Name: Slime Pit Faction: Evil Horde Approximate US release date: January 11, 1986
The Slime Pit was the second and final small playset released in the original Masters of the Universe toyline (the first was Point Dread, in 1983). Of all the playsets MOTU had to offer, the Slime Pit perhaps packed the most punch for its size. It was all centered around one play feature, but it what a feature!
Design & Development
The Slime Pit was designed by Ted Mayer, from an idea that came out of the boy’s design group’s many brain storming sessions.
In the above illustration, you can see many of the hallmarks of the final playset are in place, including the grabbing hand in the front, the hand around the side and the scroll design near the top. The slime-spewing head is wolf-like in this concept (a frequent theme in Ted’s designs, it seems), whereas the final version seems to have more of a dinosaur skull look.
Mattel more or less invented slime as a commercial product, and it has been a popular seller since the late 1970s. The Slime Pit was a clever way for Mattel to integrate its popular slime products into the world of Masters of the Universe.
Pixel Dan has done some extensive research on the history of slime. Take a moment to check it out in this video:
There is also some great information about slime in this article at Plaid Stallions and again in this piece by Dinosaur Dracula.
Production Playset
The playset was featured in Mattel’s 1986 dealer catalog:
Image: Nathalie NHT. This version appears to be a hand-painted hard copySlime Pit cross sell art
The final play set has a deeper pit area than the concept version. The paint applications are fairly simple, but it does have some well executed red and gray overspray on the gray stone areas and some brown overspray on the skull. These seem more well thought-out than the often haphazard looking paint applications given to the exterior of Castle Grayskull (particular later releases of the playset). Like the Fright Zone, the Slime Pit is adorned with Hordak’s visage (Hordak seems really into branding his image on all things Horde). There is also a sculpted skull near the back wall.
The playset came with a can of Mattel’s Horde Slime. This particular slime mix was much runnier than the kind of slime typically found on toy store shelves today. It was also available for free, separate from the playset, with the purchase of two action figures.
That runniness made it work great for the purposes of sliming action figures, but it also made it hazardous to rugs and upholstery, not to mention any furry MOTU figures like Moss Man, Panthor and Grizzlor. For that reason, there were a few warnings given about what not to do with the slime, which were of course promptly ignored by many enterprising young mad scientists.
Some kids just want to watch the world burn. Image source: He-Man.org
Packaging
The box art was painted by the late, great William George. Taking cues from the design of the playset itself, the scene is set in ancient Greco-Eternian ruins.
Original William George paintingImage: The Art of He-Man and the Masters of the UniverseImages: The Art of He-Man and the Masters of the Universe
Minicomics
The Slime Pit came packed with Escape From the Slime Pit, which showcased the mini playset’s power to turn its victims into mindless slaves of the Horde. In the story, He-Man is slimed and is only restored to his right mind by exposure to brilliant light:
Animation
The Slime Pit appears in the She-Ra episode, “Loo-Kee’s Sweetie.” It doesn’t really look like the playset, but it does feature slime and a number of dinosaur-like bones. In the story, the Slime Pit saps its victims’ strength rather than turning them into zombie slaves. It’s easy to see why this less disturbing concept might be preferred for the purposes of an animated kids’ show.
Other Media
The Slime Pit was featured in the June 1986 edition of Masters of the Universe Magazine, as both the cover subject and as a poster by Earl Norem. The artwork features Buzz-Off as the victim and Flying Fists He-Man riding to the rescue on Battle Cat.
It also is the centerpiece in a Kid Stuff audio book called Prisoner In the Slime Pit:
Like the Slime itself, the Slime Pit was a concept that Mattel would revisit over and over again:
The Slime Pit was planned to be reissued in Mattel’s King Arthur toyline, but never came to be. Image source: Fabrizio Fernetti 200x MOTU Slime Pit. Image source: Lulu Berlu Mattel’s Harry Potter Slime Chamber playset Imaginext Ooze Pit, very closely modeled on the original Slime Pit.
