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vintagegeekculture · 11 months ago

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So even though it's kind of the Marvel line, Stan Lee and Jack Kirby didn't really quite reignite Superheroes, the Flash was around a good bit before. But nothing would have been the same without Marvel breathing new life into the genre. What state do you think comics would have been in if instead of writing the Fantastic Four Stan Lee had quit to go sell used cars? Was it inevitable someone would have paired with Jack to do it? What would comics and pop culture look like now instead?

I'm a Marvel True Believer first and foremost, but I think you're underselling how enormously successful Justice League of America was from 1960-1969. Marvel books, especially Fantastic Four (at the time, the "flagship" Marvel comic of the 1960s) regularly topped the polls as favorites for the serious fans in 60s fanzines like Alter Ego, but they were not top sellers until 1970, when Marvel acquired their own distributor. Prior to that, Marvel published their books through DC, who made sure Marvel's runs were lower. They also limited the amount of books that Marvel could print, which is why books like Tales of Suspense had two characters in them (Captain America and Iron Man shared a book). As soon as Marvel got their own distribution, they pushed DC out of the top selling lists.

Justice League of America was a huge success when it came out, for a reason that may surprise people: nostalgia. Essentially a revival of the 1940s heroes, it was a huge hit because the adult audience bought it.

It's interesting how nostalgia itself as a cultural concept with actual power is a kind of recent phenomenon. Prior to the 1980s, there were huge volumes of books aimed at old people like Hallmark's "Remember When?" books.

I do think the single greatest what-if of the Marvel Age is one you didn't mention: what if Joe Maneely had lived to work on the Marvel Universe?

Whenever Stan Lee was asked who the greatest artist he ever worked with was, his response was unexpected: Joe Maneely, a name that even some serious fans of the Silver Age may find unfamiliar. But Joe Maneely worked with Stan extensively in the 1950s in Marvel's non-superhero comics like Black Knight and Yellow Claw. He was a beautiful artist, a professional who was always punctual, and even more so, he understood and developed the "language" of comics, and had an even better relationship with Stan than Jack Kirby did, who, by all accounts, was a genius artist but was, interpersonally, a difficult, sullen wound collector who had difficulty keeping friendships (as his Captain America co-creator Joe Simon can attest; he and Jack had a "breakup" long before he ever met Stan).

Meanwhile, contrast all those interpersonal problems with the difficult to get along with Kirby, with how Joe Maneely used to draw him and Stan holding hands and walking through the park together and so on.

The downside is that Joe Maneely died at a young age, 1958, in a tragic accident where he fell between railway cars, all 3 years before Fantastic Four. He was the biggest Atlas-era Marvel artist to never work on the Marvel Universe.

A Marvel Universe with Joe Maneely as the major creative force alongside Stan Lee is a change so deep and fundamental I have no idea what it even would look like.

#marvel #dc #silver age #1960

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weirdowithaquill · 2 months ago

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Traintober 2024: Day 9 - Old Iron

One Old Iron Meets Another:

Edward the Blue Engine is one of the oldest engines on the Fat Controller’s railway, and is well known for his various exploits throughout the years, including pushing Gordon over his hill, chasing James down the mainline and bringing home a heavy train of enthusiasts after snapping his coupling rod. He’s also sometimes referred to as ‘Old Iron’; while it had once been an insult made up by James to try and put Edward down for his age, Edward had embraced the moniker and sometimes even used it jokingly to poke fun at James.

One morning, Edward arrived at Brendam, puffing into the harbour to find the place abuzz with excitement. “What’s going on?” asked Edward. “There’s a famous United States Navy Ship coming to the docks next week,” BoCo said excitedly. “Apparently, he’s on a world tour right now to celebrate one hundred years since the end of the War of 1812.” “Edward would know all about that war!” teased Bill, puffing in with some trucks. “He probably lived through it!” added Ben. Edward rolled his eyes, and set about shunting away his trucks.

Not every engine was as excited as BoCo.

“Stuff and nonsense!” sniffed James. “The Americans lost that war, why are they celebrating it?” “No, no, little James,” huffed Gordon proudly. “The War of 1812 was when Napoleon lost in Russia and the Duke of Wellington won the Battle of Salamance. The Americans were helping the… uh… Sicilians I think?” “No – this is the War in America that happened at the same time,” BoCo said for the third time to the engines at the Big Station. The poor diesel had begun to realise that for the most part, the steam engines thought of the American War of 1812 as just a sideshow in comparison to the Napoleonic Wars happening in Europe. James was the closest, but even he had no clue why the US would have ships touring around the world to celebrate it’s conclusion.

