Puppets

I am standing on what looks like a cramped, dark city street. A tavern is around a corner, a police department in front of me. And I’m lost.

That’s when I hear a whisper. “Psst.” I turn, and see a puppet peeping his head out of a secret opening of a door. Over here,” he says, and I find myself leaning in to listen to this furry, oval-faced creature in the shadows. He’ll help me, he says — that is if I can clear his name. See, another puppet has been murdered, and everyone right now is a suspect.

Campaign posters for puppet candidates for mayor inside Appleseed Avenue. “Election Day” is a tale of political espionage with puppet-on-puppet violence.

(Juliana Yamada / Los Angeles Times)

I am playing a gamed called “Election Day” at Appleseed Avenue, a relatively new escape room in a multi-story strip mall in Newhall. The puppet world is in the midst of a crisis, torn over whether humans should be allowed to wander the fictional street of Appleseed Avenue. My role is that of a detective, and throughout this game of fatal political espionage, I encounter multiple puppet characters — electricians, would-be-mayors, gangsters, dead puppets.

Drama ensues, and that’s where we humans come in, helping the puppets crack the case before we’re banned from their world once and for all. One needn’t be up on the state of puppet politics to participate — and don’t worry, the domestic affairs of Appleseed Avenue are relatively divorced from those of our own. Only a penchant for silly absurdity, and a stomach for puppet-on-puppet violence, is required.

While the look of the puppets may be inspired by, say, “Sesame Street,” with characters that are all big mouths and large eyes, the tone of “Election Day” leans a bit more adult. Recommended for ages 13 and older, “Election Day” will feature puppets in perilous conditions. And if you’re playing as a medical examiner, be prepared to get a glimpse at a mini puppet morgue.

Guests will play as detectives or medical examiners in Appleseed Avenue’s “Election Day.”

(Juliana Yamada / Los Angeles Times)

“Sometimes people do think, ‘Oh, this is for little kids.’ Not quite,” says Patrick Fye, who created the experience with Matt Tye. “We call it PG-13.”

“We wanted that dichotomy,” says Tye. “Really silly puppet-y characters in a gritty world.”

Fye and Tye are veterans of the local escape room scene — Fye the creator of Evil Genius Escape Rooms and Tye the developer of Arcane Escape Rooms. “Election Day,” however, while a timed experience, isn’t a pure escape room. Think of it more as a story that unfolds and needs solving. We’re not trapped. In fact, one puzzle actually utilizes the waiting room, as “Election Day” toys with the idea of traversing the human world and a puppet universe.

Patrick Fye and Matthew Tye, founders of Appleseed Avenue, along with their lookalike puppets.

(Juliana Yamada / Los Angeles Times)

Puppets weren’t necessarily the driving idea behind their joint venture in Appleseed Avenue. Creating a so-called escape room that was more narrative based was the objective. They wanted a room, for instance, where puzzles felt natural rather than forced. “Election Day” isn’t a space, say, with complex cipher codes to untangle. I was reminded of old-fashioned adventure video games, where one is prompted to look at objects, combine them or go on scavenger hunts, like the one prompted by the puppet I met in an alley.

Puppets were simply a means to an end.

“How can we make something that feels like you’re actually in the story and has more video game-y elements, as opposed to, ‘I’m in an Egyptian tomb. Here’s a padlock,’ ” says Fye. “We were trying to figure out how to mix the diegetics with the overall design. We stumbled on crimes and puppets because we thought it was fun and funny.”

One problem: Neither had created puppets or puppeteered before. Enter online classes, where Tye learned how to craft arm-rod puppets.

“We thought it was the coolest idea we had,” Tye says. When we both look at something and go, ‘We don’t know how to do all of this yet,’ we don’t let that stop us.”

Appleseed Avenue is home to an escape room featuring puppets. It doubles as the street name in which the game, “Election Day,” takes place.

(Juliana Yamada / Los Angeles Times)

“Election Day” does unfold like a live-in video game. At times, we’re interacting with a screen, as puppets will relay us messages and quests. Often, we’ll explore the space, as the two have created an elaborate set. Teams are split. Half work as detectives, and half as medical examiners. We can communicate via an inter-room conference system, or simply run back and forth.

