not sure if my ask sent BUT I’m loving people being vocal about the fandom not caring about eddie outside of buddie. it’s been happening since the dawn of time (lol) and there’s a reason so many vocalists about eddie decided to be loud and obnoxious about it (including yours truly). his journey is nuanced and he’s such a good character to explore a straight-maybe to bucksexual love with but it will take TIME for anything to happen because of that journey. still. you said eddie rights and i love that.
This is the only ask I got from you, so it probably got lost in the blue void if you sent something else. But absolutely, something I noticed during the hiatus, because while I have been lurking around the fandom since season 5, I only really started to actively post thoughts and stuff after the lightning, so I spent a really long time observing people even more when I started posting random metas, or just thoughts, people have this almost pathological need to make everything about Eddie about Buck. I legit remember making a post about Shannon and blocking several people because they kept making what happened with Shannon about Buck, and that's not it. Eddie is a FASCINATING character. He is so nuanced. And he is so well written and acted out. Like, I was casual about the show until fear-o-phobia (tbf that was the 3rd episode I watched live but still). Eddie grabbed me by the throat that day. And there's so much that people give Buck a pass that they would NEVER give to Eddie. And there's so much to explore with him. And yeah, I think his queer journey will involve Buck somehow, but because I truly believe that man is demi and I don't care about anything else. Making him have a complicated relationship with attraction as a whole is so much more interesting than saying he's just looking for a beard his whole life. And the amount of people I saw picking fights about people not shipping Buck and Tommy because "they have this need that Eddie should be the only man for Buck" (when literally everyone in the fandom hc Buck 1.0 as having slept with guys too) that are people I had seen saying that Eddie only ever loved Buck, straight up erasing the whole concept that he might've been in love with his wife is wild. If Eddie is not adding something to Buck and this idea that Buck is this baby that needs to be protected and can do no wrong, then he is being unnecessary or ooc or just plain weird and THAT'S WILD. Sure Buck and Eddie have a compelling relationship, and I LOVE exploring the possibilities around how much Eddie loves Buck, but Eddie exists for more than loving Buck and both of them exist outside of each other. Honestly, right now, Eddie needs some defenders because it's rough out here. If people can pick fights about Buck the way they do, Imma do the same about Eddie. If people don't agree then that's their problem.
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Hm! I feel a rant coming on! Everyone duck!
MY THOUGHTS ON THE HYPERIA STORY AND ITS THEMING. ALSO A GENERAL RANT ON COASTER THEMING.
Let start with a general question: what counts as theming?
To me, theming is the set pieces, pre-show, and anything laid out in a rides area to help develop a story. Most of the time this helps world-building more than anything. To me, even music can be a piece of theming because it helps to set a tone. For example, when riding Smiler, the laughter sounds almost manic and it makes you realise straight away that something is off, before you even step foot into X-sector.
Anything that DOESN'T fall into this classification such as website and app pages, falls into "storytelling". In a theme park, it is almost impossible to tell the entire story from one repeated instance inside of said story. To tell a complicated story like that of the Smiler, it would take so much exposition, which is very much not the point and would take away from the experience as a whole.
So storytelling isn't a bad thing, it's how they handle it.
To me, there are three behemoths of theme park theming and storytelling worldwide. That I know of.
Baron 1898, X-Sector post-Smiler, And Forbidden Valley post-Reborn.
Baron 1898 is pretty easy to grasp while you're there, even as a non-speaker of the language. You're going on a mine tour and 3 ghost ladies are PISSED that you're going down there. The actual theming is downright impressive ans I would love to see it in real life. You can then look up the story to find out who the ghosts are, who the Baron is, and how the mine came to be. Really good treat for people who decide to look.
Forbidden Valley has a story that has remained relatively consistent throughout the years. It has wondering actors that establish the world in a realistic yet entertaining way rather quickly. There are an official operation; there are people opposing the operation so there is something sneaky going on; there is a tour group taking advantage of the centrepiece so the Alien is a tourist attraction in this universe, too. Just little things that help put together a bigger picture.
Of course this starts coming apart a little bit when the audio starts explicitly telling you what is happening, but it still holds. You see someone's office, a crashed helicopter, weapons for warding off the alien. All things to help build up this universe you are now ankle-deep in. And then there's the 3 pages on the Internet that break down the story for you, which can also be seen in the shop.