“It helped Canada maintain its independence,” BoCo declared eventually. That was better received. “Oh! Wasn’t that when they burnt down the US Capitol?” quizzed Gordon. “Marvelous stuff – those Canadians know how to win a war!” “They… didn’t win though,” BoCo tried, but he was drowned out by the Big Engines all excitedly chatting about their own experiences with Canadian soldiers.

The chatter spread all up and down the island. BoCo was secretly thankful that the US ship was only visiting Brendam – he feared just what some of the engines would say otherwise!

Finally, the day came, and the ship came sailing in. Much to Bill and Ben’s astonishment, it was a proper sailing ship with great fabric sails that stretched up on their masts. Edward was the first to speak to the ship.

“Hullo!” he called. “I’m Edward, welcome to Brendam!” “Hey there little steamer,” the ship called back. “I’m the USS Constitution, but you can call me ‘Old Ironsides’ if that suits you better.” Bill and Ben glared – the ship had insulted Edward! “I’m called Old Iron too!” chuckled Edward, ploughing straight over any words the ship might’ve had for the USS Constitution. The ship paused, then looked down at Edward again. “You? What did you do?” Edward was about to reply when BoCo jumped in.

“He chased a runaway engine down the mainline and caught him, all while in desperate need of repair!” The ship stared, then paused again, his eyes widening. “This is Sodor!” he spluttered. “Uh… sorry about my manner; I’ve been preparing to deal with a bunch of spiteful English who sent nasty emails to my captain all trip.” BoCo and Edward shared a look and decided not to mention what the other engines had said.

“That’s alright,” said Edward kindly. “How about we start over? My name is Edward, this is BoCo and those two are Bill and Ben. What’s your name?” “I’m the USS Constitution, but they also call me ‘Old Ironsides’ – I guess we have that in common!” Edward grinned, and soon the five were talking like old friends. ‘Old Ironsides’ had some incredible stories of his time in the Barbary Wars, and the engines had plenty of stories of their own to share too.

“You set the shed on fire?” spluttered Old Ironsides. “How did you not burn down?!” “Sheer dumb luck,” muttered Edward grumpily, remembering returning to the yard to find a sheepish BoCo surrounded by burnt ashes. He’d liked that shed! “I have no idea,” added BoCo with a smile. “Though it was certainly scary at the time.”

By the end of the USS Constitution’s visit, Edward and BoCo had managed to get an email address to keep in contact with their new friend, and whistled goodbye as the old sailing ship set back out to sea.

“Um… where’s Ben?” asked BoCo all of a sudden. “On Old Ironsides,” replied Bill sweetly. Edward groaned, and started backing out of the yard. The USS Constitution had mentioned he was dropping anchor in Liverpool next; the Old Iron would have to chase down another engine once again.

Back to the Master Post

#weirdowithaquill #fanfiction writer #railway series #thomas the tank engine #railways #traintober #traintober 2024 #ttte edward #ttte boco #ttte bill #ttte ben #uss constitution #prompt: old iron

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ohcarararara · 2 years ago

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So I haven't really come back to be active here as much as I thought I would (though to be fair I'm not very active on any social media these days) but y'all remember when I used to post like....all Captain America and Avengers stuff here for a while? And all my punk Avengers fan art y'all blew up here years ago? Well starting today, I have a new series Marvel Unlimited about AARON FISCHER aka Captain America, and I have A LOT OF FEELINGS ABOUT IT. Not only did I get to work with Josh Trujillo again (we did Dodge City together), Marvel let me draw some of my favorite characters ever, along with pretty punk boys smooching other boys. I even got to design official new tattoos, which you'll see in later issues. Please go read/subscribe and boost as much as possible so that Marvel thinks I'm cool and popular and let's me draw more 👀👀👀

#captain america #aaron fischer #my art #comics #marvel #ill be honest i forgot how tagging works here

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immortalarizona · 9 months ago

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Died With a Hammer in His Hand: Unpacking the Myth of John Henry

“John Henry said to his captain: ‘You are nothing but a common man, Before that steam drill shall beat me down, I’ll die with my hammer in my hand.’” — “John Henry, the Steel Driving Man,” recounted by W. T. Blankenship

John Henry is one of America’s most well-known mythic heroes, immortalized in song, statue, postage stamp, and multiple movies (including a 2000 Disney animated short film which I vividly remember watching in elementary school). But if you’re unfamiliar with the legend, here’s a brief summary.

