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Changed line(s) 30 (click to see context) from:
This theory also explains why Control gets so agitated once Poppa mentions that with steam, the trains can be under their own control- because Poppa is exposing his previously undiscovered secret. Nobody else says anything in reply to Poppa's words, but Control ''freaks out.'' "Engines must obey Control! Engines must obey Control! Do what you're told!" While the other trains (and the fans) may not have understood the meaning behind Poppa's words, Control certainly did.
to:
This theory also explains why Control gets so agitated once Poppa mentions that with steam, the trains can be under their own control- because Poppa is exposing his previously undiscovered secret. Nobody else says anything in reply to Poppa's words, but Control ''freaks out.'' "Engines must obey Control! Engines must obey Control! Do what you're told!" While the other trains (and the fans) may not have understood the meaning behind Poppa's words, Control certainly did.did.
[[WMG: Control grows up to be [[VideoGame/TheStanleyParable The Narrator]].]]
Even after he grows out of playing with toy trains, he still loves storytelling. Unfortunately, his characters still have a tendency to rebel against his narrative.
[[WMG: Control grows up to be [[VideoGame/TheStanleyParable The Narrator]].]]
Even after he grows out of playing with toy trains, he still loves storytelling. Unfortunately, his characters still have a tendency to rebel against his narrative.
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Changed line(s) 13,14 (click to see context) from:
*** Maybe C.B.'s intention to sing "There's Me" to Dinah is not because he is a stalker but because otherwise she would tell someone about his crimes.
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*** Maybe C.B.'s intention to sing "There's Me" to Dinah is not because he is a stalker but because otherwise he fears that she would tell someone about his crimes.
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Changed line(s) 13 (click to see context) from:
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****Maybe C.B.'s intention to sing "There's Me" to Dinah is not because he is a stalker but because otherwise she would tell someone about his crimes.
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Changed line(s) 26,27 (click to see context) from:
* This, then, explains why said 'late entry' was able to best the national trains, who are strong competitors just for ''qualifying'' for these world championships. Control could have been making sure they lost so that Electra landed a place in the final alongside Greaseball. * To an extent, it also explains why Rusty was able to put up a good fight against his two incredibly fast rivals- he was ''not'' under Control's influence and power, and so had to rely on his own strength and determination to get him through. Perhaps Poppa was aware of this, and that's why he decided to tell Rusty about the Starlight Express- he knew of Control's power, and wanted to give Rusty the motivation he needed to win. This same faith in the Starlight Express was perhaps what helped Poppa bring out his own skill during the time that he was world champion, considering that he too is not dictated by Control.
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* This, then, explains why said 'late entry' was able to best the national trains, who are strong competitors just for ''qualifying'' for these world championships. Control could have been making sure they lost so that Electra landed a place in the final alongside Greaseball.
* To an extent, it also explains why Rusty was able to put up a good fight against his two incredibly fast rivals- he was ''not'' under Control's influence and power, and so had to rely on his own strength and determination to get him through. Perhaps Poppa was aware of this, and that's why he decided to tell Rusty about the Starlight Express- he knew of Control's power, and wanted to give Rusty the motivation he needed to win. This same faith in the Starlight Express was perhaps what helped Poppa bring out his own skill during the time that he was world champion, considering that he too is not dictated by Control.
* To an extent, it also explains why Rusty was able to put up a good fight against his two incredibly fast rivals- he was ''not'' under Control's influence and power, and so had to rely on his own strength and determination to get him through. Perhaps Poppa was aware of this, and that's why he decided to tell Rusty about the Starlight Express- he knew of Control's power, and wanted to give Rusty the motivation he needed to win. This same faith in the Starlight Express was perhaps what helped Poppa bring out his own skill during the time that he was world champion, considering that he too is not dictated by Control.
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Changed line(s) 12 (click to see context) from:
*** Maybe Dinah is just the latest object of C.B.'s unstable and obsessive affections. It's far from unheard of for stalkers to gravitate from one victim to another depending on perceived availability.
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*** Maybe Dinah is just the latest object of C.B.'s unstable and obsessive affections. It's far from unheard of for stalkers to gravitate from one victim to another depending on perceived availability.availability.
[[WMG:Control is able to physically control the trains through electricity without them realising they're being controlled.]]
Fans often wonder what Poppa means when he says "With steam, you'll be under your own control!", because Control's orders seem to apply to everyone in the trainyard without exception. When Control orders the trains to do something, they do it- steam engines included. But what if these orders are just a front for a much more sinister modus operandi?
