Here’s something a little more Christmas-y for that special time of year!
Honestly, this idea just came to me. Like bolt-of-lightning inspiration.
Part of said inspiration came from The Nutcracker and the Netflix series Bodies as I was drawing it, and the characters are based on Zero, X and Ciel from the MegaMan Zero series.
Axl is there too in the background
Basically, Ciel is a little girl living in 1940s London as a French refugee. Before she’s called away to the countryside, she stumbles upon a semi-abandoned toy shop with a pair of Victorian marionettes hanging in the window (X and Zero). They capture her imagination and she loves them instantly.
It’s supposed to take place around Christmas time, hence the Christmas tree in the background of the toy shop. It’s darkened to show that it’s supposed to be closed.
I used an internet photo of 1940s London for the background of the reflection on the window.
Frames from the amazing, 1960s tv series, Captain Scarlet and the Mysterons from Gerry Anderson. Having had a hit with Thunderbirds (1965–1966), Anderson moved on to produce another "supermarionation" hit with Captain Scarlet and the Mysterons (1967).
I've been revisiting the work of Gerry Anderson recently, having discovered his strange and nearly forgotten photo-comic book series Candy (featured here a few posts back). I see now, more clearly than before, what a master of production design he was, or at least, his team was.
The sets, while miniature, feature the most considered (and stylish) design details - modern furniture, colour coordinated wall and material colours, clothing on the characters are very on-trend (for the late 60s), the natural landscapes are incredible and detailed, and of course, the design of the vehicles is particularly impressive. Cars, jets, rockets, tanks, flying bases, on and one.
And Gerry Anderson loved pyrotechnics - there are lots of fires and explosions. He managed to mitigate miniaturism (made up word) within these effects, which when produced at a small scale, can feel, well, small. His explosions feel big. But they are smooth, in terms of frame rate - they've not simply been slowed down, or if they have, they were shot at a high speed frame rate that allowed slowing down in post-production.
There's an incredible moon base explosion in Season 1 Episode 1: The Mysterons (around 3:07) where you can see the impact of the explosion creating turbulence across the dust on the lunar surface. It's an impressive, special effects, attention to detail.
These frames give a glimpse into the impressive production design of the Captain Scarlet series, which is often overlooked, with the focus being on the puppets.
introducing sir alfred, an awkward rules-loving nutcracker, and postman basil, a sly troublemaking marionette. they don’t always get along, but basil thinks alfred is great fun (to mess with) and alfred won’t stop giving basil second chances for reasons he can’t properly explain.
[image ID: four sketch pages featuring sir alfred, a nutcracker doll with tan skin, a red coat with blue and yellow accents, epaulettes, a tall black hat, and a sword on his belt; and postman basil, an anthropomorphic cat marionette with black and white fur, blue eyes, a long navy blue coat and matching hat, a mail bag, a segmented black tail, and an x-shaped marionette controller he wears on his back with strings attached to various body parts.
page one has a sketch of alfred and basil from the knees up, where basil is tipping his hat with a smile and saying “mr. guard,” to which alfred replies “mr. postman,” with his arms behind his back and a serious expression.
page two has several sketches in blue of each of them, including basil from the back; with his controller held up and an envelope in his hand; and leaning on his hands with a sly smile and light blush; as well as alfred walking; frowning and blushing with his hat off; and crossing his arms while saying “you’re being ridiculous, basil.” at the bottom the two of them are shown very close together, basil leaning forward smiling and alfred leaning back in surprise, with basil holding alfred’s hat behind his back.
page three is a single sketch of basil dipping alfred backwards as if they were dancing and leaning in close to his face to say “my, my, sir alfred, you sure are light on your feet,” to which alfred annoyedly replies, “unhand me, you scoundrel!”
page four is a three panel comic. in panel one, basil and alfred perk up as someone out of frame says “sir alfred, come quick! someone’s stolen my favourite thimble!” in panel two, basil starts to sneak away behind alfred while clutching his mail bag with a suspicious smile and says “heh heh heh, well would you look at the time, be seeing you, freddie.” and is cut off. in panel three, alfred grabs the controller on basil’s back before he can get away and looks unimpressed as he says, “not so fast, cat.” end ID]
“The truth, my children, is that we are, all of us, acting in a marionette comedy. What is important more than anything else in a marionette comedy, is keeping the ideas of the author clear. This is the real happiness of life, and now that I have at last come into a marionette play, I will never go out of it again.”
― Isak Dinesen, Seven Gothic Tales