# Episode 270 - Nantucket Nickel **Source:** For Amusement Only EM and Bingo Pinball Podcast **Type:** podcast_episode **Published:** 2015-12-06 **Duration:** 11m 48s **Beat:** Pinball **URL:** https://foramusementonly.libsyn.com/episode-270-natucket-nickel --- ## Analysis This episode of the For Amusement Only podcast is a satirical, fictionalized history of Nantucket Nickel, a purportedly obscure pinball manufacturer from the late 1940s. The host presents an elaborate, tongue-in-cheek narrative about company founder Eustacious Cobblebottom and his doomed first machine, Terminal Velocity, which featured top-center flippers that sent balls toward the drain with no mid-playfield saves. The episode is entirely comedic content rather than factual industry analysis. ### Key Claims - [LOW] Nantucket Nickel was a pinball manufacturer founded by Eustacious Cobblebottom that entered the market months after Gottlieb's Humpty Dumpty in October 1947 — _Host Fake Nick Baldridge; this is presented as comedic fiction, not factual history_ - [LOW] Terminal Velocity featured flippers at the top center of the playfield that pushed the ball downward faster than standard playfield pitch, with no defensive devices in the lower playfield — _Host description of fictional game design; satirical narrative_ - [LOW] Terminal Velocity was produced for approximately one month before production halt in June 1948, with possible production run in double digits or fewer — _Host speculation presented as part of fictional historical narrative_ - [LOW] Nantucket Nickel used custom-milled plywood called 'cobblewood' imported from angiosperms, manufactured in a secondary factory on the island — _Host; elaborate fictional detail about company practices_ - [LOW] Artist Andy Thompson created artwork for Nantucket Nickel machines and was brought to the island to ensure exclusivity of his designs — _Host narrative; fictionalized artist backstory_ ### Notable Quotes > "Terminal Velocity's premiere release placed the flippers at the top center of the playfield, only instead of pushing the ball up the playfield against the force of gravity, the flippers pushed the ball down the playfield faster than the recommended playfield pitch traditionally allowed." > — **Fake Nick Baldridge**, ~8:00 > _Core comedic concept of the fictional machine's design flaw_ > "When the flippers connected with the ball, that brief moment of excitement was followed by crushing disappointment as the ball rocketed toward the drain without hope of a save." > — **Fake Nick Baldridge**, ~9:30 > _Punchline explaining why Terminal Velocity was a failure_ > "Cobblebottom was convinced that this unique location would raise factory morale, foster a sense of pride in his workers, and in turn he would profit from a happier and more productive workforce." > — **Fake Nick Baldridge**, ~12:00 > _Satirical characterization of founder's idealism contradicted by logistical incompetence_ > "Every tree on the island was leveled almost 300 years prior when the island was settled. But honestly, even if there were any remaining trees, it wouldn't have mattered, because Cobblebottom insisted on using the highest quality materials." > — **Fake Nick Baldridge**, ~14:30 > _Comedic absurdity about island resource constraints and founder's stubbornness_ ### Entities | Name | Type | Context | |------|------|---------| | Fake Nick Baldridge | person | Host of For Amusement Only EM and Bingo Pinball Podcast; presents satirical pinball history | | Eustacious Cobblebottom | person | Fictional founder of Nantucket Nickel; business mogul and engineer in satirical narrative | | Andy Thompson | person | Fictional artist hired by Nantucket Nickel; credited in narrative as creator of machine artwork using 18-color screen printing | | Nantucket Nickel | company | Fictional pinball manufacturer from late 1940s located on Nantucket Island; produced Terminal Velocity | | Terminal Velocity | game | Fictional first pinball machine from Nantucket Nickel, released June 1948; featured top-center flippers with no mid-playfield saves | | Gottlieb | company | Real historical pinball manufacturer; referenced as competitor with Humpty Dumpty and Spot Bowler | | Humpty Dumpty | game | Real Gottlieb machine from October 1947; credited as introducing the flipper mechanism | | Spot Bowler | game | Real Gottlieb machine from late 1950; referenced as establishing standard bottom-center flipper placement | | For Amusement Only | organization | EM and Bingo Pinball Podcast hosted by Fake Nick Baldridge | | Harry Mab | person | Referenced in narrative as designer credited with Humpty Dumpty; likely fictional or misheard name | | Wayne Nyans | person | Referenced in narrative as designer who established standard flipper placement on Spot Bowler; likely fictional or misheard name | | Zachariah | person | Referenced as Italian pinball artist/producer citing Andy Thompson's work as inspiration; likely fictional or misheard reference | ### Signals - **[historical_signal]** Host creates elaborate fictional history of nonexistent pinball manufacturer, referencing real historical facts (Humpty Dumpty 1947, flipper evolution) alongside pure fabrication (confidence: high) — Entire episode is comedic fiction presented as historical narrative about Nantucket Nickel and Eustacious Cobblebottom - **[community_signal]** Format includes recurring 'pensive pauses,' elaborate tangents (penny-farthing bicycles, island logistics), and absurdist humor suggesting niche podcast comedy style (confidence: high) — Multiple meta-references to 'pensive pauses,' host discussing personal lifestyle changes (health focus, penny-farthing commute), comedic sound effects ('Ah, broken again') - **[design_innovation]** Satirical exploration of alternative flipper placements; Terminal Velocity's top-center inverted flippers represent design failure as comedic concept (confidence: medium) — Host detailed explanation of Terminal Velocity flipper mechanism and its lack of defensive playfield elements --- ## Transcript Ah, broken again. What's that sound? It's For Amusement Only, the EM and Bingo Pinball Podcast. Hello once again, this is your host, Fake Nick Baldrige. I'd like to start by mentioning that the 2016 York Show, also known as the White Rose Bingo Mania Hootenanny Extrapaganza Fest, is now only 347 days away. Of course, that's held in Yorkenshire, Bingleton, Pennsylvania on an annual basis, the only show where the Amish can play pin games. And with that, I'd like to welcome you to the episode with my first pensive pause. As of late, I've been focusing on my health. I'm no longer bingoing into the wee hours of the morning, my children are now able to sleep, and I've been riding my penny-farthing to work each day. however, we're moving into winter here in Virginia and with things getting a mite bit blustery I feel it is only days before I'm forced to attach my stability wheels and likely mere weeks before the farthing is barned for the winter making the horse-drawn buggy my primary mode of transport I hope you are enjoying this unannounced pensive pause Today we will be talking about a little-known pin game manufacturer, Nantucket Nickel. Nantucket Nickel entered the pinball production competition mere months after Harry Mab's industry-changing release in October 1947. Of course, I'm referring to Gottlieb's Humpty Dumpty and the introduction of the flipper. As we all know, Humpty Dumpty had not two, but six flippers sprinkled about the playfield in an inverted orientation, with the flipper tips pointing toward the outside of the cabinet. It would be a few years, and even more attempts at flipper positions, before Wayne Nyans eventually nestled two flippers at the bottom center of the playfield, with flipper tips facing one another on Gottlieb's spot bowler near the end of 1950. However those intervening years are where the history of Nantucket Nickel is situated In mid business mogul and Nantucket Nickel founder Eustacious Cobblebottom took it upon himself to reverse engineer the Gottlieb flipper design As the company's self-appointed principal engineer, lead designer, and CFO, Cobblebottom, along with a myriad of other manufacturers, cracked the flipper design and began using it judiciously on his own machines. However, not one to completely mimic his competitors, Cobblebottom also contributed to the alternate flipper placement landscape of the late 40s. In an attempt to distance his newly formed pinball manufacturing company from the pack, Eustachius had no interest in naming his game something safe like those of Bally's Melody, United's Hawaii, or Gottlieb's Fairytale series. Rather, he decided on a raucous, white-knuckled moniker that echoed his first production pin game's speed and excitement, Terminal Velocity. Nantucket Nickel's premiere release placed the flippers at the top center of the playfield, only instead of pushing the ball up the playfield against the force of gravity, the flippers pushed the ball down the playfield faster than the recommended playfield pitch traditionally allowed. In the mind of Eustacious, this was a two-pronged accomplishment. First, this increased speed would make gameplay very exciting for the player, and secondly, it would significantly decrease ball time, yielding faster player turnaround on location and more coin in the cash box, which, of course, would make the primary buyers, the operators, very happy. Unfortunately, there was a major oversight in Cobblebottom's terminal velocity design. He neglected to include any sort of actuated device, be it pop bumpers, slingshots, or even flippers, anywhere in the vicinity of the lower playfield. Consequently, when the flippers connected with the ball, that brief moment of excitement was followed by crushing disappointment as the ball rocketed toward the drain without hope of a save. Please do not adjust your listening device. This is merely the next pause of pensivity. After the staggering defeat of terminal velocity, Cobblebottom struggled to bring his second design to market with multiple factors working against him, the most glaring of which was his poorly performing first attempt. released in June of 1948 with a production halt the following month. Another setback was his discovery that positioning his manufacturing plant on an island off the coast of Massachusetts might not have been the wisest choice. Despite pleas from investors to locate the Pingame production facility on the mainland Eustacius was determined to give his factory employees scenic ocean vistas through a multitude of picture windows transforming the traditionally dismal factory conditions into palatial interiors