John Henry was a freed slave who found himself working for a railroad company in the years following the Civil War as a steel driver. His job was to drive a steel spike into rock so that dynamite could be placed in the resulting hole, thus opening up a tunnel through the Appalachians.

John Henry was the best on his crew, and he took pride in his work—so when a white salesman brought in a steam-powered drill, claiming that it could drill better than any man, he decided to challenge that claim. Henry entered into a contest with the machine to see who could carve out the deepest hole in the mountain in a single day.

His victory cost him his life.

Henry’s wife—sometimes named Polly Ann, sometimes named Lucy, sometimes not named at all—went to visit him on his deathbed that evening. In many versions of the ballad, Henry’s last words are a request for a glass of water. In other versions, he asks his wife to be true to him when he’s dead, or to do her best to raise their son. Many accounts say that he’s buried by a railroad, where “Every locomotive come roarin’ by, / Says there lays that steel drivin’ man” (lyrics from Onah L. Spencer).

Bronze statue of John Henry near Talcott, West Virginia, sculpted by Charles Cooper.

The general consensus among historians now seems to be that the ballad of John Henry is one such legend that has its roots in historical fact, although the particulars are long obscured by the centuries that have since passed. Henry was born into slavery in the 1840s or 50s, either in North Carolina or Virginia (some accounts of the ballad lend credence to the latter claim). As for how John Henry found himself working for the Chesapeake & Ohio Railway company, University of Georgia history professor Scott Reynolds Nelson posits in his book Steel Drivin’ Man that the man was sentenced to ten years in a Virginia prison for theft at only nineteen years of age, and that he was among many prisoners leased out by the state for labor.

Did you know that the 13th Amendment makes an exception for slavery which is used “as a punishment for crime whereof the party shall have been duly convicted”? (This practice continues to this day, and has become an industry worth tens of billions of dollars. Louisiana State Penitentiary, also known as Angola or simply “The Farm,” is a good place to begin if you’re wanting to look into chain gangs further.) John Henry the legend was a free worker who took on the backbreaking, often dangerous work of railroad labor under his own power and could demand any wage for his work, but John Henry the man may have lived and died in neoslavery.

Speaking of Henry’s death, most retellings of the myth say that he died of sheer exhaustion. Some add in the detail that it was his heart that gave out because he worked himself too hard. However, alternate theories have been proposed for how the man died. Some historians say it was a stroke that killed him, while others posit silicosis.

It’s this latter hypothesis which I find most intriguing. For those who aren’t familiar with it, the American Lung Association describes silicosis as “a lung disease caused by breathing in tiny bits of silica, a common mineral found in sand, quartz and many other types of rock.” It’s been an occupational hazard for construction workers since, well, the time of John Henry. What I find interesting are the implications for the narrative if the real Henry died of silicosis. In the folk ballad, Henry causes his own death by working himself too hard. On the other hand, the ones at fault if the man died of silicosis would be his employers—the ones responsible for the dangerous conditions he worked in.

So why would John Henry’s cause of death change during the transition from fact to legend?

The answer, as with many other fictionalized accounts of historical events, is that it simply makes for a more effective story. But not just that—a more effective message. So what might the ballad be trying to tell those who listen to it?

First, let’s think about who this song was sung by and for. The ballad of John Henry is a work song, its rhythm meant to help railroad workers stay and strike in sync, in the same way a drumbeat helps soldiers march in step. It’s been sung by railroad workers, miners, construction workers, chain gangs, and country musicians. At its core, then, the ballad is a song of and for the American working class—specifically those people doing the same sort of backbreaking physical labor as John Henry himself. Many of these laborers would have been Black, and likely former slaves—especially when it came to Southern chain gangs. (See my above note about how American slavery was only mostly abolished, and then think about why the U.S. has one of the highest incarceration rates in the world. . . but I digress.)

An oil painting of John Henry by Frederick Brown.

We’ve established that John Henry is a hero for working-class Americans during the time of the Second Industrial Revolution. But what sort of hero is he? Is he like Achilles, a paragon of his country’s values and an example for the audience to aspire to? Or is he an Icarus, a cautionary tale sung so the audience won’t repeat his mistakes?

The answer depends on who’s telling the story.

