled by smoke and soot spewing from passing engines - and sometimes from the engine pulling the train! The NWR tried to remedy this by offering the use of protective tarpaulins, but eventually they decided it would be more prudent to switch to CCTs instead.

Single cars were carried in short-wheelbase vans, similar in design to the GWR’s Mogo vans.

For pairs of cars, longer wheelbase CCTs could be used.

For trios or quartets, bogie CCTs were employed.

When larger commercial vehicles began to be carried, bogie OCTs were used - converted from the underframes of the fabled Dublin Stock.

Because of the aforementioned one compartment for every vehicle rule, the passenger coaches were at first quite a motley collection, with the numbers being made up by any old stock just lying around. It was only from the 1930s onwards that more consistent rakes of coaches began to be used - starting with Ironclad-pattern stock, moving on to Maunsell-pattern just after the War, and finishing up with Bulleid-pattern in the BR era.

MOTORAIL

Above: A display of Scottish country dancing at...I think it's Kensington Olympia? No, I don't know why either.

In the 1960s, British Rail officially launched its Motorail service, offering fast travel for passengers and their cars to all parts of the country. To serve Sodor, one of the new services ran twice daily between Kensington Olympia and Vicarstown, and the latter’s existing loading dock was upgraded into a terminal. Two of the car ferry's ten daily crossings clashed with the proposed timings of the new Motorail services, and so were slashed from the timetable. Other than that, the car ferry was able to carry on as normal.

By then, the rolling stock used for the car ferry was beginning to show its age, and a programme of gradual replacement was implemented from about 1966 onwards:

For cars, General Utility Vans replaced the old bogie CCTs, which were retained for parcels traffic.

For commercial vehicles, Carflats replaced the OCTs, which were either scrapped or placed into departmental service.

Finally, for passengers, some of the NWR’s own allocation of BR Mk1s replaced the Bulleid-pattern stock.

The car ferry trains continued unabated into the 1970s, but it was clear they were running on borrowed time - for the first time, demand was beginning to outstrip capacity, and there was no room in the timetable to run extra trains. Then, exactly fifty years after the car ferries had first began, came a blow from which they were never to recover.

THE JUBILEE BRIDGE

That year saw the opening of the Walney Road Bridge, to mark the Silver Jubilee of Queen Elizabeth II. Needless to say, this snuffed out the NWR's car ferry monopoly in an instant. Nobody was more incensed at this development than Sir Topham Hatt, and he saw to it that the NWR was substantially compensated for the extinguishment of their ferry rights.

Above: The Jubilee Bridge. Visitors to Barrow (and native Barrovians, too) may think that this is the only bridge here. This is an illusion!

All was not totally lost, however, for 1977 also saw the extension of BR's existing London-Vicarstown Motorail service to a brand new terminal at Killdane - a more convenient base for the visiting motorist to explore Sodor. Such was the success of this new service that further others were introduced, linking Sodor with other provincial centres. Some of these services employed the stock which had previously worked the car ferry trains.

MODERN DAY MOTORAIL

The expansion of Sodor's Motorail services came during a period of gradual decline for the brand across the rest of BR. The expansion of Britain's motorways, the improvement of car technology, and the chaos of privatisation all ultimately conspired to kill off Motorail by the early-1990s.

Above: First Great Western briefly revived the Motorail concept in the early-2000s, using a fleet of converted GUVs.

Despite this, Motorail on Sodor has continued to flourish into the present day. Not only are its existing terminals at Vicarstown and Killdane still in operation, but there is now a third terminal at Tidmouth. These form the basis for the NWR's current Motorail services, which all serve to help solve a very basic problem.

The thing is, many visitors to Sodor now arrive in their own cars, but the island's road transport infrastructure isn't really suited to the needs of the long-distance motorist. Fortunately, the NWR has them covered. Special car-carrying trains now run regularly between the Motorail terminals at Vicarstown, Killdane and Tidmouth. While you still have to book in advance, it's a small price to pay for having the convenience of a car at your disposal, without the insanity that comes from having to drive it all the way across Sodor.

Of course, while the NWR's Motorail trains are available to all motorists (local and foreign) the majority of their customers are Mainlanders - the typical Sudrian would just as soon leave his car at home altogether!

[engineer-gunzelpunk]

Well, well, well... *strokes chin*

So that's why Henry's char got inverted, and why everyone just seems to be shattered shells of their former selves. A style guide written by people with no feeling for railways, locomotives, mildly complex story telling or even consistency of character.

[kenora-pizza]

Musical Musings - TTTE edition, Part 2

ALRIGHT!

My first musical analysis post has been getting a LOT of attention in the past few days or so. So first off, thank you for the love everyone, that was one of my favourite posts to make (besides the crackhead Gordon and Henry shitpost and my "Emily in the middle" rant). Second, since it appears that people like this sorta thing, I figured I'd share a couple more things that I've noticed, one of which I didn't put in the first post cause I figured people had already  noticed it so it didn't need to be said. But I think I'll put it in anyways, just because. So let's get into it!

In pt. 1, I talked about the fact that Henry's theme has an occurrence of "3," in that each of the 4 beats in a bar was a triplet, and how Henry is the number 3 engine. Well, I was listening to his theme again and found two more occurrences of "3" in the introductory bars of the theme. For reference, I am talking about this part:

 Each bar has the following rhythm:

Now, the first occurrence of 3 comes from the fact that the first 3 beats have the same rhythm, as shown in the above image. The second occurrence of 3 comes from the fact that the last beat of the bar is a triplet. 3 notes. Tack on the first occurrence of 3 from the first post, and you're 3 for 3 for NWR no. 3. HMMM........

2. Continuing with the subject of Henry's theme, this observation has probably already been made several times over, but I figured I'd put it in to continue the "Henry's theme" trend. If you take a listen to Henry's sad theme, you'll notice that its repeating motif is part of Henry's main theme in a different, minor, key with a different rhythm and at a slower tempo.

Take a listen.

The opening fragment of Henry's main theme:

The main motif of Henry's sad theme:

And in sheet music:

Henry's theme (Eb major):

Henry's sad theme (B minor):

The numbers indicate the note's position within its scale. As you can see, both themes share the same note pattern. To get Henry's sad theme, you'd transpose the theme down a diminished 4th (i.e, move the notes down by this interval) to B major, and then adjust the D# and G# in the resulting melody to D natural and G natural to fit within the B minor scale so that it sounds sad. Nice job, Mike & Junior, very clever.

Just in case anyone is confused, the notes for the B major & minor scales are shown below:

3. Donald and Douglas' CGI whistles are the notes of C and A respectively. These notes are related in a couple of ways. The first/lowest note on a standard 88-key piano is an A, and the last/highest note is a C. Given the twins' original BR numbers (57646 & 57647 respectively), it appears that Douglas is the younger of the two, so their whistle notes make sense in this context. Additionally, as mentioned in pt. 1, the keys of C major and A minor are related in that they share a key signature of no accidentals (ie, no sharps, flats, double sharps or double flats, yes those last two exist and they gave me hell as a kid). Thus, the whistle notes would make sense in this context.

You'll often see modulation from either C major to A minor or vice versa in classical music. Two contrasting, yet complimentary keys with their own characters and personalities which work well together. Just like Donald and Douglas.

4. I was rewatching some of the season 7 episodes which have Arthur in them. And I think I kinda forgot how fucking huge this guy is. I also noticed just how low his whistle is in comparison to the other tank engines, perhaps emphasizing his bigger size and his more serious attitude in comparison to them.

Whew, this was a long post. I hope you guys enjoy this post as much as you did the last one.

[hkpika07]

For a doodle request, how do you imagine Henry spending time with his kids? May we see them?

Forest dad takes his kids to his favorite spot in his forest for a well deserved nap and some apples.

[verypsbfan019]

(bruhstation) I've been mulling over the hawin lake saga again and I think it's not hard to understand where dane's anger comes from.

he spent so much time taking many of hawin's jobs while also juggling the fact that he has a high chance of being replaced. he has so much on his shoulders at his old age, while a younger engine like hawin took his job unseriously and spent his days lazing around in his shed. up until the end, dane spent the last moments of his life crying out to hawin because he thought he could trust him, yet hawin let him down, covering it all up and being the one partially responsible for his death.

postmortem, dane's considered a mere tale or even a joke to many future engines. he's no longer considered an individual with humanity, he's now just a cautionary tale despite not being responsible for his own death. all because his "friend" is so careless, not because of some unstoppable force of nature. his death could've been prevented, and that just adds salt to the wound.

dane's actions aren't justifiable and he hurt so, SO many people, but his backstory is so tragic. so selfish, so full of honest emotion. he pent up his true feelings about his worry and anger towards the changes the island was going through, and only at his death he was able to take it all out. he's a very "human" character with "selfishness", needing others' company yet also rejecting them out of fear, afraid of change, the want for revenge and also closure..... dane is a very well written villain. and don't get me started on hawin's character too

Ohhhhh I enjoy reading character analysis so much!!! 💚🚂

I love tragic characters and angst, Dane fits perfectly in that category. We learnt in "A railspin splitspace" who he really was and I wish we could have seen more of him before his death.