The only way for Poppa's mysterious quote to make any sense is if steam engines are not directly affected by Control. There must be a reason for this that sets steam engines in particular apart from the other trains- and as it turns out, the one thing that sets steam engines apart from the other engines is that they do not utilise electricity. Electra and the majority of the nationals are electric trains, The Prince of Wales is either diesel-electric or electric depending on which Royal Train he's based on, and Greaseball is diesel-electric.
While the idea that Greaseball is diesel-electric may be hard to believe due to his contempt towards electric trains ("You wanna boil with the oil or lose with the fuse?" and similar lines), he is canonically a Union Pacific engine, and Union Pacific to my knowledge never produced solely diesel trains. His hatred of electric engines, therefore, could be for many different reasons: for example, the simple fact that he sees Electra as a threat, or perhaps he's ashamed of his own electric power, or perhaps he doesn't want anyone in his gang to suspect he's diesel-electric and abandon him. Those are just three possibilities of which there are no doubt more.
Control is also set apart from the engines and rolling stock due to the obvious fact that he's a human. The fact that he's the human and they are his toys gives him immense physical power, even in a dream scenario (''especially'' in a dream scenario, in fact, considering that lucid dreaming would literally give him control of most of the characters and events in his dream)- and if you think about the popularity of electric-powered train sets, it is not ridiculous to suggest that electricity could be used to control the trains in an anthropomorphic form as well as their usual vehicle form. The reason Control would do all this? For entertainment, plain and simple. He is a young child, after all- his trains are a way for him to create his own stories and adventures. Except Control isn't your ordinary child- he's very smart, and he has a passion for trains. This, combined with the theoretical power to control his (electric) trains in their various forms, create the all-powerful narrating figure we hear in the musical.
This suggestion that Control may be able to control the trains and rolling stock that are powered fully or partly by electricity, ''without them realising they're being controlled,'' provides an explanation for several aspects of the musical. For example:
* It explains why CB is able to get away with his crimes- he isn't electric, and so is able to orchestrate crashes without Control's influence.
* It explains why Electra, an incredibly strong contender, enters the competition without a hitch despite being a 'late entry'- Control may have gotten bored of his usual favourite, Greaseball, and decided to bring Electra in (via his electric control) to switch things up.
* This, then, explains why said 'late entry' was able to best the national trains, who are strong competitors just for ''qualifying'' for these world championships. Control could have been making sure they lost so that Electra landed a place in the final alongside Greaseball. * To an extent, it also explains why Rusty was able to put up a good fight against his two incredibly fast rivals- he was ''not'' under Control's influence and power, and so had to rely on his own strength and determination to get him through. Perhaps Poppa was aware of this, and that's why he decided to tell Rusty about the Starlight Express- he knew of Control's power, and wanted to give Rusty the motivation he needed to win. This same faith in the Starlight Express was perhaps what helped Poppa bring out his own skill during the time that he was world champion, considering that he too is not dictated by Control.
This theory also explains why Control gets so agitated once Poppa mentions that with steam, the trains can be under their own control- because Poppa is exposing his previously undiscovered secret. Nobody else says anything in reply to Poppa's words, but Control ''freaks out.'' "Engines must obey Control! Engines must obey Control! Do what you're told!" While the other trains (and the fans) may not have understood the meaning behind Poppa's words, Control certainly did.
[[WMG:Control is able to physically control the trains through electricity without them realising they're being controlled.]]
Fans often wonder what Poppa means when he says "With steam, you'll be under your own control!", because Control's orders seem to apply to everyone in the trainyard without exception. When Control orders the trains to do something, they do it- steam engines included. But what if these orders are just a front for a much more sinister modus operandi?
The only way for Poppa's mysterious quote to make any sense is if steam engines are not directly affected by Control. There must be a reason for this that sets steam engines in particular apart from the other trains- and as it turns out, the one thing that sets steam engines apart from the other engines is that they do not utilise electricity. Electra and the majority of the nationals are electric trains, The Prince of Wales is either diesel-electric or electric depending on which Royal Train he's based on, and Greaseball is diesel-electric.
