(FAN ART! Please do not repost!)
WAHHH! The update has me in shambles over here! I haven’t had time to draw something new, so I’m sharing this again but now you can actually see the puppeteers haha!
I’m so interested in the puppeteering aspect of this story, and I think it’s even more deep when you consider how many people are working these silly guys. For reference, I looked at images of Jim and the gang puppeteering Bert and Ernie from Sesame Street. I love learning how this stuff works!
Anyway, the art itself isn’t a spoiler, but I’ll tag this as such just in case.
Happy Homewarming! 💌
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so, I checked on the character descriptions again
to see what the update adds to it, of course. Now this may have been there before the past couple updates, but I still find it interesting:
In their descriptions, Wally and Julie are "believed to be a puppet operated by one handler."
Which is really vague compared to the other descriptions that directly explain the mechanics of puppetry for the other neighbors. Like how "Eddie was a live-hand puppet who required two puppeteers to operate." Hell, the description for Barnaby talks about how "It is assumed Barnaby’s puppet was rotated between a live-hand puppet and a walk-around puppet, typically to keep him in frame," my point is: the rest of the neighbors have more definitive and decisive sounding words used to describe their form as a puppet; their mechanics of puppetry. Even if the mechanics are speculated and assumed, it is an assumption about the puppet, rather than a character believed to be a puppet, which sounds more unsure. Like they could just say Julie and Wally are hand and rod puppets, but they don't. I think they're elusive on purpose or something.
I mean, Wally is... Wally; he's been breaking the fourth wall, interacting with the website, and literally breathes during the phone calls! He seems to be uncannily alive in some way and feels more like an entity than a puppet. And on the other hand, Julie is a rainbow monster. So she's an original species from the welcome home universe, which may make her elusive puppetry description more fitting.
Seriously though, wdym they're believed to be puppets? And the rest of the neighbors 'required puppeteers to operate', but Julie and Wally are simply 'operated by a handler'...
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A few weeks back, I made a comment to the effect of, "Belos views himself as the single human character in a muppets production." It has since then spiraled into an entire AU in my head that refuses to leave me alone.
A few weeks back, I made a comment to the effect of, "Belos views himself as the single human character in a muppets production." It has since then spiraled into an entire AU in my head that refuses to leave me alone.
The basic premise:
Caleb and Evelyn found a weekly children's program ("The Boiling Isles") that features puppets; little Philip is featured as the one human, and since the episodes with him do much better than the ones without, he grows up into the role and eventually becomes a big part of the production staff as well
When Caleb and Evelyn die in an accident, Philip inherits the show
Some of the main (puppet) characters are named Luzura, Willow, Amity, and Augustus (you can see where I'm going with this). Philip would be able to stand these puppets on their own BUT
In promotional materials and interviews, he is ALWAYS asked what it's like to "work with" Luzura/Willow/Amity/Gus. Philip is absolutely INFURIATED by this because they're PUPPETS why can't anybody see that they're PUPPETS don't you care about the STAFF or the ARTISTS or the LIGHTING MANAGERS why does everybody pretend that the PUPPETS are REAL PEOPLE and why does HE have to pretend that the PUPPETS are when he responds??? He's convinced that some of the interviewers genuinely believe that the puppets are alive and tries to patiently explain that, no, they are just puppets. The interviewers always refuse to break the immersion.
Expanded AU thoughts are under the cut.
Caleb and Evelyn meet at an arts college. Evelyn is a film student, and the show's prototype is her capstone project. Caleb offers to bring Philip in as an actor and it sticks. Caleb also helps make some of the first puppets.
Little Philip's identity is protected by 1) the presence of a mask, and 2) the stage name "Belos". The name sticks around for his on-screen appearances.
While sticking around the set, Philip learns a lot about the different areas of production. He especially likes building sets, backdrops, props, and puppets, though he finds the writing process interesting as well. When he's old enough to help out with paperwork, he takes over the logistical side of things because tbh both Caleb and Evelyn are helpless when it comes to that
By the time Philip takes over, he's basically the head supervisor of every single department. His management makes the show's popularity explode
Philip is definitely the best at building and controlling puppets. Every now and then, he makes an extra-large "final boss" sort of puppet that only he is physically capable of controlling, and some of them end up in museums
Philip raises Hunter, but he's sort of the neglectful sort. He's ultra-focused on keeping the show his brother put so much thought, effort, and love into alive, and it makes literally any semblance of life he might have had outside of the show suffer
Similarly to Philip, Hunter grows up on set, but not as an actor. The production staff looks after him. When he's old enough, he also becomes a part of the test audience
The production staff is composed of the Emperor's Coven members in canon; i.e. Darius is in charge of lighting and wires, Raine is the sound director, Eberwolf is the lead puppet master, Hettie is the on-site medic, etc.
Luz and Camila are also a part of the test audience. I'm going to pretend that Philip and Camila are good buds in this AU. Philip inserts Luzura into the show as a character based on Luz
Basically most of the ire that Philip has in this AU is directed toward the puppets because they're not REAL why are THEY getting the GLORY can we PLEASE not pretend that these PUPPETS have thoughts and feelings and personalities???