But listening to everything the puppets say is paramount, as clues are often hidden in dialogue. Both say they have done too many escape rooms where the story felt too divorced from the actions they were being asked to complete.

“We even say at the beginning of the game, ‘The story really matters.’ You have to pay attention to it,” Fye says. “There’s a moment I’ll never forget. We were doing a Titanic room, and we were in the engine room shoveling coal. But isn’t the ship sinking? What is happening? A lot of times a story is just set dressing.”

The initial response to “Election Day” has been positive, so much so that the two are set to debut a second game in 2026, a sci-fi room titled “Shadow Puppet.” The latter will utilize the same Appleseed Avenue set, although additional spaces will be built out. They’re also looking at some more kid-friendly options. Planned for 2027 is a game titled “Puppet Town Day,” in which little ones will receive passports that prompt them to interact with the puppet characters.

Wanted posters for puppets. Many are a suspect in Appleseed Avenue’s “Election Day.”

(Juliana Yamada / Los Angeles Times)

For now, however, think of Appleseed Avenue as part of greater Los Angeles escape room trend. Whether it’s Hatch Escapes with its corporate time-jumping game “The Ladder” or Ministry of Peculiarities with its spooky haunted house, creators here are emphasizing story. Appleseed Avenue is no different, introducing us to a wacky cast of puppet characters.

It also achieves a rare feat: It makes murder feel ridiculous.

Says Tye: “When there’s a guy named Alby Dunfer who’s getting it from a blowdart from a hitman, it’s like, ‘OK, this is fun.’ ”

Chad Smith remembers the night in 2003 when the Red Hot Chili Peppers played for an audience of 80,000 or so amid the rolling hills of the Irish countryside.

After a somewhat fallow period in the mid-’90s, the veteran Los Angeles alt-rock band resurged with 1999’s eight-times-platinum “Californication” and its 2002 follow-up, “By the Way,” which spawned the chart-topping single “Can’t Stop.” To mark the moment, the Chili Peppers brought a crew to document their performance at Slane Castle, where they headlined a full day of music that also included sets by Foo Fighters and Queens of the Stone Age, for an eventual concert movie.

“Everything’s filmed now, but back then it was a big shoot,” Smith, the band’s drummer, recently recalled. “You can get a little self-conscious. At the beginning, I f— something up — nothing nobody would know, but we would know — and Flea kind of looked at me,” he said of the Chili Peppers’ bassist. “We gave each other this ‘Oh s—’ look. We laughed it off, and I don’t think I thought about it after that because the crowd was so engaged. The energy was incredible.”

Twenty-two years later, the Chili Peppers are bringing that 2003 gig to screens again — only this time they’re string puppets.

“Can’t Stop” is director David Fincher’s re-creation of the band’s rendition of that tune at Slane Castle. Part of the just-released fourth season of the Emmy-winning Netflix anthology series “Love, Death + Robots,” the animated short film depicts the Chili Peppers — Smith, Flea, singer Anthony Kiedis and guitarist John Frusciante — as dangling marionettes onstage before a veritable sea of the same. As the band rides the song’s slinky punk-funk groove, we see Flea bust out some of his signature moves and Kiedis swipe a fan’s cellphone for a selfie; at one point, a group of women in the crowd even flash their breasts at the frontman.

The puppets aren’t real — the entire six-minute episode was computer-generated. But the way they move looks astoundingly lifelike, not least when one fan’s lighter accidentally sets another fan’s wires on fire.

So why did Fincher, the A-list filmmaker behind “Fight Club” and “The Social Network,” put his considerable resources to work to make “Can’t Stop”?