Onah L. Spencer is the source for one version which emerged from a Black community in Cincinnati, Ohio. When he recounted the lyrics to Guy B. Johnson for the latter’s 1929 book John Henry: Tracking Down a Negro Legend, he also stated that the song was used to motivate workers: “. . . if there was a slacker in a gang of workers it would stimulate him with its heroic masculine appeal.”

In cases such as Spencer’s crew, then, John Henry’s death is presented as glorious, and Henry is seen as admirable for working so hard that it kills him. Here, he’s a good example. Taken to the extreme, the Achillean Henry encourages fellow workers to follow in his footsteps—to keep pushing themselves harder and harder until they finally keel over.

This message doesn’t benefit the workers passing it along; it benefits the employers profiting from their labor. This, I think, is where the story blurs the line between myth and propaganda. And while the ballad of John Henry certainly isn’t singlehandedly responsible for the American tendency to overwork ourselves, it does reflect our attitudes about work in a way that’s worth unpacking. To me, this reeks of the Puritan work ethic. The belief was that you had to be working as often as you could; if you didn’t, the devil would be able to influence you. The Puritans were one of America’s foundational cultural influences—of course those values would have influenced the ballad of John Henry.

Henry is a hero because he worked himself to death. If we see him as a good example, what does this say about the effects that capitalism has had on American attitudes? About the internalized belief that our worth as humans only comes from what we can contribute to the economy? Why do we see death from exhaustion as a fitting end for a former slave?

Then again, maybe we’re not supposed to.

A lithograph of John Henry, from the series American Folk Heroes, by William Gropper.

Remember how I noted earlier that many of the laborers who first sang Henry’s ballad would themselves have been former slaves? It’s important because there’s a long history of American slaves using work songs as a tool of resistance against their oppressors, and these Black laborers—these “freed” slaves—would have carried that tradition with them into the Second Industrial Revolution.

The ballad of John Henry, then, might have been sung with the intent of helping other workers survive the brutal conditions on the railroads. Here, Henry becomes an Icarus—a warning of what happens if you push yourself too hard. One version of the ballad recorded by Edward Douglas of the Ohio State Penitentiary contains lyrics which suggest that not every Henry was meant to be emulated.

“John Henry started on the right-hand side, And the steam drill started on the left. He said, ‘Before I’d let that steam drill beat me down, I’d hammer my fool self to death, Oh, I’d hammer my fool self to death.’”

Don’t do what John Henry did, this version warns the audience. Be wiser than he was. Don’t push yourself quite so hard. Think of the people you’d be leaving behind if you’re not careful.

Perhaps even the creation of this mythos was an act of defiance in and of itself. At this point, I think it bears mentioning that I myself am not Black and can only hypothesize based on what I’ve heard from people who are, but I see something radical in the act of raising up one of your own as your hero rather than venerating the people you’ve been told are superior to you.

Remember, John Henry’s contest was versus a white man’s machine. It costs him everything, but he triumphs over the expectations of that steam drill salesman and proves his worth as a laborer and a person. John Cephas, a blues musician from Virginia who was interviewed by NPR for a report on John Henry back in 2002, had this to say of the myth:

“It was a story that was close to being true. It’s like the underdog overcoming this powerful force. I mean even into today when you hear it (it) makes you take pride. I know especially for black people, and for people from other ethnic groups, that a lot of people are for the underdog.”

Americans love underdog stories. Our own national origin myth is one! John Henry’s assertation of power and skill, the ballad’s declaration that Black people have the right to be proud of themselves too. . . no wonder this myth has resonated with so many people. No wonder it’s survived for a century and a half.

In this light, then, John Henry once again becomes a hero for us, the audience, to emulate. In the fight against oppression, endurance like Henry’s becomes key. Justice is almost never won quickly. The odds stacked against us may seem impossible, but it’s worth trying anyways, even if we have to fight to our dying breaths.

Artwork of John Henry as a defense worker by James Daugherty.

John Henry has meant and been many things to a lot of people in the past two centuries. A representative of capitalist exploitation, a cautionary tale for workers, an inspiration to oppressed people in America, even a communist icon—but I’d like to take a moment to talk about what his story means to me. It’s not something I’ve seen discussed in my research, and I think it’s worth exploring.

John Henry reflects fears of workers during the Second Industrial Revolution who saw how technology was evolving—how machines were being created that could do their jobs not just faster, but cheaper, because you don’t have to pay a machine like you would a person. They feared that they would be replaced, and that they would be left destitute while their former bosses grew richer and richer. And despite the centuries between us, this is a fear that I can understand.