Dean is not a "I wanna make everyone suffer because I can" character, he has more under the surface. From the insecurities of being old was bringing, adding the fear of being completely replaced by Hawin soon (I think this thought also comes from the fact that Neil's gone due to his age) to his death that it COULD HAVE BEEN PREVENTED if Hawin or his driver and fireman had told the problem of the points on time...

His anger is really understandable!!! It doesn't justify his actions, though, he hurt engines that had nothing to do with his accident.

And I totally agree about how dehumanizing was for Dane that the abrupt end of his life became a silly ghost story for young engines... Like... Couldn't anyone show some respect?! He crashed into the lake and drowned, his corpse was underwater for almost 3 years according to the timeline provided by the author of the saga until it mysteriously disappeared. Imagine being Dane, not being able to rest in peace, seeing how his body was left there and becoming a sort of urban legend.

I still wonder how Hawin could lived with the guilt of being partially involved in Dane's death. It's not 100% his fault since he's an engine being driven by humans and it must have been more people there. But you are right, he didn't take his jobs seriously (quite common in young engines, look at Thomas, for example) and that behaviour ended up in the death of his friend...

Really sad, I love it hehe

[friendly-emerald-emily]

Because most of the episodes I watched and had on home video as a kid were from seasons 8 and 9, Emily's bossiness never stuck out to me. Due to how often the cast threw jabs at one another. I only saw her introductory episode maybe 3 times growing up and then forgot about it for over a decade. Her personality change flew right over my head.

Regardless, she quickly became my favorite character. Not only did I really love her spotlight episodes, but her daydreaming resonated a lot with me due to having undiagnosed ADHD at the time. I couldn't put a name to what I was experiencing, but I could recognize it.

i wholeheartedly agree! i grew up with most of the classic series on home video, but the HiT era eps were the ones airing on TV when i was little. so watching, say, season 5 then going to emily's HiT episodes I didn't notice much difference in terms of her behavior. if emily had been around during more of the classic seasons, some of her "bossy" lines would fit seams into them. as awful as the HiT era's writing can be, "oh, i AM sorry, sorry you didn't listen to me!" will forever be iconic. she killed thomas with that one.

i also thought her spotlight eps for the most part were pretty good. snowplow is iconic, emilys new route made her a sympathetic protagonist, halloween is perfect, emily knows best gives her an interesting conflict with toby, emily and the special coaches does the same with diesel, emilys rubbish is hilarious, and excellent emily really nails her more self righteous traits.

and while i myself dont have adhd, i do headcanon emily as some flavor of neurodivergent. she wants to do her jobs only in the way that she sees fit, sort of like duck, who a lot of people agree is autistic. also throwing in projection lol

thank you for this lovely, well thought out ask anon!

[meanscarletdeceiver]

Thank you for your amazing answer. I would love to pick your brain on one other thing. My friend says the Strike Trio(TM) are Gordon's best friends. I think Gordon and James' friendship is sort of shallow so I say All three engines are now great friends(TM) are Gordon's best friends. Thoughts? 

¿Por que no los dos?

Ultimately I think you guys have to define what "best friend" means here.

I do think you raise an interesting point about Gordon and James but there are still... a lot of caveats to consider.

(The tl;dr is gonna be point 6 out of 7 under the readmore.)

1. I would emphasize that, overall, Gordon's most important circle is the other five original engines. In the RWS timeline, Thomas, Edward, Henry, Gordon, James, and Percy went through the Depression together. They went through World War II together. They went through Henry's wreck and rebuild together. They saw the beginning of the RWS books' publication together. They faced the huge unknown of nationalisation together. The only other engine acquired by FC1 was Toby and even Toby arrived late in his tenure, after all those formative experiences. I suspect there are others of the Nameless Eighty who were actually there pre-Toby but it's probably no coincidence that we don't know them—I'm sure they haven't broached Gordon's circle of trust.

It's not that I think Gordon is on the whole ill-disposed to newcomers from Toby on. (That's James's job!) Like I'm sure he counts the other characters we know of as friends too but I doubt he ever bonded with any of the newcomers on the same level. (BoCo is a bit of an exception but there is also some ambiguity there as to how much BoCo is humouring him. I hope it's more than that because Gordon really puts himself out there in that relationship in a way that always amazes me but it's hard to be certain from the text that BoCo is doing more than just being polite.) Almost all the other original six are seen to really be able to integrate comfortably with new characters. But I'm not surprised that Gordon struggles because he has that aloof quality. It's going to be hard going for him to emotionally "overlook" a missing twenty years or more of developing trust...

So I think it's better to think of Gordon's relationship in terms of tiers. The original group is all of a tier, and we are in danger of splitting hairs if we try to rank his relationships within that tier. I'd say these relationships are different but they all very important to him.

2. That said, Gordon's "best friend" is pretty obviously Henry. Like, we all seem to agree on this, yes? Beyond that, you guys seem to be trying to rank James and Edward... And again, I fear it's too easy to start getting into splitting hairs. Like to me ranking all your friends is a bit middle school, you know? There are friends that give me different things, that bring out different parts of me, while not necessarily being better or worse than other friends...

That came out more accusatory than I meant, heh. I just like emphasizing this part. Gordon and Henry's friendship is so THERE and so important. Moments like "Henry's not going" and "That's settled, then" and "Tugboat Annie!" are just. I can't. Literally one of the best and most consistent things about the series. ♥

3. On your side, there is something particularly important about the ATEAGF™ (lol) group. It's just a vibe that is obviously felt pretty widely. I mean the original line came from the first RWS book, with all its Pilot Episode Weirdness, and it would have been easy for Awdry to memoryhole it as he introduced, well, James—but he very much didn't. In Henry's and Edward's later books, there is a story in each dedicated to revisiting the Three Railway Engines dynamic over the years asdfk;ladsf; (Arguably Gordon's book at least flirts with it too, though in that case James is also always in the mix—but we'll tackle James in a moment.) In these showcase stories, there is conflict but they're also still undeniably tight. In the Christopher Awdry books he doesn't focus on this relationship but he does throw in one line showing Gordon speaking of Edward warmly, deliberately assuring us that it lives on. This is also why Gordon's panic at Edward and Henry's departure in "Forever and Ever" will always be Andrew Brenner's most iconic moment (even if it's also his most controversial, lol). Like, we the fandom viewers may not have been on board with the concept, but despite our resistance we felt it. It's not like other TVS what-the-hell moments where you can ignore it—Gordon's characterization there DOES resonate.

As I've discussed before—way back when—he can be really brutal at times to Henry and Edward even after he's supposedly their long-time friend and I diagnose this as Gordon just... letting himself be messier with them, essentially? His crushing commentaries at the beginning of "Gordon's Whistle" and "Edward's Exploit" are totally inappropriate. But I don't think he's conscious of any malice in either case, I think he's scared because he's thinking of his friends' mortality and he doesn't know how to handle it, but. BUT. For whatever reason, in these cases he doesn't choose to put on his usual mask of the gallant hero dismissing danger. Instead he's more... honest, I think, than he usually is. (And frankly, when he is being honest I think we can see why he normally keeps all his shit buried because he clearly does not know how to deal with these emotions.)

Anyway I think the significance for all of this is that Gordon (the Loftiest Creation in All Existence, Doncha Know) has, in his heart if not always in his head, bestowed upon Henry and Edward a sort of honorary equality. Like, he relates to Thomas, Percy, and even James in the role of a benevolent patron (whose long-suffering benevolence is sometimes justly tired!) For Whatever Reasons, Gordon seems to really see Edward and Henry as friends in the sense of the engines that he is the most willing to be vulnerable with. And even that degree of vulnerability is... not a lot. But it's something.

I say for "whatever" reasons as I'm not convinced that just pointing to the events of The Three Railway Engines explains it. Then again, perhaps it does. Perhaps it all comes down to Henry and Edward, elated from their success, were very nice about it when they came back to take Gordon home and it was just the first time in Gordon's ultra-competitive life that he was down and another engine didn't kick him while he was there. I mean, we have a sense of what the other Sodor engines were like and honestly it could well be that the Doncaster Prototype Circuit (Gordon would not have been the only one) was pretty cut-throat. So yeah, maybe that was enough. But then again, maybe there's more to it—not least of which, I don't think it hurt that Henry and Edward were not competition for him at the time the way the other Sodor tender engines were—and, ofc, Gordon melted down a bit once Henry was rebuilt and he was, and come to think of it Duck did cite jealousy of Edward as a reason for everyone acting like asshats, and hmmmm... yeah.

Okay, so in short: Perhaps Gordon let his guard down, way back when, partly because Edward and Henry didn't have a go at him after his burst safety valve and were just generally pretty decent, and also they were safe for him to relax around because it's not like they were going to challenge his primacy.

Not the way that, in a couple short years, James would.

4. Which brings us to James, and therefore to Strike Trio.

But I want to note the foundation of the Gordon and James relationship. Because here there is jealousy from the start:

In 1925, James comes back from overhaul. He's new and improved and in a shiny new color and he immediately starts getting attention from passengers.