Finally, of course, there's X-sector. It doesn't usually have roaming actors, and the theme suits better that way. Without the roaming actors, you see that the Ministry are secretive. Trying to stay out of the limelight, except for the skeleton crew they send out to keep the coaster safe and operational. It shows a tone.
However, people casually wondering what this is about can never get an easy answer. Cause the answer is spread out across what remains of a decade-old marketing campaign. Fun for people who want a deep dive, not so fun for people who are just lightly curious. The website barely tells you anything either.
But, on a positive light, the story is so complex it keeps a fandom. Not many coasters have that. It's an insane accomplishment.
And I have a theory as to why. Now, stay with me here I think I'm about to upset some people:
It has aspects of social and political commentary. "Not everything is political" ALL GOOD ART IS A COMMENTARY ON THE TIMES AND CIRCUMSTANCES YOU WERE RAISED IN SIT YOUR ARSE BACK DOWN.
RIGHT, so, Smiler is a story about the government dedicating an organisation to keeping people artificially content to keep people compliant. What are Brits notorious for doing, in comparison to the French?
Doing fuck all. This wasn't always the case. We would riot, we would strike. Now we strike but while the other half of the country complains and just tells the strikers to sit back down and take the mistreatment. We are miserable, we complain, and we go about our day. And that's the joke. Its funny. So why bother changing it?
And if we can't be bothered changing something cause it's funny, what happens if they make everything purposefully funny? They'd never have to deal with the strikes in the first place.
The government functions off of our social compliance, which can come from making jokes at our own expense. We even see it now with our drowned-rat-faced PM as he continues to make a fool out of himself so he's funny. If he's funny, we want to see him more. That's a valid strategy nowadays.
Smiler. Is about how Keep Calm And Carry On is a stand against progress.
Smiler. Is a political and social commentary on the people of Britain. You're welcome.
Anyway!
HOW DOES THIS RELATE TO THE NEW WORLD-STAGE COASTER IN STAINES?
The problem is: it doesn't. Instead of taking inspiration from its sister park, Alton, Thorpe decided to take inspiration from Icon and its shoebox station.
Where is Fearless Valley taking place? When is Fearless Valley taking place? What point in the story are we looking at here? The issue [only issue, really] with Hyperia, is it entirely relies on storytelling and a few bits and bobs in the queue.
Remember the shortcoming in Nemesis? Where you can get a good grasp of the story without it being blasted in your ear? Yeah here they straight up tell you the story, too. The theming has BECOME the storytelling.
Next question: what is Hyperia, the coaster, supposed to be? Yes, we know the story is that a goddess called hyperia overcame her fear of the sea by building wings and escaping the island she was trapped on [for some unspecified reason. Is hyperia evil?], but what IS the coaster supposed to be?
Smiler is the Marmaliser, the machine that transforms you into a smiling advocate. Nemesis is the tentacles of the monster overtaking the metal that pins it down. Baron is the track the drill takes to get into the mine.
What is Hyperia? Are we following Her as she soars, were we stuck with Her; the Icarus to her Daedalus? Are we following in her footsteps as part of a ceremony Her followers reenact for her blessing? Are we supposed to be Her? It's never really specified.
The station is chocked full of a last-ditch attempt of theming, which in comparison with the whole lotta nothing you get from the queueline? It feels cramped. It feels cheap. It barely feels like it belongs on a stage alongside Taron, Velocicoaster and Voltron Nevera. If they didn't have the budget to do the storytelling and the theme, they should've gone for theme.
Any story with no theme feels cheap and artificial. Any theme with no story still stands out and has breathtaking scenes. If they focused more on the white-gold colour palate and maybe had a few statues around and about they could pass it as some sort of pantheon, like climbing Olympus.
I'm not gonna lie, I'm disappointed in all aspects of the Hyperia theming. It feels lazy, tacky and underwhelming when you consider Swarm is a 5 minute walk away. I'm hoping it improves at some point.
I geniunely think the stone head of Collosus is much better than anything in Fearless Valley and its inconsistencies. The Black and gold buildings feel very sleek and out of place for a story ultimately about a goddess who forged. She forged her own wings. She forged her own bravery. Shouldnt the building look a little home made? Where are the bolts? The soldering? I want to see her anvil and hammer pride-of-place, not shoved in the corner of the station.