teeming with natural light. As the primary source of capital, he was able to railroad his opinion past those of his investors. Cobblebottom was convinced that this unique location would raise factory morale, foster a sense of pride in his workers, and in turn he would profit from a happier and more productive workforce. An important factor Eustachius Cobblebottom neglected to realize was that along with the relaxed environment of island living, also came increased cost and time for necessary parts and supplies to arrive. To start with, there were not any cedar, douglas fir, spruce, or any other trees traditionally used in the creation of plywood growing on the island. In fact, every tree on the island was leveled almost 300 years prior when the island was settled. But honestly, even if there were any remaining trees, it wouldn't have mattered, because Cobblebottom insisted on using the highest quality materials. He took it upon himself to import angiosperm trees and went to great lengths setting up a secondary factory on Nantucket for the sole purpose of milling them into high-grade plywood. His custom milled plywood, or cobblewood as it was trademarked, was widely known for its excellent strength, impact protection, and resistance to creep. This added production effort caused additional delays and monetary outlay, all of which were passed on to the customer. Unfortunately, when the player's only source of control is to hurdle the ball toward the drain, the longevity of the product didn't much matter. Add to this an additional outlay of time and money to have every single component shipped in via ferry, and then Tech & Nickel was far from positioning their product in a competitive price bracket. I'll give you a moment to pensate on that. There are no confirmed numbers for terminal velocity, but with the abbreviated time on the assembly line, we can be sure the final count was very low. Nantucket Nickel's first production line duration was only a month and a half by most counts, although there are rumored employee statements mentioning they were terminated in as little as 39 days after their initial hire. Even with the limited number of components to assemble on pin games from the late 40s, some historians speculate that the production numbers could not have exceeded double digits. Despite its low production run, the rare surviving examples of terminal velocity are often found in remarkably pristine condition, due largely to Cobblebottom's insistence on quality materials say nothing for quality of design. The artwork, however, was certainly a point of pride for the limited run of Nantucket nickel titles. Cobblebottom hired an underappreciated and uncredited artist later found out to be Andy Thompson a name all but lost in the annals of time Cobblebottom built Thompson a personal studio space and living quarters on the island Admirers of Cobblebottom's commitment to quality professed this was due to his attention to product detail and employee morale. More skeptical pinball historians contend that Cobblebottom brought Thompson to the island to ensure their exclusivity contract would not be broached. There would be no chance of Thompson's sought-after artwork being commissioned by other companies, direct competitors or otherwise, with the only access on and off the island being shipping companies owned by Cobblebottom. Aside from the healthy paycheck, one of the things that enticed Thompson into a life of island seclusion were likely the facilities of Nantucket Nickel. The factory was home to the world's first 18-color screen printing hub and boasted the industry's first screen printed cabinets, decades ahead of its competitors. With Thompson's ability and Nantucket Nickel's seemingly limitless resources, both the playfield and cabinet artwork still remain high-water marks of pinball design, even when compared with modern artists and technological advancements. In fact, leading companies in pinball artistry, such as Italian producer Zachariah, cite Thompson's intricate cabinet stencils as inspiring their high attention to detail in their later games. Listeners familiar with today's pinball landscape will know that Nantucket Nickel is no longer a functioning company. In fact, because of a number of decisions made by company figurehead Eustacious Cobblebottom, the production only continued another two years after the production halt on Terminal Velocity. However, outlining the remaining Nantucket Nickel titles will have to wait for another episode. Please experience my final pause of pensivity. Well, that's all for tonight. Thanks for listening. My name again is FakeNickBaldridge. You can reach me at foreamusementpodcast at gmail.com or you can call me on the bingos line. That's 724-BINGOS1. That's 724-O-L-D-T-I-M-E-Y. You can listen to us on iTunes, Stitcher, PocketCast, via RSS, on Facebook or Twitter at bingopodcast. You can also follow us on Instapolaroid at bingopodcast. podcast. Find me on Pinside at Bingo Podcast. Locate my personally registered star I affectionately named Bingo Podcast, or you can listen to me on my website, foramusementonly.libson.com. Until tomorrow, be good to your carrier pigeons. Thank you. _(Acquisition: groq_whisper, Enrichment: v3)_ --- *Exported from Journalist Tool on 2026-06-06 | Item ID: 45ee74f3-c6a0-48d5-b77d-352a85a1b081*