We do know that Gordon starts in on James right away—in the RWS version of their double-header, James is already fretting a bit about Gordon, to the point where Edward tells him the story of Gordon getting stuck on the hill as a way to reassure him that Gordon's kinda full of hot air. But Gordon doesn't appear till later in the book, where "[he] and Henry would talk of nothing but bootlaces." But this is brought up in relation to the fact that James is rising again in the Fat Controller's estimation. And Gordon in particular feels the need to talk down to him. "You talk too much, little James... A fine, strong engine like me has something to talk about... [boasting continues]... What are you doing? Odd jobs? Ah well, we all have to begin somewhere, don't we. Run along now..."

It's enough to make anyone want to commit murder tbh. But also, as is pretty typical with Gordon, it's not outright insults. It's patronizing.

And then of course James becomes only the second Sodor engine who can pull the express on his own.

And Gordon immediately—while still being patronizing about it!—switches gears into treating James like a chum.

I am not here accusing Gordon of conscious politicking, especially as I don't even think he's capable of it (certainly he isn't in 1925). I think when he expresses warmth it's because he damn well feels it. He's capable of simply being impressed, and he was. But I said all this to sketch out how, throughout James's book, James is clearly a threat to Gordon.

This makes it hilarious how Gordon never seems to quite get over treating James like a junior friend. "Never mind, little James. I'm going to push behind." Like. In this book, James is clearly in the same category as Thomas (and therefore the same category as Percy!)—"protege" or a "little brother"—a little engine who is needlessly rude and disrespectful but whom Gordon grandly forgives.

The dynamic painted so far—Gordon taking James under his wing; Gordon bestowing on James the honor of being his friend, and furthermore James agreeing to this dynamic—continues in Brenner-penned TVS. The scene in S3 "Trust Thomas" comes especially to mind—Gordon pulls the same evil-mentor shenanigans on James that in RWS he did with Sir Handel: "Now, if you were ill, you couldn't push trucks here, or go to the quarry there, now could you?" And again! James is comfortable with it! "What a good idea, I'll try it..."

I guess this point actually circles back to All Three Engines Are Now Great Friends™. James could challenge Gordon's primacy—I mean he'd probably lose out, but he could—and so it seems to me that Gordon never, ever lets his guard down around James. Puts James in the "little engines I've adopted, to save them from themselves" category, because that allows a version of intimacy... but without Gordon risking the loss of any face. Henry I and Edward could not challenge Gordon's primacy, and therefore I'm inclined to think Gordon did let his guard down around them, in the early years, in a way he never had with anyone else before, and wouldn't again for a very long time—if ever.

Gordon can and will verbally savage Edward and Henry if he starts to feel Feelings when they're at their weak points. But when Thomas and Percy and James are at their weakest points, Gordon would never.

It's just two different kinds of intimacy. But I'm eternally amused at the mental and emotional gymnastics Gordon went through to put James into that second category, back in the '20s.

(And why are we focusing so much on the '20s? Well, because I think Gordon grew from there, but at the same time he's very emotionally conservative so whatever dynamics and habits he fell into in the 1920s are still going to be going pretty strong even now in the 2020s.)

5. All this said, I gotta say, on the other side of things: I would not, I would not, underestimate the strength of the Strike Trio™ friendship.

It's a different kind of friendship but I hesitate to go so far as to say it's "shallow." Actually I think it has a very strong foundation—their friendship was forged in fire (I will never believe for a second Henry and James had even really begun to do more than tolerate each other before) when they took collective action against the Fat Controller, who (as he had already demonstrated before, in pretty dramatic terms) has power of life and death over them.

It doesn't matter here how shallow their reasons for doing so may have been. I'm talking here about the way they came together over their complaints. They shared them, they fed into each other's sense of grievance, the sum of their discontent was much more than the individual annoyance they all brought to the table. They banded together and together they faced the lions.

It's unprecedented in the series, and there's never anything quite like it afterwards. It was gutsy, it was seismic, it was huge. They were also willing physically to turn against Edward, whom they had all been friends with before, and again it's not their shining moment as individuals but let's be for real, dramatically excluding others is a very powerful group-building exercise, it's why so many groups wind up doing something like it, it works so far as establishing a collective identity.

Then they were all basically thrown in locomotive prison for a while, together. It must have sucked but also? It would have also really put the final seal on things. Prior to this James was punished in this way by himself, Henry was tunnelled for a very long time but also by himself, Gordon in particular is noted to have been on hand watching Edward's tenure in the sheds and putting allllllll the distance between that and his own reality. Now the hammer falls again on all three alike—but they face it together.

I'm not the least surprised that they would be firm friends after all this.

There's one other factor that I think gives your friend a very strong case. For all I agree that there's a special, particular bond between 2, 3, and 4... 2 isn't around. Not regularly, at least—not every morning, every afternoon, every evening, all night. 3, 4, and 5 live together. That degree of intimacy, that sheer number of face-time hours—multiplied over what is by now one. hundred. years.—uhhhh yeah. That's going to be hard to overtake. There is going to be a Strike Trio closeness that Gordon will not have with Edward and that's about that.

We have been talking lately about the possibility of the Strike Trio drifting apart over the years, and to what degree they did, and what it signifies... those posts were after your ask, but I'm sure you saw them. And to some degree felt vindicated! But I think it's the same phenomenon of The Three Railway Engines after 1923(?) or whatever—there is a drift, there is distance, the relationship itself is not erased. And if that was true for them, it would be even more true for Strike Trio after decades living and working together so closely.

6. So I guess ultimately I agree with your friend, bwaha.

Mostly, though, I think they're all just really lucky to have so long to grow and develop, and to have newcomers arriving to mix things up and help them grow even more, but most of all to be in a position where no one has to lose touch with the friends who have touched their lives. We should all be so blessed, honestly.

7. (Also, the more I think about it, the more I realize that Wilbert Awdry was kinda full of it. Like, yes, I sympathize with his frustration in that 'Thomas isn't the main character! it's an ENSEMBLE SERIES.' But also, this discussion makes me realize '... yeah, buddy, sure, but it IS amazing how much of your series and its beats we preserve even if we boil down the whole RWS to just 'Gordon the Autistic Aristocrat Engine's Lifelong Adventures in Forming Healthy Relationships with Others and Himself 💙'. )

[the-autistic-duck-fan]

Alright, first analysis and we're starting with Season 1! Also I'm still finding my style, so sorry if my analysis seems strange.

I quite like season 1, it's a great start to the incredible legacy and franchise that it would become later. There's definitely some awkwardness and growing pains to it, but there's bound to be, it's season 1. And there's still plenty to like about it.

Season 1 is actually a bit hard for me to talk about. (I've tried to write this analysis three times). I'm not 100% sure why this is, but I'm trying my best here without copying others.

First thing I wanna get out of the way. I like both the Ringo Starr narration and the George Carlin narration for this season. I actually grew up with a bit of both. I can't say I think one is better than the other, they both have their own feel and their own strengths in my eyes. Ringo's monotone also makes me laugh in some spots. George Carlin does a good job of giving characters different voices.

Watching it, you can tell they definitely weren't used to the models yet. Things are more static and less detailed in this season in comparison to the following seasons, but it's not bad. They just needed some time (and a bigger budget) to improve the sets. Another interesting thing is the way it's shot, oftentimes with objects in the foreground and engines in the mid or background. I don't know why it's shot this way, but it's not bad, it just caught my attention. I'm no expert on cinematography though, I can't explain it. It kinda feels like photography sometimes (I mean, I know videos are just many pictures being taken all at once, but still), especially with the more limited motion for the season. I think overall they managed to balance it between taking enough time to tell the stories and moving along enough to keep the children's attention, seeing as the show continued on for a long time.

Another thing I like are the mini arcs for the characters. The one that stands out most to me would have to be Henry's. I actually didn't like Henry as a child and I don't really know why. Now that I'm older, I can relate to him actually. Not in the first part of his arc where he's afraid of rain and goes into tunnel, mind you, but once we get to the second part of his arc, where he needs special coal and needs to be sent to crew. I am someone who struggles with chronic pain and autism. I spent a lot of my life being told that I didn't try hard enough or that nothing was wrong with me except me being lazy, much like Henry. (I've learned to cope much better now, thankfully). Seeing Henry get the support he needed just felt nice and I was rooting for him (despite the fact I know exactly how his arc goes). I've heard others say that The Flying Kipper is their favorite episode and I have to agree.

Another smaller arc I like are Gordon and Thomas' shared arc, where both end up in disgrace and the two agree to work together. It ties up the season in a nice little bow, since the season started with Gordon teaching Thomas a lesson.

James' introductory arc was the one I remembered watching the most. I also remember his rather snazzy theme very well. James was my first favorite character. James entered with a spectacular crash and through a few misadventures learned his lesson. (Well, somewhat, but not really). Despite how many times I watched the James episodes, I don't have much to say about them.

I used to never think much about Toby, but I definitely like him more now that I'm older. He's kind and polite, but also takes no shit. I also like his musical theme.

