Zap, Pow, Kersplat...

Years ago, as I tried in vain to glean tiny details from the SD DVD scrawlings that comprise Rimmer's bunk-room certificates that span Series I-IV, I noticed that Old Iron Balls had a presumably hologrammic copy of Napoleon's Marshals (Osprey Men-At-Arms Series #87). So, naturally, I picked one up for my growing collection of Vintage Items That Strongly Resemble Those Which Have Actually Appeared In The Background Of Various Episodes Of Red Dwarf. Or, as I occasionally hear the practice referred to by fans, "VITSRTWHAAITBOVEORD".

Revisiting Series III in HD recently, specifically The Last Day, I happened upon another noteworthy piece of set decoration, this time adorning Lister's top bunk – a sparkling copy of Superman Starring In Action Comics #571 (Detective Comics, 27th June 1985). It is, of course, during this very episode where the enchanting Marilyn Monroebot's grand entrance is preceded by Lister's gift to Kryten of the Little Box That Goes Fztzz..! which in turn bears a distinct resemblance to this cover's Clark Kentbot, replete with its own BLTZ ZLPT FTZ ZSAT exclamations.

Among other items of infinitesimal interest, a Rocky Horror postcard, best seen in Bodyswap, can also be found in Listie's bunk. In Timeslides, Cat can be seen reading from a Screen Greats Presents MARILYN magazine, I believe reprinted from an original 1963 Starlog edition.

Something that really made itself apparent during this time-passing fact-finding was the undeniable, carefully-reasoned, yin-yang-esque symmetry at play in the series' set design; with Rimmer's stalwart publication historical, exciting, and upright; whereas Lister's comparatively silly comic book presented historical, exciting, and... well, sideways.

Since The End, the characters' bunks have very consciously reflected their respective inhabitants. Initially, Cat seems to prefer to kip in Rimmer's bunk, but in later series, we more often see him in the higher/safer top bunk, despite being said to be the smaller of the two choices. Lister's bunk is usually presented as being disorganised and eclectic, peppered with Polaroids, scissored snapshots, posters, and (hydrogen) gas station trinkets. Meanwhile, Rimmer's bunk is well-ordered and perfunctory, though hardly spartan as one might naturally presume. He, too, requires much in the way of accessories and affectations to adorn and define his living space, but perhaps also in smug, superior response to his bunkmate's inconsiderate, slobby untidiness; the characters' shared psychological root arguably stemming from living in the past, or perhaps not being able to leave the past behind.

Additionally, Rimmer's aforementioned poppycock certificates carry over from the walls of the Series I-II bunk to the interior of the lower bunk, as does his hologrammic coffee mug, sporting its own silver 'H', relocated from the nearby coffee-jigsaw table/props bin.

Essentially, this particular odd couple remains remarkably analogous in terms of how they prefer to decorate their respective cocoons. For the run of the series, I cannot recall either choosing to sleep elsewhere in their compartmentalised habitat, or even in separate living quarters (well, for very long, anyway). Misery loves company, indeed.

Cor, they're like two genetically engineered peas in a space pod, this pair, ain't they?

Both le livre and comic book can clearly be seen throughout Series III, and apparently vanish by the time Series IV kicks-off with Camille; replaced by a strategically-seated baseball glove, and priceless (non-flame grilled) example of a Nineteenth-Century Napolean's Armee du Nord replica figurine, respectively.

Until next time, au revoir, mes amis. A bientot.