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Former Mattel designer Ted Mayer shared some Battle Ram concept art with me that he recently rediscovered in his portfolio. I previously had lower resolution copies of this art (one from my 2015 interview with Ted, and another from an issue of Tomart’s Action Figure Digest), showcased in my article about the Battle Ram. I’ve updated that article with these better images, but I thought I’d announce the new images here and share a few insights from Ted.
The first piece of concept art below, was, according to Ted, the original concept. On the second revised version below, Ted says, he was “asked to clean it up and change it for molding, cost, and safety considerations.” Both of them date to late April, 1981.
Original conceptModified concept
Ted was nice enough to answer a few follow-up questions I had about the art:
Q: On the earlier version, there is an extra piece on the top/back section of the vehicle. Would that have been the firing mechanism?
A: Yes, I figured it would be a pull back and release, to shoot the missile.
Early firing mechanism
Q: Very interesting that originally the front half of the vehicle had wheels as well. Would there have been an extra small wheel underneath toward the front, for balance?
A: Yes, we wanted it to be a totally independent vehicle. That’s why the original battle Ram had six wheels. Cost cutting won out!!
Extra wheels cut to save money.
Q: The horned helmet version of He-Man has always been shown barefooted, at least in the prototype models that I’ve seen. In your drawings he does have boots. Just curious, was he originally supposed to have removable cloth boots or something along those lines?
A: As I remember, I drew the figure from an original sculpt, so it must have had boots on!
Early helmeted He-Man prototype. Image source: The Power and the Honor Foundation Catalog
Many thanks to Ted for sharing his amazing artwork, and for answering my questions!
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Upper left: earliest concept art by Mark Taylor (before Mattel employment); lower left: black and white, and color version of the revised concept art by Mark Taylor (during Mattel employment in 1979); upper and lower right: the sculpted prototype by Mark Taylor)
Written by Dejan Dimitrovski
Envisioned and created by Mark Taylor Castle Grayskull is, both literally and metaphorically, the foundation stone of the world of the Masters of the Universe. Like an archetypal image, it has grown from a child’s toy to become an iconic symbol in both pop culture and in superhero mythology of our modern time.
Beginning, creation and original story idea
The concept of Castle Grayskull began with a fantasy drawing by Mark Taylor made even before he was employed in Mattel (sometime about 1975 – the picture on the upper left). Later, working as a toy designer in 1979, he did a revised castle illustration (the lower left picture). It went through many changes and revisions, again and again, until finally Mark sculpted the prototype castle (with a little help of Ted Mayer) based on the latest revised design (two images on the right show the prototype design). All through the design process, Mark insisted on the ancient, eldritch outlook of the Castle, invoking an atmosphere and image of a place that withholds secrets from beyond time and space, and setting it apart from yet another mythical magical castle.
“I wanted it to be organic, it has to look like it weights, like it’s heavy, has a lot of weight to it… like it’s starting to melt”, describes Mark Taylor during a panel on Grayskull Con in 2013.
The Castle was made before any of the toy figures and all through the eighties (and in some world countries the nineties), it undoubtedly became one of the most iconic, most popular and well known play-sets for children across the world. Starting from the original story concept, Castle Grayskull was the connection/conflict point of the hero He-Man and the villain Skeletor; and this concept was stretched to all the later incarnations of MOTU – the castle is always the ultimate fortress that Skeletor wants to conquer and claim its mystic powers. Another concept, started by Mark, that will remain a constant element common to all MOTU canons and story versions, is the concept that the ultimate Power is within Grayskull.
Inspiration sources and symbolism
Besides the idea of a traditional scary medieval castle, Mark mentions several other sources of inspiration for Castle Grayskull, among which are the works of Mark Twain, the 1933 “King Kong” movie (specifically the Skull Island), as well as other places that are skull-associated or shaped. Evidently, most of these inspiration sources seem to rely on the symbol of the skull. This symbol is as ancient and old as humanity itself, and it is a very complex one. Though the most common symbolic use of the skull is as a representation of death and mortality, to some ancient societies it is believed to have had the opposite association – objects like crystal skulls represent “life”, the honoring of humanity in the flesh and the embodiment of consciousness. Thus, it can be viewed as a symbol of extreme polarities of life and death.