For now, I don't have much to say about Percy, but I'll definitely have more to say about him later on, since he was introduced late into this season. I just wanted to make sure to note that I didn't forget about him. I do like his cheek though, like when he calls out Gordon for saying he's never had an accident or scares Henry with his wheeshing (is that how it's spelled?)

Season 1 overall is a good start to the series. It's definitely iconic and has made a lasting impact. It's not my favorite season, but it's always fun to revisit. Hopefully I could do it some justice here. I actually enjoyed this analysis, even if it took three tries to get anywhere.

[weirdowithaquill]

Let's Talk About Rebecca:

Well, I said we needed to talk about Rebecca, and here we are.

To begin with, I would like to preface this with a simple disclaimer: I am in no way telling people to like or dislike the version of Rebecca found in BWBA, but instead looking into what caused such a deep disdain for this character, one that lasted long after Henry had been departed and was fuelled not by her position as a ‘replacement’, but rather by the series itself. This is not a dissertation on why Henry is a stronger character and why Rebecca should never have been introduced - that is counterproductive and, in some ways, false. This is instead something adjacent to an essay in which I will focus on how Rebecca’s flawed introduction, characterisation and tenure in the series both represents the BWBA era as a whole, but also what led to her being notably absent from All Engines Go, the reboot of Thomas and Friends. This will be followed by me attempting to redesign her characterisation and create an alternate version of Rebecca, one which in my opinion would have done far better for herself in the series. 

Part 1: Who is Rebecca, and Why Her Characterisation Doesn't Work:

According to the former official Thomas and Friends website, Rebecca is: “...a very cheerful and happy engine. She is painted a sunshine yellow which reflects her positive outlook on life. Rebecca always sees the best in others and enjoys helping everyone around her feel good about themselves. Despite her warm nature, Rebecca is not afraid to stand up for herself or her friends. She is a big, strong tender engine who is not intimidated by the more experienced engines on the railway. Rebecca is the number 22 engine.” 

Already, there is a major issue here: her characterisation is a strange amalgamation of others, who could probably just as easily take on her roles without really breaking any of the episodes she is in. “Cheerful and happy” are characteristics held by Ryan, Stanley, Whiff, Thomas, Percy, Edward, Mavis, Peter Sam; the list goes on. There are already far too many engines whose main qualities are cheerful and happy. She is painted yellow - like Molly and Flora were, or if we go further back, like Jock, Pip and Emma were. “Sees the best in others” was once upon a time a quality unique to Edward, as well as Salty. “Enjoys helping everyone around her feel good about themselves” sounds way too close to what Emily has become in the series, without mentioning the evolutions of Mavis’ character or Rocky’s character. If we add in her clumsiness and shyness, we get Kevin and Molly respectively - and Kevin is also yellow! She isn’t intimidated nor does she have any trouble at all with fending off engines who want to be mean to her. She isn’t unique here either: Duck did this when he first arrived, and he had a much bigger and more notable impact because of how he acted when confronted with the big engines' attitudes. What all this really means is that Rebecca has already finished a character arc at some point in the past and does not need to grow further. 

And here we reach the crux of the problem with Rebecca in BWBA: she has nowhere for her character to grow into - something all the other main characters have done decades ago. This is especially problematic at this late stage in the show; Thomas & Friends has been running since 1984, and almost every character they pair Rebecca up with has had an exceptionally long time to bed themselves in and grow into the space they occupy. For Rebecca to compete, and truly qualify for her status as a main character, her character needs to make its own space - and importantly, make that space bigger than as many other characters as possible. This is a running problem in the TV series post Season 7, and something that really baked itself into the show by the time the series reached CGI: the characters do not develop. The Steam Team (bar Emily) hasn’t had any real, natural character developments since the Mitton era - not any sustained over multiple seasons, at least. If we go back to the Classic series - or further back to the Railway Series - we find that the very essence of Thomas is in its strong characters and their natural growth. Gordon grows into being more humble, Edward and Henry grow more confident in themselves, Thomas and Percy mature and (to some extent) learn their limits - the list goes on. There are characters that do not grow as much or remain the same, yes - but they still have some sort of character arc where the essence of them as a character is tested. 

Rebecca does not undergo character growth in the series, and her character itself is not tested in any meaningful way. Instead, she is overused and underutilised - by which I mean, she appears constantly throughout the series but is given nothing to define her as being any different to any of the characters mentioned above. Worse yet, Rebecca’s leads are easily interchangeable with any other Steam Team member, and this further complicates her. Rebecca takes trucks perfectly - like Donald or Douglas would, or perhaps Edward? Rebecca is too fast and leaves passengers behind - like Peter Sam did to the refreshment lady. And when she causes all kinds of delay, is that not like James did way back in Series 3? And she’s tricked by Diesel… like almost every single engine in the entire series, going as far back as Gordon, Henry and James were in Series 2. 

Would it have been better to divide Rebecca’s leads up and give other, more established engines more spotlight? Probably. Her personality is similar to a number of others, and her introduction is basically a mix and mash of older episodes - notably the eighth series episode, Thomas and the Tuba, the tenth series episode, Seeing the Sights, the first series episode, Thomas' Train, and the fourth series episode, Peter Sam and the Refreshment Lady. This really doesn’t help to define her, especially when all fans think about when they watch the episode is what other, older episode it is most like. Her subsequent appearances do very little to endear her either, both due to the lack of effort put in by Mattel to ground Rebecca in the series and the low impact of the episodes she does star in. Characters like Oliver or Duke have had lasting impacts on the fandom despite their short tenures because their episodes have high impact. Duck is one of the most popular characters in the fandom of this show, despite having been a secondary character ever since Series 5, and being practically absent from the series between Series 8 and Series 16.

Rebecca also takes up a difficult spot as a replacement for Henry, which complicates her relationship with a large portion of the fandom, meaning a lot of her as a character is questioned in relation to what Henry would have done. While technically, Rebecca was slated as a replacement to Edward, her arrival coincides with Henry’s departure, and thus for the purposes of this, we will consider her to have taken the position Henry had, similarly to Nia and Edward. Whether or not Henry’s departure from the main cast is a bad thing is an issue unto itself, which dives into character assassination and to what extent the Henry seen in Season 21 is the same Henry seen in Season 1. In either case, Rebecca’s roles could have quite easily been filled by Henry or another standing character, and her characterisation is too similar to other, pre-existing characters to make her stand out amongst her costars and their longer, more notable characterisations and character growths. 

Much of this is compounded by how Rebecca was introduced and integrated into the main cast, which is clearly seen when compared with another notable case of an engine joining the Steam Team after it had been first codified: Emily. 

Part 2: Rebecca vs Emily - How to Introduce a Main Character: 

Rebecca’s introduction is extremely underwhelming, especially for a Steam Team member. Thomas and Gordon shared the very first episode, Edward established himself as a foil to Gordon in his introduction and in Henry’s first appearance, he is bricked up in a tunnel in perhaps one of the series’ most infamous and iconic episodes. James makes his grand entrance by crashing into a field, Percy nearly gets destroyed by Gordon and Toby tugs on the viewer’s heartstrings as we watch him lose his entire livelihood. Moving forward several seasons, Emily’s introduction includes her saving another engine from a terrible accident - and then lastly, Nia gets an entire movie to embed her. Rebecca just bumbles about for ten minutes and takes the final shed at Tidmouth. 

To make matters worse, Henry’s departure is equally low-intensity. Edward at least got a full episode; Henry got a single line, used to further Gordon’s character as opposed to finalising Henry’s arc and introducing Rebecca’s. And while Gordon’s character here is interesting and new and possibly the first real growth we’ve seen from any of the Steam Team since Henry, Toby and Percy regressed into children before CGI even began; it does nothing to create a satisfactory conclusion to Henry’s arc or properly build up Rebecca’s arrival. This ultimately undermines Rebecca’s position as a primary character in the series, where she has joined far too late in the series to make an impact without dedicated time and effort being put into her. 

We are expected to accept that Rebecca has simply arrived and is now a main character by the show without any reasoning behind this. There is no connection between the viewer and Rebecca to justify this promotion to main character status, and it is telling. The writers don’t have anything new or unique to say about Rebecca either and it reflects in her episodes, which are remixes of old episodes or bland and unoriginal. This is especially painful in an era when so much of the writing is like this, bar the few episodes that really manage to break through the white noise. Ironically, two of the episodes that do really stand out have Edward and Toby as main characters respectively. 

In contrast, Emily is very well introduced to her position and has a long, notable character arc that plays out across both the Classic and HiT eras to cement her as a main character before making her a permanent member of the Steam Team - a journey that endeared her to fans and helped to build her characterisation to make her unique and interesting. Emily is first introduced in Season 7, where she has a strong introductory story played out against Thomas where she steals Annie and Clarabel and then rescues Oliver from a nasty accident. I’m not entirely certain, but this might be the first time that an engine takes Annie and Clarabel without asking - prior to this, Percy and Duck both got permission or it wasn’t mentioned. And after this episode, Emily does not immediately move into Tidmouth Sheds - she remains at Knapford, despite having further notable appearances across the rest of the season. 