Often, I feel it myself.

As an artist existing in online spaces during this new influx of AI-generated “art” and writing, I have witnessed many fears that we will be replaced by AI. Yes, there is a certain human quality to art that a generative learning model cannot replicate, but who’s to say that the much-vaunted free market will care? We can hope that art as a profession will survive, but we just don’t know.

In John Henry’s struggle, I see my own. In the steam drill salesman, I see tech bros on the platform formerly known as Twitter showing off their latest batch of beautiful, hollow, AI-generated “art.” I see John Henry’s passion, his pride, his triumph.

And I see hope.

By his life and death, the mythic John Henry reassures me that human beings aren’t so easy to replace after all. He tells me that machines can be defeated. That one day, my vindication as an artist and writer will come, and the world will see our worth.

The ballad of John Henry has endured like a mountain for a hundred and fifty years, and I hope it will survive for hundreds more—that John Henry’s hammer will continue to ring true throughout the ages. But in the midst of American mythos, it’s important not to lose sight of the historical facts behind it. Legends are interesting and inspirational and wonderful, but the real stories have something to tell us, too.

Don’t forget to listen.

Works Cited

American Lung Association - Silicosis

Ballad of America - This Old Hammer: About the Song

Constitution of the United States - Thirteenth Amendment

Encyclopedia Britannica - John Henry

Flypaper by Soundfly - The Lasting Legacy of the Slave Trade on American Music

Folk Renaissance - John Henry: Hero of American Folklore

How Stuff Works - Was There a Real John Henry?

ibiblio.org - John Henry: The Project

National Park Service - The Superpower of Singing: Music and the Struggle Against Slavery

NPR - Present at the Creation: John Henry

NPR - Talk of the Nation: The Untold History of Post-Civil War ‘Neoslavery’

PBS - Mercy Street Revealed Blog - Singing in Slavery: Songs of Survival, Songs of Freedom

Prof. Scott Reynolds Nelson - Steel Drivin’ Man: John Henry, the Untold Story of an American Legend

World Population Review - Incarceration Rates by Country 2024

#john henry #american mythology #analysis #essay #black history month #ari speaks #hi I wrote this for my english class and I felt compelled to share it here

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stories-of-the-nrm · 8 months ago

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The Great Race Part 4

(We see the actions portrayed as the narrator is talking).

Narrator: After an agreement was made, all the other engines arrived at the sheds and began to go to sleep. Later at around 3 in the morning, Jack had to leave with Henry to pull the Flying Kipper. The plans to streamline Gordon were almost finished, so Gordon went to sleep.

(We cut to the next day at Brendam Docks).

Narrator: Even with all the excitement of the Great Railway Show, work on the railway had to carry on. And Brendam Docks was as busy as ever.

(We cut to Cranky and Diesel. Cranky is lowering a crate while Diesel is pushing multiple crates for reasons unknown).

Cranky: Ok Diesel, this is a nice big crate how about this one?

Diesel (skeptically): Uh, no not that one, Cranky. It needs to be bigger.

(Diesel is looking at Cranky trying to pick out different crates).

Diesel: That one. Yeah, that one.

(He lowers the crate down to Diesel.)

Cranky: What do you want all these crates for, anyway?

Diesel: Never you mind what I want them for. It's a surprise.

(He laughs as he pushes the crates away).

Cranky (mildly annoyed): Oh, some engines.

Narrator: Thomas arrives at Brendam Docks feeling very excited.

(Thomas blows his whistle as he pulls up with some freight under Cranky).

Cranky: What's up with you?

Thomas (excitedly): I had this brilliant idea as to how I can help my friends go to the Great Railway Show. I'm going to have Henry's driver, Jack streamline Gordon so he can win his race.

Cranky: (laughs): Thomas, that's a good one. Streamlining an engine in two weeks with only one person.

(He keeps laughing.)

Thomas: (annoyed): It's not that funny, Cranky. Jack isn't going to do all of the work. He's only going to be drawing the designs before presenting them to Sir Topham Hatt.

Narrator: Suddenly, a strange noise can be heard in the distance.

(We cut to the source of the noise).

Narrator: It was a large ship full of engines that arrived on Sodor. All of the engines have come from many different countries from North America, to India.

(All the engines start leaving the ship and greet the workers in their native language while talking excitedly about being on the island).

Random worker: Hey stop, wait, wait!

(He blows his whistle and all the engines stop. Vinnie, the engine from North America, crashes into Axel the Belgian engine).