“A perfectly reasonable inquiry,” the director, who executive produces “Love, Death + Robots,” said with a laugh. “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”

Why did David Fincher turn the Chili Peppers into puppets? “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”

(Netflix)

Fincher, 62, grew up loving Gerry Anderson’s “Thunderbirds” series featuring his so-called Supermarionation style of puppetry enhanced by electronics. But the Chili Peppers project also represents a return to Fincher’s roots in music video: Before he made his feature debut with 1992’s “Alien 3,” he directed era-defining clips including Paula Abdul’s “Straight Up,” Madonna’s “Express Yourself” and “Vogue” and George Michael’s “Freedom! ’90.” (Fincher’s last big music video gig was Justin Timberlake’s “Suit & Tie” in 2013.) In addition to “Thunderbirds,” he wanted “Can’t Stop” to evoke the ’80s work of early MTV auteurs like Wayne Isham and Russell Mulcahy — “that throw 24 cameras at Duran Duran aesthetic,” as he put it.

Fincher said he knew his puppet concept would require “a band you can identify just from their movement,” which seems like a fair way to describe the Chili Peppers. He recalled first encountering the band around 1983 — “I think it was with Martha Davis at the Palladium?” he said — and was struck by a sense of mischief that reminded him of the “elfin villains” from the old Rankin/Bass TV specials.

“I feel like Finch got the spirit of me,” said Flea, 62, who’s known the director socially for years. The bassist remembered discussing “Can’t Stop” with Fincher at a mutual friend’s house before they shot it: “I was talking about how I still jump around onstage and my body still works really good. But I used to dive and do a somersault while I was playing bass — like dive onto my head. And now I’m scared to do it.” He laughed. “Some old man thing had happened where I’m scared to dive onto my face now. Finch went, ‘Well, Puppet Flea can do it.’”

Sketches of Red Hot Chili Peppers drummer Chad Smith and bassist Flea as puppets in Vol. 4 of Netflix’s “Love, Death + Robots.” (Netflix)

After doing a day of motion capture with the band at a studio in the Valley, Fincher and a crew of animators from Culver City’s Blur Studio spent about 13 months working on “Can’t Stop.” Fincher said the hard part was giving the marionettes a feeling of suspension.

“With the mo cap, you’re capturing the action of a character who has self-determination,” he said, referring to a human Chili Pepper, “then you’re applying that to an object that has no self-determination,” meaning a puppet controlled by an unseen handler. “It’s so much trickier than it looks. But that was kind of the fun, you know? I mean, not for me,” he added with a laugh.

Asked if the production involved any use of AI, Fincher said it didn’t. “It’s Blur — it’s a point of pride for them,” he said. But he also shrugged off the idea that that question has become a kind of purity test for filmmakers.

A digital rendering of the Chili Peppers as puppets.

(Netflix)

“For the next couple of months, maybe it’ll be an interesting sort of gotcha,” he said. “But I can’t imagine 10 years from now that people will have the same [view]. Nonlinear editing changed the world for about six weeks, and then we all took it for granted.

“I don’t look at it as necessarily cheating at this point,” he continued. “I think there are a lot of things that AI can do — matte edges and roto work and that kind of stuff. I don’t think that’s going to fundamentally ruin what is intimate and personal about filmmaking, which is that we’re playing dress-up and hoping not to be caught out.”

As he reportedly works on an English-language version of “Squid Game” and a sequel to Quentin Tarantino’s “Once Upon a Time … in Hollywood,” did making “Can’t Stop” lead Fincher to ponder the state of the music video now that MTV is no longer in the business of showcasing the form?

“Well, the audience that MTV aggregated — in retrospect, that was time and a place,” he said. “Remember, the Beatles were making music videos — they just called it ‘Help!’ There was no invention at all on MTV’s part.

“What I do miss about that — and I don’t think we’ll ever see it again — was that I was 22 years old and I would sketch on a napkin: This is kind of the idea of what we want to do. And four days later, $125,000 would be sent to the company that you were working with and you’d go off and make a video. You’d shoot the thing in a week, and then it would be on the air three weeks after that.

“You make a television commercial now and there’s quite literally 19 people in folding chairs, all with their own 100-inch monitor in the back. The world has changed.” He laughed.

“I started my professional career asking for forgiveness rather than permission, and it’s been very difficult to go the other direction.”