What is made apparent in Season 7 is her characterisation. Emily is brave and bossy, but kind-hearted. She doesn’t headline constantly either, instead playing off other characters and rolling into the background when needed. She slots naturally into a secondary role in this season and feels like an engine who belongs on the NWR. Season 7 introduces Emily to viewers and gives her characterisation to back up her unique appearance. Season 8 continued this trend, building on her more and pairing her up with different engines to settle her comfortably into being a proper presence on the island - notice how it’s an evolution over two seasons? By Calling All Engines, Emily is a main character by virtue of her cementing herself into the cast, and her berth at Tidmouth feels like a natural progression of her story, firmly planting Emily as a Steam Team member. By Season 11, she is being used as a primary character to bounce newbies like Whiff off of! 

When considering Emily and Rebecca, two takeaways make themselves known: firstly, that characters need time and effort to be cemented in the story, especially when introduced long after most other central characters have had time to imbed themselves; and secondly that characters need strong, interesting differences when compared to those they share the screen with in order to fill unfilled positions. Emily is brave and bossy, giving her a unique style that makes her work great either as the protagonist or antagonist of a story. It gives her character flexibility - she can either be the engine that the protagonist is paired up with to learn something from or it can make her big-headed and in need of being taught a lesson of her own, one which she will - in her own way - try and pass on. We don’t meet someone with a truly bossy personality like Emily’s again until Bradford, and even then it isn’t the same. Bradford is used as a comedic character, whereas Emily’s bossiness was treated seriously. 

In comparison, Rebecca’s characterisation causes her to fade where she needs to shine. By being given a personality that has already been used consistently in Thomas, she fails to have a lasting impact and the abruptness of her introduction and elevation to the Steam Team is jarring and gives older viewers no reason to be interested in her. When combining this with the few defining qualities she has, it is equally hard for Rebecca to intrigue new viewers, making her feel bland and unoriginal when compared to many of the characters she shares the screen with. Rebecca is asked to attempt and hold her own against characters who have been intentionally woven together by the series for decades - and as explained above, this is not an impossible feat. It is not an impossible feat in the CGI series either, as Hiro, Paxton and Marion have all managed to stand out in an era when characters very rarely got much character building beyond their introduction. Unfortunately, Rebecca is given none of the same care, and it is reflected in how little she is used. Despite appearing more often as the seasons continue, she gets fewer leads to the point where she has an equal number of leads to Toby in the final season.  

Emily and Rebecca are two sides of the same coin in terms of introduction, both first appearing in an episode rather than a movie and then becoming members of the main cast - the difference is that where Rebecca was shunted in and thus the writers were unsure how to use her, Emily’s careful character-building and integration into the series ensured she would always have fans, something that is reflected in her being given a proper conclusion to her character arc in Series 24, where she is given the number twelve and thus immortalised in the same way that Thomas through to Oliver were. 

Considering the above issues, it becomes quite clear that the potential best way to introduce Rebecca and have audiences become invested in her and her story is not to simply drop her into the series, but rather to build her up slowly, similarly to Emily - which was entirely possible and plausible. 

Part 3: What Could Have Been: 

If we assume that Mattel was fixated on Rebecca having her canon characterisation as well as the BWBA series, there is still an entirely plausible method that could naturally build her character into the main cast, though it is underpinned by the original intent of the showrunners to have her introduced in Series 21 and replace Edward: 

In Series 21, Rebecca is introduced and shown to be clumsy but kind. In keeping with the original episode, she messes up the express and gets in trouble, however she then redeems herself by rescuing Gordon when he breaks down with the express. She is shown to be clumsy but kind, and gets the lead in a couple of episodes, as well as several minor roles. Preferably, she stars in at least one episode with Thomas specifically. At the same time, audiences are introduced to Henry’s dilemma surrounding whether or not he should sleep at Tidmouth - be it cause of the Kipper, arguments with Gordon, or whatever. This both places Rebecca into audiences’ minds while simultaneously opening up the question of whether or not Henry will remain at Tidmouth. Edward leaves, but the shed remains open - this is filled by Nia. 

Continuing in this vein, in Series 22, Rebecca gets a couple more episodes than last season, specifically with both primary and notable secondary characters - I’m talking Duck, Oliver, Rosie, Daisy, Ryan - characters who are popular, relevant to the series and allows the series to cement her as a main addition to the cast. This is to cement her and give her plenty of characters to bounce off and develop relationships with. Meanwhile, Henry’s arc comes to a conclusion and Henry quits Tidmouth in the last episode of the season, leaving it open. This also allows the creators to build up Gordon’s reaction to Henry leaving, showing his struggle to adapt to Edward’s absence and his simmering disdain towards Nia for replacing Edward before the 23rd season. 

Finally, in Series 23, Rebecca takes the empty berth at Tidmouth, replacing Henry and kickstarting an episode - or preferably two, but this is Mattel, so it is likely to be one - where Rebecca is forced to withstand the brunt of Gordon’s anger as he boils over, being compared to Henry before proving herself. This plants her firmly as a main character, while also potentially giving her a strong reason to become close friends with Nia - who also had to deal with Gordon’s stubbornness. Henry is given a proper farewell arc as well, allowing him to gracefully retire to his secondary character status. 

By arranging Rebecca’s arrival over several seasons, she is given time to fall naturally into her position and role, developing slowly and making the connections with other characters needed to cement her position on the NWR before taking centre-stage. This would also help writers learn how to write her, creating a scenario where Rebecca has a real chance of taking off as a character and potentially even getting similar stories to Emily where she is the lead main character who is used to introduce new characters - like how Emily interacted with Whiff in the eleventh season. This would also help viewers to understand who Rebecca is and get comfortable with her presence in the show before being asked to accept her as a member of the Steam Team. 

However, I still feel like her characterisation is weak in comparison to other Steam Team members - as mentioned previously, her clumsiness has been done by several characters including Kevin and Percy, who is a fellow Steam Team member. Her “Cheerful and Happy” characterisation has been used by far too many characters to count - including Percy, Peter Sam, Derek, Stanley and more recently Ryan - and not even her bright yellow paintwork makes her unique in terms of the series, seeing as Molly and Flora both had similarly bright shades of yellow for paintwork back in the model series. Moreover, her leads place her in relatively generic situations where other characters likely would have produced far more interesting plotlines, such as Molly easily pulling trucks despite being built for expresses or James trying to prove he can still pull the express and getting into trouble. Based on this, a complete overhaul of Rebecca’s characterisation is needed. 

Part 4: How to Redevelop Rebecca as a Character: 

When designing a Thomas and Friends character, one of the first things required is a real-life basis - and Rebecca was given a very interesting and unique basis that had the potential to give her very interesting stories. Rebecca is a Bulleid Light Pacific, in particular an unrebuilt West Country Class.  These were strong, powerful mixed traffic Pacifics used by the Southern Railway from 1945 until 1967, giving them a lifetime of about 22 years. They were praised for their free steaming, excellent boilers, and had a number of notable innovations for British steam - including welded fireboxes and frames, as opposed to the traditional, riveted system. The class was also well-known for their availability, being able to pull trains on almost every line that the Southern Railway had. 

In contrast, the class was also very famous for their flaws. Remember, Rebecca is an unrebuilt West Country Class, which had many of the same problems and flaws as their larger Merchant Navy Class relatives. These issues would plague the three Bulleid Pacific classes to such an extent that many of them were rebuilt by British Railways in the 1950s into a more conventional design which utilised the strengths of the class while altering or replacing many of the issues that Bulleid built into the engines as he used them as a testing bed for some of his more modern ideas. In particular, the major problems with the West Country Class were: 

Adhesion problems: the lighter load on their driving axles meant that they were even more prone to wheelslip than the larger Merchant Navy class, requiring very careful control when starting a heavy train - there are several surviving videos of these engines struggling to start a train due to their wheelslip. 

High fuel consumption - these engines were hungry, and this was in many ways highlighted during the 1948 locomotive exchanges where the West Country Class burnt 13.5 kg/km as opposed to the 9.02 kg/km of the T9 class that they replaced - for reference, the West Country Class’ coal consumption is comparable to the Gresley A1 Pacifics prior to the exchange trials of 1925 - a number which was dropped to roughly 10 kg/km after they were modified into the A3 class. 

Restricted driver visibility due to the air-smoothed casing and soft steam exhaust from the multiple-jet blastpipe. The exhaust problem was never adequately resolved, and smoke continued to beat down onto the casing while moving, obscuring the driver's vision.

Maintenance problems: the chain-driven valve gear proved to be expensive to maintain and subject to rapid wear, which was particularly problematic during the Post War period, as British Rail focused on availability rather than high quality maintenance. 

Leaking: leaks from the oil bath onto the wheels caused oil to splash onto the boiler lagging. Once saturated with oil, the lagging attracted coal dust and ash, which provided combustible material, and sparks from heavy braking would set the lagging on fire underneath the air-smoothed casing. The fires were also attributed to oil overflowing from axlebox lubricators onto the wheels when stationary, to be flung upwards into the boiler lagging in service. In either case, the local fire brigade would be called to put the fire out, with cold water coming into contact with the hot boiler causing stress to the casings, meaning these un-rebuilt locomotives would have warped casings, the result of a lagging fire!