While the idea that Greaseball is diesel-electric may be hard to believe due to his contempt towards electric trains ("You wanna boil with the oil or lose with the fuse?" and similar lines), he is canonically a Union Pacific engine, and Union Pacific to my knowledge never produced solely diesel trains. His hatred of electric engines, therefore, could be for many different reasons: for example, the simple fact that he sees Electra as a threat, or perhaps he's ashamed of his own electric power, or perhaps he doesn't want anyone in his gang to suspect he's diesel-electric and abandon him. Those are just three possibilities of which there are no doubt more.
Control is also set apart from the engines and rolling stock due to the obvious fact that he's a human. The fact that he's the human and they are his toys gives him immense physical power, even in a dream scenario (''especially'' in a dream scenario, in fact, considering that lucid dreaming would literally give him control of most of the characters and events in his dream)- and if you think about the popularity of electric-powered train sets, it is not ridiculous to suggest that electricity could be used to control the trains in an anthropomorphic form as well as their usual vehicle form. The reason Control would do all this? For entertainment, plain and simple. He is a young child, after all- his trains are a way for him to create his own stories and adventures. Except Control isn't your ordinary child- he's very smart, and he has a passion for trains. This, combined with the theoretical power to control his (electric) trains in their various forms, create the all-powerful narrating figure we hear in the musical.
This suggestion that Control may be able to control the trains and rolling stock that are powered fully or partly by electricity, ''without them realising they're being controlled,'' provides an explanation for several aspects of the musical. For example:
* It explains why CB is able to get away with his crimes- he isn't electric, and so is able to orchestrate crashes without Control's influence.
* It explains why Electra, an incredibly strong contender, enters the competition without a hitch despite being a 'late entry'- Control may have gotten bored of his usual favourite, Greaseball, and decided to bring Electra in (via his electric control) to switch things up.
* This, then, explains why said 'late entry' was able to best the national trains, who are strong competitors just for ''qualifying'' for these world championships. Control could have been making sure they lost so that Electra landed a place in the final alongside Greaseball. * To an extent, it also explains why Rusty was able to put up a good fight against his two incredibly fast rivals- he was ''not'' under Control's influence and power, and so had to rely on his own strength and determination to get him through. Perhaps Poppa was aware of this, and that's why he decided to tell Rusty about the Starlight Express- he knew of Control's power, and wanted to give Rusty the motivation he needed to win. This same faith in the Starlight Express was perhaps what helped Poppa bring out his own skill during the time that he was world champion, considering that he too is not dictated by Control.
This theory also explains why Control gets so agitated once Poppa mentions that with steam, the trains can be under their own control- because Poppa is exposing his previously undiscovered secret. Nobody else says anything in reply to Poppa's words, but Control ''freaks out.'' "Engines must obey Control! Engines must obey Control! Do what you're told!" While the other trains (and the fans) may not have understood the meaning behind Poppa's words, Control certainly did.
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Changed line(s) 1,4 (click to see context) from:
[[WMG:Control is [[SuperSmashBros Master Hand]].]]
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) Control introduces each National engine as he appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''Theatre/StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) Control introduces each National engine as he appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''Theatre/StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
to:
[[WMG:Control is [[SuperSmashBros [[VideoGame/SuperSmashBros Master Hand]].]]
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original''SuperSmashBros'' ''VideoGame/SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) Control introduces each National engine as he appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''Theatre/StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ''VideoGame/SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original
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Changed line(s) 3,4 (click to see context) from:
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) Control introduces each National engine as he appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
to:
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) Control introduces each National engine as he appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''StarlightExpress'' ''Theatre/StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
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Changed line(s) 11 (click to see context) from:
** Old 97 probably wasn't trying to woo Dinah.
to:
** Old 97 probably wasn't trying to woo Dinah.Dinah.
***Maybe Dinah is just the latest object of C.B.'s unstable and obsessive affections. It's far from unheard of for stalkers to gravitate from one victim to another depending on perceived availability.
***Maybe Dinah is just the latest object of C.B.'s unstable and obsessive affections. It's far from unheard of for stalkers to gravitate from one victim to another depending on perceived availability.
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Changed line(s) 10 (click to see context) from:
C.B. seems to indicate that his constant team killing is just for kicks. But on the other hand, when Dinah is dumped by Greaseball, he sings "There's Me", which since we find out later that he is [[{{Understatement}} not exactly stable]] comes off as a bit stalker-ish. Is it possible that C.B. is actually acting deliberately, eliminating engines who might stand between him and Dinah?
to:
C.B. seems to indicate that his constant team killing is just for kicks. But on the other hand, when Dinah is dumped by Greaseball, he sings "There's Me", which since we find out later that he is [[{{Understatement}} not exactly stable]] notstable comes off as a bit stalker-ish. Is it possible that C.B. is actually acting deliberately, eliminating engines who might stand between him and Dinah?
