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So Crivvies, where were we? Ah, yes - we were looking at MIKE NOBLE's rapturously-rendered FIREBALL XL5 strip from the pulsating pages of the titanically terrific TV CENTURY 21. You should all know the background by now, but if not, you can browse back through the blog and acquaint yourselves with the previous posts pertaining to the topic.
So, let's go. Last one back to Fireball Junior is a Tootie!
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16 comments:
Venus in that first panel is a dead ringer for Venus on the cover of the 1967 Annual.
Holy recycle, Batman - Venus in the first panel is a dead ringer for Venus on the cover of the 1967 Annual.
Holy recycle, B - your first comment is almost a dead ringer for your second one, above. (Hee Hee.)
This is a bit off point, but when you sign off as anonymous, you're basically taking responsibility for everybody else who signs off that way. I don't necessarily agree with every "anonymous" so I'll be posting with MP. Talk to ya later, Kid. MP
MP, I've asked before for 'Anons' to identify themselves in this way, even if it's only a made-up name. It makes it easier for everyone to distinguish between who's saying what, so thanks for your consideration.
Kid - good to have you back to normal programming after that break in transmission. I guess some things just have to be dealt with, no matter how distasteful, and what better way to cleanse the palette than with a fine helping of such great artwork!
Indeed, Phil, but if only things were truly back to normal. You just wouldn't believe the torrent of comments I'm receiving from one truly disturbed individual. Don't worry, I'm ignoring them.
I'll tell you one thing - whatever Mike Noble was paid for those pages wasn't enough. The amount should have been tripled.
Nice scans , you even get a good impression of the gravure matrix in some places. Noble epitomises XL5 for me and he's the perfect compliment for the TV series, I've occasionally wondered if the efforts of Noble and his excellent colleagues influenced Anderson's decision to move to the more realistic proportions of the latter series.
DSE, I think the realistic proportions of the later series came about due to being able to make the heads smaller because of improvements to the solenoids for lip-sync. And it was always his ambition to do live-action, so more realistic puppets were a step in that direction in GA's mind, I think.
Hate to correct you, Kid, but it wasn't really improvements to the solenoids themselves for lip-sync, it was siting the electromagnets in each puppet's chest and transmitting by cable through the puppet's neck the movements of the solenoid.
I'll assume that you aren't the 'anon' who's bombarding me with gibbering emails, because you don't start off quoting me, but I don't mind being corrected if I'm wrong.
However, I was really just giving the Reader's Digest condensed version, rather than saying 'improvements to the positioning of the solenoids'. (And I did say 'I think'.)
Now - where's my no-prize?
Well, the solenoids weren't improved, as you first stated, they were just repositioned. Whether that's an improvement per se in position I'm not sure, I'll give you the benefit of the doubt, but, if you think about it, the improvement was really the cable in the neck, wasn't it? And I don't see your Reader's Digest version indicating that, but, hey ho, who really cares after all these years? I'm sure you don't and neither do I.
But, sorry, still definitely no winner's prize for you.
The repositioning of the solenoinds to the chest, from which cables in the neck were connected to the mouth, was an improvement. Therefore, my use of the 'shortcut' version of improvements to the solenoids for lip-sync was quite legitimate and accurate - if not fully detailed.
I've already been awarded my no-prize, so I'm right and you're wrong. Rasspppppp!
If I -were- to inclined to drop a name amid the discussion. I could mention my meeting with Christine Glanville although it doesn't shed much light on the reasoning behind the shift in style. Indeed it seems there was some improvement in the mechanical lip sync which, it seems was the cause of most of the delays on set in the earlier productions."It didn't work" she exclaimed and with a look that seemed to evoke the memory of frustration. Electrical problems and problems with the leather portion of the lower lip stiffening in overnight storage seems to be the main motive for the installation of a more robust system. Whether the improvements made her life easier on set, I can't say, I hope it did, she was a charming and courteous lady, who bore my questions with patience.
Er, I met Steve Zodiac once. (Gotta top that DSE somehow.)
lol -- Yeah, now I am impressed.
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