All of these strengths and flaws tell a notable story about the kind of engine Rebecca may have been in real life: an engine with extremely good power and speed, but with difficulty at slow speeds and design issues that could have dangerous and rather embarrassing unintended consequences. This is a brilliant basis for a character, and it really irks me how little of all of this characterisation gold that Mattel ended up using - while it is consistent with how they treat their newer characters, it is also a real shame. Especially considering that from all of this, it is really not hard to build a genuinely interesting character that wouldn’t feel too out of place in the Railway Series or Classic series. 

Firstly, based on the high coal consumption and severe maintenance and wheelslip issues, we can suggest that Rebecca is a bit clumsy and worries about how others perceive her. Her class was large enough for this to be less apparent back on the Southern, but perhaps she was one of the worst for it, so she was teased mercilessly - and so after having moved to Sodor, she fears how the other engines will treat her. To cover for these insecurities, Rebecca acts standoffish or gruff, wanting to keep the other engines at a distance so they can’t find out about her flaws and tease her for them - already very different from her original characterisation, but far more interesting as it makes her one of the few new NWR engines to actively try and push both steam and diesel engines away. Furthermore, her excellent steaming abilities and fast speeds in service could translate into Rebecca being somewhat reckless or a speed demon, wanting to use her strengths to both hide her weaknesses and as something she enjoys. Rebecca has an air-smoothed casing, and it may help her feel the wind better at speed, like Spencer with his streamlining. Quite simply, by using her basis as a starting-point for her personality, building up character-traits from strengths and flaws of the class, we can construct an interesting and different characterisation that draws people in, similarly to how the Reverend Awdry did with his eight famous engines. Better yet, it means that once the other characters crack open this more standoffish side to Rebecca, we can still see the kind and clumsy Rebecca from the TVS, but it feels more natural and rewarding to go through a journey to get there and if it’s directed only to her close friends, while also meaning that we the audience can still see her gruff side when dealing with unknowns or characters she dislikes. 

There is also the fact that by considering her class basis, show writers can find interesting stories or take other issues with Rebecca’s class to incorporate into her personality. For example, the low-visibility created by the air-smoothed casing could translate into eyesight problems for Rebecca that she tries to hide because she fears engines would tease her for them, potentially culminating in Rebecca passing a red signal and getting into a crash. Maybe she doesn’t like fire or hates the works because of bad memories, meaning Rebecca hides any mechanical faults until they cause her to break down on the main line. 

By building her character around her class basis, we can develop an alternative personality for Rebecca that naturally stands strongly around other engines - especially as there are very few other Southern Railway engines on Sodor who could see Rebecca’s gruff and cold attitude as the defence mechanism it is. It also gives Rebecca a strong connection to Henry, who acted practically the same when he first arrived on Sodor to hide his steaming problems, making him sympathetic to Rebecca and opening the two up to a long-term arc that ends with Henry having helped Rebecca grow into the happy, cheerful and clumsy engine from the series before leaving. Her recklessness could translate into a rivalry or competition with Gordon, who is far more responsible and meticulous with his express due to his experience and the pressure that has been put on him. 

However, this is not the only way to build a better characterisation for Rebecca, the other option being to make Rebecca into a foil for other main characters. 

Part 5: Rebecca as a Foil: 

The other way to build Rebecca’s character into something that flows naturally with the other, previously introduced Steam Team members with making her more unique and interesting is to build it around the concept of the foil character. A foil character is a character who contrasts with another character, typically contrasting with the protagonist - a strong example of foil characters are Edward and Gordon, or Thomas and Diesel 10. Rebecca could quite easily fall into the position of being a strong foil character to the three big engines, more specifically James and Gordon, who are without a solid foil character to be contrasted against since Edward’s departure. In BWBA, when Nia arrived, she was considered to be closer to Thomas and Percy than Gordon or James, leaving them without a natural opposite. Rebecca has all of the strengths and weaknesses to fill this role. 

For the first option, using the personality the series gives Rebecca, we get the following scenario: Rebecca arrives on Sodor and is both an express engine and a mixed-traffic engine. When she arrives, instead of fumbling her first Express badly, she succeeds, and James and Gordon become worried about their status and jealous of her high speeds. Remember, prior to the codification of the characters into one or two jobs by CGI, James was a common replacement for Gordon on the express, and having his role as secondary express engine threatened would be a major blow to his ego. Worse yet, Rebecca likes pulling trucks, and is thus both similar but also a complete narrative opposite to the pair. Other engines like her for her kindness and helpfulness, even if it does get her in trouble when she doesn’t get her own work done on time - which Gordon and James exploit to make rude remarks about her. 

Already, Rebecca is a natural foil for Gordon and James, being similar enough for viewers to compare one to the other while also being different enough that her positive traits are highlighted against their negative ones. 

Then, Gordon could discover her hidden clumsiness and wheelslip problems, exploiting them to cause her embarrassment - something that has previously happened to James and when Rebecca is reprimanded for the resulting incident, he remembers his own struggles with wheelslip. This makes him more sympathetic to both Rebecca and the audience, and places him on a path towards apologising to Rebecca for how he spoke to her - while Gordon enjoys having the express to himself again. This could follow naturally towards an endpoint where Gordon gets his comeuppance and Rebecca is accepted into the Steam Team, having been a natural foil to both and developed close character relationships based on how she is positioned in contrast to Gordon and James. The series then progresses to seeing Rebecca act in opposition to the pair, as well as trying to one-up them, being either the protagonist or antagonist depending on who the hero of the story is. 

The second option is to use the character made for Rebecca in the previous part - the one built out of her basis and its issues - to turn Rebecca into a strong foil to Gordon and Henry, as well as potentially to Diesel or Thomas. This would begin with Rebecca arriving and acting recklessly with the express, being a speed demon where  Gordon demands professionalism due to his experience. This startles CGI Henry, who is also not a fan of recklessness and places her at odds with them but also potentially makes her interesting to James, who is himself quite reckless. Furthermore, Rebecca’s standoffish behaviour and grandstanding alienates engines like Thomas or Percy, while being very similar to how Gordon, Henry and James acted during their younger years, forcing the three to be confronted with how they used to act, reminding them of their old selves (BWBA is so obsessed with flashbacks and dream sequences, so this would be a good opportunity for them to use classic series moments to help flesh out all three and Rebecca here). 

This could build into Henry recognising the traits he used to hide his insecurities before he was rebuilt, helping to shift how the audience sees Rebecca and giving Henry an arc where he helps Rebecca learn to trust other engines and accept friendships - though notably not Gordon and James, who she sees as being the most likely to make fun of her. This helps Henry gain his classic series confidence back, giving him a boost to stand up and tell the Fat Controller that he wants to move, as well as the confidence to push back against Gordon when the big engine gets angry about the change. The series then follows Rebecca as she argues with James and Gordon, with engines taking sides depending on the episode - including  Thomas potentially absolutely hating Rebecca due to his alliance and friendship with Gordon.

Finally, Rebecca’s actions and attitude could help spur Diesel into recognising some of these negative traits in himself, finally ending the character arc that was attempted with Springtime for Diesel. 

Both of these options really focus on taking these established characters and growing them using Rebecca’s characterisation and unique position as the new big engine at Tidmouth, while also building off of Rebecca’s character strengths to make her stand out as unique too. Remember, Rebecca is the same size and strength as Gordon - the series hasn’t seen a NWR engine of comparable size to Gordon since Hiro was introduced, and he was neither an express engine nor a candidate for the Steam Team, so he was never a credible threat to Gordon. And before Hiro, the last engine of that size was Murdoch right the way back in Series 7, who never made it beyond the model series era. Rebecca has a real potential to be this threat to Gordon, being the first engine of such size introduced in almost a decade - she can pull express trains as well as Gordon while showing up James and being mixed-traffic and versatile like Henry. This is what irks me - Rebecca had everything going for her before she debuted, and got none of it. 

What is even more painful is the fact that there are an infinite number of ways to further develop and build her character or other characterisations to give her that take inspiration from the source material while still being fresh and interesting - for example, what if Rebecca’s clumsiness came from her being a static exhibit, possibly one at a children’s theme park which would explain the bright colours. She could be so kind and cheerful as a way to handle the pain of watching her siblings be scrapped - something that she could bond with Oliver over. The point is that Rebecca had and still has potential but needs a lot more effort put into her than what she got in canon. 

Part 6: Characters to Pair off with Rebecca: 

This brings me to my final core part to this long, and slightly ridiculous dissertation: who to pair Rebecca up with to best build her character and insert her into this universe while feeling natural and potentially giving them some more screen time and character dynamics outside of their usual social circles. 