Cmon thorpe. Get your arse in gear.
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You know: Re: “there’s an in-story reason there are no fat characters in xyz media,” I feel like there’s a lack of understanding about the root idea behind why there should be fat characters regardless of the “in universe” explanations.
Im going to keep this conversation in line with Into the Spiderverse/Hero media, because I’ll be honest: I don’t disagree with the idea that there’s never a reason for there to be less body type diversity in a cast. I think the reasons are fewer and far between than people claim, but I don’t think they’re not there. Maybe it’s important for worldbuilding, maybe there’s another reason. Just getting it out of the way so I can say that I’m not talking about these specific instances where fat characters wouldn’t work in the narrative for whatever reasons.
I’m talking about: Spider-Man cant be fat. He’s too busy running around and swinging on webs to be out of shape. There’s no way there could be a fat avenger, they’re way too active. Etc etc.
Ok. Cool. I don’t care.
When it comes to body diversity in media, my first thought is not usually the in-universe reasons for the body diversity, for fat characters being fat. My mind is always going to the intention behind the writing first and foremost.
The Spider-Man series, and a lot of superhero stories, are stories about empowerment. Spider-Man itself is a character built around the idea that “anyone can wear the mask.” The spiderverse movies are built around that idea.
Spider-Man, in universe, is a character who fights crime, who has the weight of the world on his shoulders, who does super cool stunt moves and is usually like 16 years old and fighting off super monsters.
But, like. That’s the in universe stuff. The subtext, the reasoning for the plot, the character evolution, is so much more than that, isn’t it? It’s a story about empowerment, about encouraging the viewer, you, whoever you are absorbing this media, to take great risks and to evolve. Spiderverse isn’t asking you to put on a mask and swing around and fight a woman with octopus tentacles. Spiderverse is using a very specific in-universe challenge to ask you how you’d operate with great power, and the price to use it responsibly. Etcetera etcetera. Generally speaking.
And anyone can be viewing that story. Even a fat person. Who wouldn’t “realistically” be able to be a spider-man. Fat people still face adversity, still identify with having goals and taking risks. Like anyone else. That’s the point of the “anyone can wear the mask” thing. Why couldn’t there be a fat Spider-Man, for audiences to relate to just as much as they would a skinnier Spider-Man, but with the added “hey, that’s like me,” factor for some people who don’t usually get that?
And then comes the other stuff. The fact that, while a lot of media may not have positive representation of fat characters, they still have fat characters. They still exist. And where are they?
Well, usually being the butt of the joke, probably.
We can’t have a fat spider-man, but we can have a Peter B. Parker, down on his luck, pitying himself for the decisions he won’t make, at a low-point in his life. And how do we portray this? Oh, yeah, we’ll have him be fat. And we won’t stop pointing it out. We won’t stop mentioning it in a way that would have a laugh-track playing after every mention if we could. Because being fat is bad, because being a fat spider-man means you’ve done something wrong. And once you’re doing better? You’ll be less fat, probably. Because it means you’re probably doing something with yourself.
I don’t mean to say that there’s absolutely no reason a person could gain weight when they’re at a low point in their life, or that losing weight can’t be a sign of someone’s progress in their life. But I’m not talking about that. I’m talking about the writing, I’m talking about the framing of this. Peter B. Parker is the only fat Spider-Man in Into The Spiderverse, (I know there are plus sized background characters in across the spiderverse, but theyre few and far between and do not take away from the treatment of Peter B in the first movie) and they’re going to make sure you remember that, and they’re going to hope you laugh at him for it. Peter B Parker isn’t a real person, but a real person, real people, had to write his character and how people treated him.
TLDR: If you’re making a story, I don’t give a shit if there’s “no reason” for a character to be fat in universe. Let them be fat anyways. There’s probably “no reason” for half of the things they are or aren’t, but we still give characters those traits anyways. And I guarantee, in the stories where there “shouldn’t be” fat characters, there will be anyways. They just will be there to be laughed at, to point at as a sign of “greed,” to be the antithesis of what the protagonist should be. Because from a writing standpoint, apparently, where anyone can wear the mask or whatever, being fat is still wrong.
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