Conclusion
Mark Taylor’s Castle Grayskull is a masterpiece that has outgrown the concept of a child’s toy; it served and still serves many purposes on many different levels. At the time of the genesis of MOTU line, it was a big turning point for the brand. The Castle, together with wave one toys, not only set the specific mysterious feel of the MOTU setting, but was also crucial in the successful launching of the brand, as it became one of the most famous, most recognized play-sets for children across the globe.
From the perspective of Mark Taylor’s world of MOTU, it is one of the main elements that started the whole story. The Castle was where all the power lay for He-Man and Skeletor. Whoever controlled Castle Grayskull, had access to the Well of Souls and basically controlled all of the power.
Finally, in the terms of our modern mythology analysis, I believe it is a complex symbol that represents the battle for dominance of the forces of life (as well as hope and courage, represented by He-Man) and the forces of death (including fear and dread – incarnated as Skeletor) in an ever-present, ongoing struggle. This battle of life and death, survival and demise, creation and destruction, is set in our collective subconscious – a universal experience known to all of us; and it is always shrouded in mystery because it is always challenging and ever-changing, demanding our constant adaptation and creativity. This is how the myth of Castle Grayskull speaks to both the grown up and the child in us, allowing us to relate to the existential battle of the hero and the villain, a battle we have fought and will fight till the end of days.
* * *
I wish to express my gratitude to Rebecca Salari Taylor and Mark Taylor for being willing to help and to reveal and share the information on the original Castle Grayskull with us. Also, I would like to express my thanks to my friends Jukka Issakainen and Adam McCombs in providing help and information in writing this post.
Sources:
1. Grayskull Con. (Aug 6, 2013). “Grayskull Con 2013 – Panel Rebecca and Mark Taylor”. Retrieved from https://www.youtube.com/watch?v=kERzI45uluk
2. Mark Taylor audio interview (including transcripts) conducted by conducted by Matt Jozwiak (around 2006.)
Because Masters of the Universe figures were produced over many years in a number of different countries, there is no shortage of production variants, some subtly different and some radically different from the norm. In my own collecting, I’ve always gravitated toward the earliest figures released in the US, particularly for the first wave of figures. They tend to have the nicest paint and plastic applications, in my opinion. All of the 1982 lineup was manufactured in Taiwan, except for Castle Grayskull, Battle Ram and Wind Raider, which were initially manufactured in the US. A common term for the very earliest figures in the line is “test market figures”, although the term isn’t usually used for the vehicles or Castle Grayskull.
Much assistance for this article was given by John Oswald. The research of Mantisaur82 and Tokyonever has also been invaluable.
Broad Characteristics
The early Taiwan figures tend to have the sharpest detail and the finest paint applications compared to later reissues. Subsequent releases tend to cut down on the paint applications and sometimes on the sculpted detail. The earliest figures tend to have boots that are painted on using spray paint and a paint mask, which sometimes shows up as unevenness at the boot tops. Later figures seem to use a dipping method. Since this seems to apply to all the early figures (or at least those with painted boots), I won’t mention this when I talk about each individual figure.
The very first versions of He-Man tend to have a certain coloring – dark orange belt (later versions could range from light orange to mustard yellow to coral), brick-red boots and loin cloth, and dark gray accessories. He has a belly button, which was eventually removed from the mold starting in 1983 (although some 1983 figures seem to still have it). Some of the early accessories seem to be slightly blue-tinged. The straps on the back of his harness have short tabs on them – they were lengthened in subsequent releases to make it easier for children to hold when putting the armor on.
Early versions seem to have a tighter fitting latch in back as well, and intense yellow hair. It’s very common to see the boots not painted all the way up to the top in these early figures. If they are painted all the way to the top, there is usually some uneven overspray in some areas regardless. Later figures have the boot color applied by dipping the legs in paint.