For this, I decided not to look at Gordon, Henry or James, seeing as they got a lot of consideration in the previous parts, where they were core components of building up Rebecca’s character while also naturally removing Henry from the Steam Team. The following ten characters are engines who I feel would be some of the most interesting to pair up with Rebecca earlier on in the series, to help her bed into the series and give a wide range of popular or interesting characters for viewers to connect her to: 

1: Rosie: Rosie is a USATC s100, a class that worked at Southampton when Rebecca would have been in service! These two potentially have history, and even if they don’t, Rosie would be one of the first engines to realise why Rebecca is acting so standoffish and breaks through to her, seeing as she would have known the class from her younger days. Maybe they become confidants once Rosie manages to break through Rebecca’s facade? Maybe Rebecca decides she prefers Vicarstown and we go back to the Classic-era ensemble cast? The opportunities here are great, and it has the potential to give Rosie some real backstory too! 

2: Salty: Salty also worked at Southampton when Rebecca would have been in service, his class having been introduced in 1962, giving up to five years’ worth of potential overlap. Though it’s less likely the pair would have crossed paths, Salty would still know a lot about the West Country Class. He could potentially even float the idea of her getting rebuilt like a number of her siblings, which would add some real-life facts to the series! It would also be interesting to see Rebecca avoid Salty because she doesn’t want to be exposed by him - remember, she was in service at the end of BR, and really wouldn’t trust diesels based on what they did. 

3: Thomas: Thomas’ class also worked at Southampton when Rebecca would have been in service! However, Thomas would not have personally been at Southampton which means the connection is a little looser. Instead, he could have heard about them from a sibling, or maybe Stepney? Imagine Thomas being really excited to meet this new engine who he’s heard all these positive things about and then it’s this standoffish, grumpy engine who Gordon says is dangerous at speed. It would make for such an interesting dynamic and we could see the cheeky and blunt Thomas from the early series again! 

4: Oliver: These two both made it through the darkest days of BR and survived, and both are also very proud of their achievements - these being Rebecca’s speed and Oliver’s bravery - which could make a scenario where the two hype each other up, much to their own detriment. It would also be interesting to see how Toad would fit into this, seeing as Rebecca is quite reckless and Toad would be opposed to such a thing - and could create a really interesting dynamic where Oliver is forced to pick which of the two he believes during an episode. I can see Oliver being someone Rebecca trusts due to their shared experiences, and it gives Oliver some spotlight. 

5: Emily: Emily was what Rebecca is - an express engine with wheelslip issues who is considered to be one of the best engines of their time. Emily is also an engine who has some issues with CGI-era characterisation and could really do with being revitalised, so why not work with it? Emily tries to be nice and kind with Rebecca, only to keep hitting brick walls and reverting to her old, bossy ways to try and force the new engine to do what Emily wants - bonus points if this is held as being the right thing to do in that situation! It could also play into her getting her number, maybe by rescuing Rebecca from an accident she got into? 

6: Sir Handel: Sir Handel is another engine who desperately needs their characterisation revitalised, and Rebecca is a great chance! Sir Handel considers himself an express engine, and meeting Rebecca puffs him up as she regales him with tales of her speed. This plays into Sir Handel’s cockiness and he gets himself into trouble - and then he decides to get payback in whatever way possible, and we see the reverse of the situation where Sir Handel’s stories get Rebecca all fired up and she gets her own comeuppance. This would not only reintroduce Sir Handel, but also could set the foundations for Duke to return, with references to the MSR. 

7: RWS Flying Scotsman: I specify RWS Scott because I want the kinder, more humble version we got in the RWS to the version we got in the CGI era. Seriously - this engine has just been saved from scrap and given a second chance and his first action is to antagonise his only living sibling? I want him trying to be a voice of reason to Rebecca, seeing as he is uniquely placed to know the consequences of wheelslip - something he also has; as well as recklessness - Scott was the first to officially hit 100mph, so he knows a thing or two! Even more, Rebecca might look up to Scott, based on his fame, though his stories may lead to her being more reckless! 

8: BoCo: Remember I mentioned that the West Country Class caught on fire? Imagine a story with that, with BoCo (a Class 28 infamous for catching fire) as Rebecca’s foil. It could begin with BoCo backfiring and Rebecca making fun of him for it due to her disdain for the diesels who replaced her class before she suffers a similar fate when her boiler lagging catches fire and it’s BoCo who has to help her get her train home. It would be a great way for Rebecca to learn that diesels aren’t all bad, as well as giving her someone new to be friends with - and it would reintroduce BoCo! This could also help draw Rebecca down the branch to meet Bill and Ben… 

9: Molly: Overtly shy Molly and secretly shy Rebecca who covers her shyness up with aggression would make for such an interesting dynamic! I can imagine Molly gathering up all of her courage to speak to Rebecca only to be shot down (unintentionally) and then never want to talk to Rebecca again, and it’s only when Rebecca realises that the bigger engine tries to hunt Molly down - possibly with hilarious consequences. This idea would really work well if you popped in Mavis, who would want to help Molly and stand up to Rebecca. It would also be interesting to reintroduce Molly, especially with Mattel wanting more gender equality. 

10: Mike: This would be a case of grumpy, standoffish Mike versus standoffish-to-hide-insecurities Rebecca! These two would be about as productive as a house on fire. Literally! These two would naturally bump heads in the worst way possible, and it would create incredible comedy and infinite story potential. This would be even better if you added some inferiority complex on Mike’s side, based on the fact he’s never seen an engine this big before - seeing as Rebecca is the only engine of this size able to visit Arlesburgh. They would rile each other right the way up the wall and it would probably never get any better. 

To conclude, Rebecca had real potential as a character - she had an iconic basis, good timing for her introduction and the role she was aiming to fill in many ways needed to be filled; Henry’s character assassination had made him hard to watch for a long time, and moving him out of the spotlight to give writers some time to rehabilitate him was long overdue. It’s just a real massive shame that they managed to fail so badly. By failing to properly plan and develop Rebecca, Mattel created a background character that they tried to have fill a major role that she simply was not able to fill. There were many better choices in the show to take Rebecca’s role, not least of all Molly - a yellow tender engine who was shy and a bit clumsy. By neglecting to properly integrate Rebecca into the series and then giving the show writers very little personality to work with, Mattel ensured that Rebecca would be a BWBA-exclusive character, an engine who never managed to gain half of the popularity of other characters who had comparable runtimes. Engines like Murdoch, Molly and BoCo have far better legacies than Rebecca, and it comes down to how they were treated by the series. All three were introduced with something that made them unique, be it through their interactions with other characters or through their own unique characterisation. Rebecca is a grim reminder to people developing characters for stories - especially characters being added later in the series to a cast of strong, notable and even iconic characters - that these late introductions need a lot of effort and carefully designed arcs to make them viable and allow them to become embedded into the series alongside those they share the screen with. 

Rebecca is one of those characters who is enough of a blank slate that it is easy for people to project onto her. In some cases, this is useful to a character’s legacy - Fergus, Molly, and even Smudger all have been remembered far more fondly by the fanbase than their limited appearances ought to warrant, however this is mostly because they were given a strong enough personality by the show that these projections had preexisting characterisations to connect to. Rebecca was given far too little, and in redesigning her character, I feel like I’ve gained a new understanding of just how far Mattel had pushed the show prior to its cancellation. By expanding the series to include new characters from around the world while also demanding episodes with new, untested characters back on Sodor, the writing team was rushed to complete episodes with a plethora of new faces that had no substance to back them up. There was no chance for these foreign engines to become anything meaningful while Mattel demanded enough new characters to fill an entirely different series, nor was there time for many of the characters back on Sodor to develop meaningfully while the writers scrambled to try and create far too many new characters from scratch. 

And it was the characterisations that suffered for it. 

Once again, this was not an attempt to convince people to like or dislike the version of Rebecca found in BWBA, but instead look into why Rebecca as a character failed to stand up against the other Steam Team members or even many of the more notable secondary faces found in the TVS at this point in the series. This can be boiled down to comparisons to her predecessor, a lack of effort from Mattel to give Rebecca a chance to develop and the decision to use cliched characteristics to create a version of Rebecca that never was going to capture many viewers’ imaginations. This was also an attempt to redevelop Rebecca into someone that can be used by the fandom to rehabilitate her image, or at the least to point out what went wrong and what could have been done to fix it. Maybe someday Rebecca will get the redevelopment she deserved, or perhaps she will be left to the annals of Thomas history, becoming just another footnote in the ever-expanding list of characters who couldn’t stand the test of time. 

Thank you for reading.

[jonberry555]

Thomas & Friends and Nostalgia: A Review of PROJECT TIGER MOTH: "The Good Old Days"

[www-islandofsodor]

Hey guys, admin here. After watching Unlucky Tug’s video analysis of the CGI series’ hidden gems, I started to realize something: he was right about how inconsistent Thomas is portrayed. The modern show tried to flip flop between Thomas’s younger self/older self. I know engines, like people, are more than one thing; but at this point, it’s just common inconsistency. If I were to prefer a version of Thomas, it would definitely be an amalgamation of all the eras.

Give me the history/early personality from the books.

His growing up arc from seasons 1-5 of the classic era alongside the friendships/rivalries he’s made along the way.