Vinnie (annoyed): Hey, watch out!

Axel: Well maybe mon ami, if you had been paying better attention you wouldn't have bumped into me, no.

Vinnie: Say that again, Frenchie.

Axel: I'm Belgian, you silly American engine!

Vinnie: Why you little. . .

(Before the two engines can argue some more, the docks worker blew his whistle).

Random worker: Knock it off you two! I have a very important question: Where are you all going?

Axel: To the Great Railway Show, of course.

(Thomas gasps as he hears their conversation).

Random worker: The Great Railway Show's not happening here, it's happening on the mainland. This is the island of Sodor. You all need to get back on the ship. I need to have a serious word with the captain.

(He goes to the ship as Axel processes what was said.)

Axel: The island of (realizes his mistake) oops. (calling to the other engines) Wrong stop.

(All the foreign engines start backing up to get back on the ship except a pink engine who starts to fall behind).

Pink engine: I'm coming, please wait.

Narrator: Thomas wanted to talk to the foreign engines, but before he could Vinnie the North American engine almost bumped into him.

(Vinnie blows his whistle).

Vinnie: Get out of the way! Why don't you look where you going, shrimp?

Thomas: I'm not the one going backwards. If anything you almost bumped into me.

Narrator: All the engines got back onto the ship. As they started heading off to the mainland they realized that someone had been left behind.

Gina (an Italian engine): I think we left someone behind. Is there somebody missing?

Vinnie (laughing): Who cares, that'll mean less competition and that silly little tank engine won't be able to stow away on our ship.

Axel: Why must you be so rude, mon ami? The little tank engine was just curious. It's not as if he wanted to break the rules.

Vinnie: Why don't you just mind your own business, Frenchie!

Axel: I told you I'm Belgian!

Vinnie: I don't care if you're from Belgium or Bora Bora, stay out of my business.

(The two keep arguing and the other engines are getting tired of it).

Yong Bao (an engine from China to Rajiv): I really hope that the trip to the mainland won't be long.

Rajiv: I hope so too. I'm worried about Ashima though. We come from the same railway in India. I hope she'll be alright. I wonder how she'll be able to get to the mainland now.

(Cut back to Sodor).

Narrator: Little did the engines know, but Ashima was about to make a big mistake. She kept backing up until she almost pushed Thomas into the water.

Thomas: Oh no, help!

Porter: Thomas!

(All the workers rush over to Ashima to couple her up to Thomas).

Foreman: Everyone careful! Careful! Almost there. There we go!

(Thomas is now back on the rails.)

Narrator: Luckily no one was hurt as everyone cheers. Thomas, however was cross.

Thomas: You did that purpose! What is it with you engines? Do you realize what could have happened if you didn't stop? I could have ended up in the water! You silly engine, you you -

(He stops when he sees the engine's face. She looks like she's about to cry).

Ashima: (apologetically) I'm very sorry. I truly didn't mean to bump into you. I simply didn't realize you were behind me. I didn't know that the ship made the wrong stop. Now I'm worried about being lost on this island.

Thomas: (rudely) Well, I'm sorry, but some of us have work to do. Goodbye!

(He leaves the docks and goes back to the shunting yards).

Salty: Argh, don't mind him, me lady. He really means well, I'm sure you'll be able to find your way. The name's Salty. Why we get many an engine at these docks. I'm sure one of them shall help you part the foggy seas.

(Ashima giggles. She's starting to feel better).

Ashima: Thank you, Salty. My name's Ashima. Where do you think I can go that won't interrupt things?

Salty: Ha ha har. There be some sidings down the way. Best talk with the dock manager along the way.

Ashmia: Thank you. Goodbye, Salty.

Salty: Fare thee well, me lady.

Tagging: @bluy1206, @thefedoragirl, @jayde-jots, @colaxcoco, @ethereal-capricorns-blog, @pxmun, @pxmun2, @glitterking599, @gordon208, @nelllia, @werbitssft, @klein-sodor-bahn, @ladychandraofthemoone, @sketalya, @postmodernpre-grouping, @thesudrianchronicles, @milkagaisme, @ihatewoodpeckers, @lavenderrosiefan, @eyesinspaceisgone, @jordeynnotgordon, @asktheoriginalorder, @engineer-gunzelpunk, @bladexjester, @lnwrcauli, and @justyourlocaldieselsimp.

#ttte fandom #ttte thomas #ttte ashima #the great race rewrite #ttte international engines

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