He also doesn't leave because 1) the aforementioned attachment to something Caleb loved so much, and 2) he's put too much effort into this show already and he knows that no replacement could ever be so proficient at his job
Let's be real, Philip's work ethic is super unsustainable, and it DEFINITELY keeps him from grieving properly
When Hunter reveals that he does not, in fact, want to inherit the company that Philip has built, it's CRUSHING to Philip, who feels like giving it up would be disrespecting Caleb's legacy, unaware that he's staring Caleb's legacy in the face
Ideally Philip's arc (which I have hardly described here) would end with wealthy retirement and him being able to say "goodbye Boiling Isles" and never having to appear alongside those godforsaken puppets ever again
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For funsies, I decided to draw a puppet form for Yol, which I imagine to be more akin to a marionette or automaton than the other felt-based puppets on the cast.
Moving him was bizarrely complex, with many levers and dials controlling the largely internal string clusters for his multiple joints, and even the mechanisms for a full range of facial movements. It required many hours of training to get right, but the results were described as "mesmerizing", to the point where more than a few people questioned what a doll of this high quality and detail was doing on a simple kid's show. The studio itself refused to give a response.
As for material, he was made of something labeled/assumed to be wood, but which resembles no wood found on earth, and which those who handled him decribed as "strangely soft, and almost warm to the touch." It's also notable that his head contained a full set of real ivory teeth, despite such a feature not being present in any other character on the show. Further analysis is unfortunately impossible, as all 8 of the original Safety Space puppets mysteriously vanished during the summer of 1972 and have never been found since.
bonus pic of the swirl markings covering his body, which I later gaussian blurred and lowered the opacity to give that distinct velvet softness to his skin.
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I am sad that Back to the Rock decided to just give Mokey rod-hands full time
In the original puppet show, Mokey had two sets of hand that would be used depending on what was needed for a scene.
A set of rod-hands like the rest of the main Fraggle characters, and a set of live-hands (which are like a pair of gloves that a puppeteer wears to act as the character's hands).
Something easily facilitated by her large billowing robe. Though there's various Muppets who do a similar thing even with tight clothing such as Ernie.
Anyways the live-hands is how it was so easy to do scenes of Mokey doing stuff like painting, writing, throwing things, and other stuff in the original series.
If there's an object that either can't be easily attached to a rod-hand, or that needs to be immediately thrown, there's a pretty good chance Mokey is going to be the one to pick it up.
Such as the "hideous round thing" that she picks up and throws to distract Sprocket in episode 1 of the original series. It's too large and smooth to easily (and realistically) have a rod-handed puppet hold, but a live-handed puppet could pick it up and throw it quiet easily.
It could just be because rod-hands have advanced since the original series, and the hands now have greater pose ability than the kind in the 80s, so live-handed puppets have become redundant when not necessary.
Like Mokey doesn't play the piano or anything super intricate that requires extreme finger dexterity that couldn't just be added in post or something.
Though I do think Mokey's live-hands gave her an expressiveness and groundedness in her movements that the rod-handed puppets didn't have in the original series.
Live-hands are more fluid, dynamic and nimble compared to rod-hands just by default.
When she did something, like paint, or touch something, or even touch her friends, with her live-hands it was always more grounded and believable than when any of the characters with rod-hands did something similar.
Like when Mokey pulls out a poem and is holding it, she's literally holding it with real hands, but if Gobo pulls out a postcard from Uncle Matt that same episode it can look kind of funny, because it just doesn't look as realistic. Sometimes they didn't manage to get the fingers on his rod-hand to close all the way, so the letter is just awkwardly stuck to his hand.
Same with the other rod-hand Fraggles whenever they hold a piece of paper.
Human hand in a glove will always be more 'realistic' (believable) feeling in movement and action compared to a fake hand being controlled by a stick.
And I think that is something missing from the new version of Mokey.
Original Mokey was always an artistic dreamer who could sometimes feel like she had her head in the clouds, but also had these moments of being very grounded and insightful, and was very down to earth in general.
Mokey was the most physically affectionate of her friends in the original, and I feel like that was due to, at least in part, her being a live-hand puppet a lot of the time.
Like there are just scenes where she'll just be holding one of her friends hands while she guides them along, or she'll cradle their heads when she hugs them, and there's just an extra layer of depth that comes with it being done by live-hand puppetry.
There were actions that Mokey as a live-handed puppet could do that the rest of the main cast couldn't do due to her status as a live-handed puppet, and the old show took advantage of that, and I feel like that's where at least a bit of her characterization came from.
Because for a lot of those scenes weren't of Mokey doing something complicated that made live-hands neccessary, no, in a lot of them she's just talking with her friends and gesturing with her hands, or being physically affectionate, and what she's doing with her hands aren't even the focus of what's going on in the scene.
In the episode where Wembley is looking for his job, when Mokey is walking him up to the Gorg's garden to get radishes. She's holding hands with him as she leads him up there, but that's barely in frame at all.
To the point that their hands are bobbing in and out of frame as they walk, and it only lasts a few seconds.
The hand holding was completely unnecessary, it barely makes it into the scene at all, but it was still something the puppeteers decided to do, because Mokey holding her friends hand while leading them somewhere was a Mokey kind of thing to do.
And it's the tiny moments like that, that I think is missing from Mokey in Back to the Rock.
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