Topped off by the wonderfully consistent branchline episodes from the CGI series.

That’s my version of Thomas: someone who’s mature and self-reliant while also being cheeky and playful nonetheless. It’s pretty much a no-brainer at this point. Characters should be more than allowed to grow and evolve as time goes on; however the CGI series liked to stick to a permanent status quo where no-one ever changed. So sad. But no matter what canon you follow, we can all agree that a fun yet mature Thomas is always the best outcome.

[ot3]

hello!!! sorry if I'm wrong, but I remember seeing you do a manfred meta before?

Anonymous asked: or maybe it was not meta but something like people including headcanons into analysis?

this sounds familiar but im not sure if it was one post or anything... i don't think i've had too much to say about mvk i feel like i was just doing a bunch of interconnected bitching one day.

i think the only time i said much on the subject wsd when there was that one person dumping a whole essay about how he was not horribly abusive. my stance was i think even if he had been a perfect person otherwise if you murder someone's dad, and then raise them and let them believe they were responsible for murdering their own dad, and then try and frame them for a another murder so they will go to prison forever or maybe get the death penalty, that's still enough to be pretty damn abusive by my personal standards.

people using their own headcanons as part of character analysis does kind of annoy me depending on the context but i think in this specific instance. i was really pissed because one of this person's talking point was how one of their friends was a manfred von karma kinnie and they werent a threatening person because they had a special interest in thomas the tank engine???? and i was just so thrown by seeing that because. like what the actual fuck are you saying at that point. and this was a grown person too im not bullying teens here i promise.

i think most of my point that i was making during this time was that i feel like people sometimes confuse Antagonistic engagement with a text for Critical engagement with a text. sometimes when a thing presents a character as a massive piece of shit that everyone hates it's because theyre a massive piece of shit and everyone should hate them. in circumstances like this i get the sense that people are trying to outsmart media by refusing to meet a story where it's at in terms of characters who exist to serve a narrative function.

[ultraviolet-cello]

Yo what's up it's me, ya boi, [horrendous infection that knocked me down for a couple days]

Anyway I'll be catching up episodes 3 4 and 5 tomorrow/day after, but for now I just wanna do my thing with ep 6. 6&7 are possibly some of my favourite episodes in Tristamp, so I'm hyped to show off my theories/details about them.

Once again spoilers for Trimax [HEAVY spoilers in this case, we're talking about Legato and Razlo]

TL;DR there's something fucked up with Tristamp Livio and by extension Razlo, and I need more of them all the time.

@tristampparty I'm back in the game!

So a lot of these theories and details will link to episode 7 :]

So of note in this scene is (obviously) Wolfwood's weird red eyes which. Pretty cool ngl. But I do think there's something to be said about the way he pauses and carries the Punisher in this scene; there's a pretty popular theory that Wolfwood gets extremely overstimulated when he takes a vial and the way he pauses and wobbles with the Punisher here is, for me, more evidence for the list.

Also that they won't give this man a CAR. Give him a Thomas or something??? I think it speaks to the dehumanization of Wolfwood by EOM that he doesn't seem to get to use transport like a normal person - always set to wander the desert, because he can survive that! Not like a normal person, of course. Only the Punisher is inhuman enough to do that.

I'll have what he's having [I love that Nightow's wanted poster gets in the magazine despite being. Yknow, 30 $$]

I'll talk about this more when I actually get round to analyzing episode 5, but Roberto calling out Vash's not-being-human and then immediately going "well I'm not risking my life for that" is interesting because he's, well, a reporter. It speaks to his experience that he's not willing initially to chase down something that could be a big scoop. But also,,,, Vash looks like. 20. Roberto is probably about in his 30s-40s, which means he's probably heard of Vash since childhood [Since Tristamp Vash has a much longer reputation history than Trimax/98]. I really wonder what Roberto thinks of that; did the picture not come as a shock to him, or did he already know? Does part of the reason he keeps letting himself be talked into following Vash stem from a lifelong curiosity? Much to think about.

This plant HAUNTS me. Why does she have such a different tank? Used to power the Ion Cannon, maybe, but there's the possibility people adjusted it so she can better power the sandsteamer and that's,,,, There's a complicated relationship between humans and plants (obviously), but little implications like those adjustments make me go !!!! [My friend @millions-dykes has a Plant Engineer oc, Enigma, who focuses on that concept. She's very cool]

LIVIO SIGHTED. Let me get this out of the way quickly, but y'know that panel that is often cited as inspiration for Tristamp Livio's design? Yeah that's. That's Razlo.

Which is really fucking funny to me because it's foundational to Tristamp Livio - love that for him, but trimax Livio specifically does not wield Punishers, and the page that this appears on is when Razlo is getting Livio to tell him he's the strongest (Which then goes into this training flashback montage page which is Razlo-centric). Which again, extremely funny to me.

Not necessarily analysis, but something all iterations of Trigun do great at is a sense of Scale. The sandsteamer is massive, yes, but so is the desert. There's some great shots with the moons later on, which I love as well.

Wolfwood really doesn't try and keep it secret, huh? I mean, in every iteration Vash Knows[TM], but tristamp Wolfwood in particular just,,, doesn't keep the secret. I wonder what other conversations they've had, when Wolfwood realized Vash knew.

Being always able to see Wolfwood's eyes gives him a layer of emotion that I really like - Trimax Wolfwood is a little more reserved, because he's more developed, further layered into those coping mechanisms and repressions that make up his character. Tristamp Wolfwood hasn't quite had that yet, and it's reflected in his design. It's sick as hell

Time for me to be so normal about Livio and Razlo ^_^ so I've built up a bit of a study case on the differences in when Livio or Razlo are fronting [Trimax], and once you start looking into paneling and shit it's Very apparent! Which is cool! And I'm starting to build up one for Tristamp Livio, which,,, well, you'll see. Anyway take note of his movements here - slow, even footsteps and steady guns.

The mask here is. Also a red flag for something being Off. The eye moving independently suggests that either they have some Weirder Than Usual Body Stuff going on, that Trimax Livio and Razlo can do that and nobody comments on it because they're being polite or - My theory - the mask having those electrical components are embedded somewhat in Livio's face. I will explain in just a second.

Livio as a kid being so upset about his parents interests me - In Trimax, Razlo kills Livio's parents because Razlo was formed as a protective alter due to heavy childhood abuse, and Livio doesn't seem too upset by that specifically, more just being,,, alone. I wonder what happened with their parents in this specific timeline, or if Razlo just hasn't presented yet.

Now I've uh. Kinda semi-intentionally blocked out some stuff I've read in the Bible, but I do remember someone being crucified upside down. St Peter that was it! I don't remember anything else but I'm sure people more well-versed in the Bible will have some imagery to point out lol

Legato's outfit seems a touch inspired by that one July flashback in Trimax. Which, given that Tristamp is a leadup to July, is a nice touch!

Legato might be a bit protective of his hair. Can't imagine why.

On a more serious note, it makes sense for Legato to have such a protectiveness around his body and physical appearance, especially if Knives had an influence in it.

sands undertal

I really do wonder what Legato's ability is in this. Like unless they retrieved Vash's arm from the. Wherever it got sucked into when it was amuptated they can't go the 98 route. But the wire explanation of Trimax also doesn't quite seem to fit. Something new, maybe. Could be related to Plants!

I wonder if Vash here is thinking about Rollo. That Wolfwood was willing to kill Rollo out of mercy, and he's going to do it again to Livio. Except this time, Wolfwood knows Livio. Vash doesn't know Livio, but Wolfwood does and it's going to hurt Wolfwood if Vash lets him carry on with this. So he goes to save Livio, and save Wolfwood as well. Similar to Trimax, where Vash kills Legato to save Livio as a remnant of Wolfwood's memory, Vash here could be protecting Livio to protect Wolfwood.

Okay here's where my crack theories come in. So I do think that Razlo is elbowing his way into front about here, not even necessarily because Livio is getting his ass handed to him, but because of the mask. He's probably not fully There, because the progressing fighting style continues in Livio's movements, but the eye changes are. Well, it's Livio and Razlo you can never be too careful.

So Livio hits the mask here and is down for the count for. A Bit. What's important here to me is that the mask does of course have an electrical component. Now, what would that be for? Well, gathering that Livio seemingly has a bit of trouble after this (early episode 7, this is a two parter theory), that the mask is used by EOM to force a switch remotely. After the mask seemingly malfunctions, we get a lot more Razlo-esque movements and traits in episode 7 before Livio seems to come back in and have his little meltdown.

It links in with both dehumanization of neurodivergent people (In this case, a system) and the usage of Razlo and Livio by EOM. Razlo's very often portrayed as Big Scary Murder Alter by EOM for scare factor, whereas when we get a bit more into Razlo's head in the Elendira fight we see a bit more what he's actually like - protective alter groomed into assassinhood by Chapel - and lends more understanding to the character. EOM being able to force trigger a switch would be viscerally horrifying for that loss of autonomy theme in a way that speaks to many neurodivergent people. Thanks for coming to my ted talk????