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Changed line(s) 10 (click to see context) from:
C.B. seems to indicate that his constant team killing is just for kicks. But on the other hand, when Dinah is dumped by Greaseball, he sings "There's Me", which since we find out later that he is [[{{Understatement}} not exactly stable]] comes off as a bit stalker-ish. Is it possible that C.B. is actually acting deliberately, eliminating engines who might stand between him and Dinah?
to:
C.B. seems to indicate that his constant team killing is just for kicks. But on the other hand, when Dinah is dumped by Greaseball, he sings "There's Me", which since we find out later that he is [[{{Understatement}} not exactly stable]] comes off as a bit stalker-ish. Is it possible that C.B. is actually acting deliberately, eliminating engines who might stand between him and Dinah?Dinah?
**Old 97 probably wasn't trying to woo Dinah.
**Old 97 probably wasn't trying to woo Dinah.
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Changed line(s) 9 (click to see context) from:
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[[WMG:C.B. isn't just in it ForTheEvulz.]]
C.B. seems to indicate that his constant team killing is just for kicks. But on the other hand, when Dinah is dumped by Greaseball, he sings "There's Me", which since we find out later that he is [[{{Understatement}} not exactly stable]] comes off as a bit stalker-ish. Is it possible that C.B. is actually acting deliberately, eliminating engines who might stand between him and Dinah?
C.B. seems to indicate that his constant team killing is just for kicks. But on the other hand, when Dinah is dumped by Greaseball, he sings "There's Me", which since we find out later that he is [[{{Understatement}} not exactly stable]] comes off as a bit stalker-ish. Is it possible that C.B. is actually acting deliberately, eliminating engines who might stand between him and Dinah?
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Changed line(s) 3,4 (click to see context) from:
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) In the Bochum production, Control introduces each character as he or she appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
to:
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) In the Bochum production, Control introduces each character National engine as he or she appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
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Changed line(s) 3,4 (click to see context) from:
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) In the Brochum production, Control introduces each character as he or she appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
to:
Canonically, the events of ''Starlight Express'' are a little boy's dreams about the anthropomorphic personifications of his toy trains, who live to race one another for bragging rights. The general consensus on the storyline of the original ''SuperSmashBros'' is that Master Hand represents a child, and that the characters are his dolls, which he forces to fight each other for his own amusement. (The game over screen, which shows the player character in the form of an inanimate toy falling to the floor, supports this hypothesis.) In the Brochum Bochum production, Control introduces each character as he or she appears, just as Master Hand announces each fight. Neither Control nor the child to whom Master Hand is attached appears physically, but each orchestrates the proceedings while he can. Finally, ''StarlightExpress'' ends with the toy trains successfully demanding that Control "shut it" and presumably forming a self-sufficient society, while the original ''SuperSmashBros'' ends with the player character triumphing over his cruel juvenile master by effectively killing him and claiming his place as the superior doll.
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Changed line(s) 1 (click to see context) from:
[[WMG:Control is [[SuperSmashBros Master Hand]].
to:
[[WMG:Control is [[SuperSmashBros Master Hand]].]]
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Dioschorium
Changed line(s) 1 (click to see context) from:
Click the edit button to start this new page.
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Canonically, the
Therefore, one can reasonably conclude that Control and Master Hand are synonymous. If this hypothesis is taken into conjunction with the notion of Tabuu as a figure of authority over the child, then Tabuu is Control's mother. Moreover, a chronology of events in Control/Master Hand's life seems possible to construct: the child began as a junior railroad enthusiast and Nintendo fanboy, with the former interest predominating, until he grew slightly older and became more interested in video games. (In some productions of the show, the Japanese train is named Nintendo.) Always somewhat unstable, the child finally snapped by the events of ''Super Smash Bros. Melee'', in which the hemispheres of his brain, represented by his two hands, were completely given over to imagining his toys as real--and threatening. His condition worsened by the events of ''Brawl'', which contained more elaborate and nonsensical stages and scenarios than even the previous two games. By then, the child incorporated fragments of his old obsession with mechanical life into his play; witness the inclusion of R.O.B. and Mr. Game and Watch.
Perhaps "seeing the starlight" has a more sinister meaning than the songs indicate.