Update: I’ve added some more detailed observations about the earliest Taiwan He-Man figures. The differences I’m noting immediately below are not from year to year, but within the first year of production of He-Man figures (1981, sold beginning early in 1982):
Hair: the early figures’ hair seems to be intense yellow, almost orange tinged. Slightly later in year the hair starts to be a lighter yellow color. I’ve found two main types of paint used – a glossy textured kind of paint, and a non-textured paint that seems almost like a dye.
Two very early He-Man figures. The example on the right has the textured, glossy paint. I think both were used concurrently.
Belt: the earliest ones are dark orange. The color is a bit lighter as you get later in the year, for instance on carded 8-back He-Man figures that have the warranty information added.
Belly Button: the earliest ones (sold on 8 backs without warranty) are a bit uneven looking. By the time you get to the 8-backs with warranty, the belly button looks anatomically correct.
From left to right, you can see as the figures get later, the belt gets lighter and the belly button becomes more anatomical.
Waist Punch Feature: the earliest versions have a stopper, so when you twist the waist, it swings back to punch, but stops in the middle. A bit later in the year that stopper was removed, so the punch action doesn’t stop quite in the middle, but keeps moving a bit beyond that. This is also evident in early Skeletor figures, as well as all other first release first wave figures.
Sword: the early ones seem to be marked 4 or 9. The earlier numbered swords tend to be a darker blue/gray color, although you can look at many examples and few will be the exact same shade.
Axe: the early ones are marked 2 or 7. The earlier numbered axes tend to be a darker blue/gray color, although you can look at many examples and none will be the exact same shade.
Harness: the early ones are marked 5 or 10. The 5s I’ve seen seem to be a dark gray/blue, with small oval tab on the latch in back. The 10s seem to have more of a almost multi-hue gray plastic, slightly brighter red paint, and a slightly elongated tab on the back. Both have short straps, and both seem to appear very early, although the 10s seem to persist later in the year. 15s look very similar to 10s and come later still.
The dark blue/gray harness on the left is marked “5”. The one on the right is marked “10”. I’ve found examples of both in very early packaging (no warranty carded He-Man figures and the first release He-Man and Battle Cat gift sets)The dark harness on the left has the small oval tab (where the harness latches) and is marked “5”. The one on the right has an elongated tab and is marked “10”
I should say that I believe sometimes accessories with the markings outlined above did persist later than early 1982. In general, however, the trend seems to be for the numbers to go higher with time. I’ve seen numbers as high as 33 on later figures.
Shield: Early ones are marked Taiwan. The tabs on the back should be more or less intact. Slightly melted at the top, but not completely melted to the back of the shield, as happened later in production. The exact shade of gray varies quite a bit.
Early shields look like the example on the left.
Here are some examples of four early He-Man figures. The two figures on the left are the earliest, although I couldn’t say which came first. The figure second from the right came later in the year (it lacks the stopper in the waist punch feature), and the one on the far right came later still.
And here are my two earliest Taiwan He-Man examples (below, and above on the left). Both have harnesses marked 5. The one on the left has some overspray on the chest emblem, which isn’t too uncommon. The one on the left also has weapons with the earlier number markings, and they are slightly darker gray/blue.
Here is an example (below) of a very early carded Taiwan He-Man, which can be recognized by the lack of warranty and lack of SKU/character subtitles on the back. This is often referred to as the “test market” card. This example of He-Man has boots painted closer up to the top and the darker blue/gray harness and shiny hair paint, similar to the loose example (above, on the right)
Image source: Hake’s Americana
After 1982, the first substantive change to Taiwan He-Man figures was the lengthening of the straps, as shown in this comparison image:
The second substantive change to Taiwan He-Man figures was the removal of the “belly button”, as shown here:
Skeletor
The first Taiwan Skeletor is unique in the following ways:
Orange marks on his “cheeks”
Half-painted boots
Purple trunks
Light blue paint in his eye sockets
Short straps on the back of his armor
The subsequent Taiwan release omits the orange cheeks. The next version after that has black shorts, and the version after that gives him fully-painted boots. Later still, he loses the light blue paint in his eye sockets. There are “mix and match” versions out there too, with odd combinations of these features. Perhaps this was from the factory mixing older leftover parts with newer parts. Later versions also omit the “belly button.”
The early Skeletor’s staff is marked Taiwan, and his sword is also marked simply as Taiwan (later versions of the sword add some code numbers on the underside as well). This early example has rather brittle accessories, so I won’t remove them to discover what codes are under his chest armor and belt.
Here is an example of a very early carded Taiwan Skeletor, which can be recognized by the lack of warranty and lack of SKU/character subtitles on the back.
The images below show the evolution of the face paint on the Taiwan figures, in chronological order from top to bottom:
The images below show the evolution of the boots on the Taiwan figures, in chronological order from top to bottom:
The images below show the evolution of the straps on the Taiwan figures, again in chronological order from top to bottom:
And finally, the images below show the evolution of the trunks and belt on the Taiwan figures, in chronological order from top to bottom:
Battle Cat
There are at least three distinct very early Taiwan Battle Cats.
V1: Striped Tail Battle Cat
Only a handful of examples of this ultra-rare variant are known to exist. This version matches the color scheme of the original hand-painted prototype. Distinguishing characteristics include:
Striped tail
Orange around the mouth
Teeth painted white front and back
Stripes crisscross over part line on back
Longer, rough-looking stripes on the left shoulder
You can spot this variant in early catalog pictures of MOTU figures. The orange lines on this cat match the black lines on the original Big Jim Tiger the figure is based on. It also has finely textured fur (difficult to see unless it’s in hand), again like the Big Jim Tiger.
Enlarged to show texture!Striped tail paint pattern (left) crosses over the back, while the more common Battle Cat paint pattern (right) does not. Left image is from Tokyonever. Thanks to John Oswald for pointing this out.
The next Taiwan releases omitted the red dots, and have longer straps at the back of the armor. Later Taiwan releases feature a gray belt and much darker colors all around, and a helmet that is somewhat teal-colored.
First issue Taiwain red dot (top), vs. second Taiwan release
First issue short straps (top), vs. long straps reissue
Early blue belt (top) vs. later gray belt. The gray belt version also omits the “belly button,” as did later He-Man figures
First release Man-At-Arms figure on card. Image source: Hake’s Americana“Test market” first release cardback
Beast Man
Early Taiwan Beast Man figures aren’t dramatically different from later versions. The most obvious differences are that the first versions have white dots in the eyes (some of them, at least – I’ll get into that), light blue face paint, even and circular blue paint on the front of the armor, and a short strap around the back of the armor. I believe I have identified some differences between the “test market” G0 figures and the subsequent G1 release.
There are two variants available on the initial “test market” cards – a version without dots in the eyes, and a version with bright white dots in the eyes. I have now seen examples of both on the first release packaging. I really can’t say which came first, although the version with dots more closely follows the intended design, based on the look of a hand-painted Beast Man prototype.
I would also note that the whips on these first release figures don’t fit as well in the figures’ hands. That seems to have been corrected with later releases.
The second “G1” card release often has the dots on the eyes as well, but the dots are more of an off-white color, like the rest of the face. The armor also tends to be slightly more pinkish. On both G0 and G1 versions, the strap around the back of the figure is short. The G1 version often has no waist stopper on the spring waist feature.
Early short strap version vs long strap reissueEarly stenciled/clean blue paintLater sloppier versionImage via John Oswald. Bright white dots vs off-white dots.
Below is an example of a very early carded Taiwan Beast Man, which can be recognized by the lack of warranty and lack of SKU/character subtitles on the back. This version lacks the dots in the eyes. The off-white dots seem to be prevalent on G1 and G2 cards 8-back cards.
Olmo (catone82) shared with me some images he found of a G0 “test market” card for Beast Man (owned by MOTU Gefter), which does feature white dots. These do seem to be the bright white dots, although I’m going to try to get that verified with the owner of this figure.
Covered in part two: Stratos, Mer-Man, Teela, Zodac, Castle Grayskull, Battle Ram and Wind Raider.
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