I don’t have any particular memory of Snout Spout, although I’m sure I must have seen him in the toy aisle at some point. Aside from the Snake Men, the 1986 line didn’t grab me too much as a child. The heroes in particular seemed a bit weak compared to previous years, despite having a lot of money spent on new tooling.
From the 1986 Mattel dealer catalog, featuring a resin prototype of Snout Spout. Image is from Orange Slime.
Design & Development
According to The Power and the Honor Foundation Catalog, Snout Spout (first called Hose Nose) was conceived of by Roger Sweet, with Ted Mayer following up with the visual design:
Image source: The Power and the Honor Foundation Catalog
The design was further refined by Mattel designer Mike Barbato, whose design closely resembles the final figure, with the exception of the tusks, which were cut:
Image source: The Power of Grayskull documentary
As was the usual process, a prototype silicon mold was made at Mattel, and a resin prototype of the figure was created. The prototype show below is very close to the final figure, although the tip of the trunk is a bit different from the actual toy:
Image source: The Power of Grayskull documentary
The cross sell art for the figure is again based on the prototype, which you can see mainly again from the shape of the trunk:
The test shot (below) of the figure from the factor shows the same feature:
Image source: Cafewhaa
The test shot below is unpainted and not sonic welded together. It does however have the finalized version of the trunk:
Removed chest showing water squirting mechanism.
Toy & Packaging
The final figure is certainly bright and colorful Compared to other water-spraying figures like Kobra Khan and Dragon Blaster Skeletor, his water squirting feature gave more of a stream of water rather than a spray or a mist:
Special thanks to Larry Hubbard for the figure donation!
The artist who did the scene on the back of the packaging is, unfortunately unknown:
Image source: KMKA
Style Guide & Annual
The 1987 Style Guide characterized Snout Spout as a tragic figure – an Etherian peasant transformed by the Evil Horde:
Role: Heroic water-blasting firefighter Power: Has the ability to douse the raging forces of evil firepower Character Profile: Snout Spout was an Etherian peasant who was turned into a bizarre creature by Hordak. After crossing the plane into Eternia with the Evil Horde, Snout Spout escaped and joined He-Man. Snout Spout is very self-conscious about his appearance, he feels that everyone is always laughing at him. However, his power to drench evil attacks makes him a true hero in Eternia.
Original artwork by Errol McCarthy. Image via He-Man.org
The 1989 UK MOTU Annual expanded on the outline from the Style Guide, giving him super strength, going into more detail about his lack of self-confidence, and adding some information about his friendship with Orko:
Snout Spout’s story is fleshed out in the minicomic, Eye of the Storm, written by Eric Frydler. Frydler also came up with both his official name Snout Spout and his early working name Hose Nose, as detailed in this interview.
Snout Spout is feeling rather useless because he isn’t athletic like He-Man’s other allies. But when Skeletor causes a fiery storm to engulf Eternia, the elephant-headed warrior comes into his own. In the artwork, his appearance is based on the earlier Ted Mayer concept art (images are from the Dark Horse minicomic collection).
Images: Dark Horse
Snout Spout appeared in the She-Ra cartoon under both his working name Hose Nose and under his official name. As with many Filmation designs, his looks is somewhat simplified. Also the colors of his belt, gloves and boots are altered:
Image via the Dark Horse He-Man & She-Ra guide.
UK & US MOTU Magazines
Snout Spout makes an appearance in issue 41 one in the 1987 series of the UK MOTU Magazine. A fairy named Mystika transforms Snout Spout into his original form. Bizarrely, he looks just like He-Man. Eventually he is returned to his elephantine appearance, a result of sacrificing himself to save He-Man and Rio Blast:
He also appears as a minor character in stories in the Fall 1986 and 1988 US MOTU Magazine:
Snout Spout appears in William George’s 1986 Eternia poster (images courtesy of Jukka Issakainen):
He also appears in several pieces by William George, including in his Christmas wrapping paper illustration:
Snout Spout In Action
Øyvind Meisfjord has kindly contributed the following image and video of Snout Spout in action:
Special thanks to Jukka Issakainen and Øyvind Meisfjord for their assistance with this post.
One of several copies of The Fighting Foe-Men script
Early minicomic art by Alfredo Alcala, depicting Man-At-Arms with an early weapon from a previous piece of concept art. Image source: Power of Grayskull documentary. Image courtesy of Jukka Issakainen.
It’s fairly well known by now that early on, Masters of the Universe had a number of working names. One of them was Lords of Power, a topic I’ve covered previously. Another was The Fighting Foe-Men, which will be the topic of this article.
Former Masters of the Universe Classics brand manager Scott Neitlich shared a number of early MOTU documents his his retrospective video below on the rollout of the Classics toyline. I’d like to discuss those documents relevant to the Fighting Foe-Men idea:
Don Glut, under contract from Mattel, wrote a story treatment for the line, apparently with the idea of turning the treatment into the mini comic books to be included with the figures. The Fighting Foe-Men document includes many working figure titles and a few ideas I recognize from my conversations with MOTU designer Mark Taylor, so Glut may have just taken whatever the Mattel team had at the time and expanded it out into a first attempt at a MOTU mythos:
In the distant past, or possibly the distant future, a great global war broke out on the distant planet Eternia. The war was waged among the powerful scientists and sorcerers that ruled that planet. The energies unleashed during that war destroyed the two warring factions, and sent Eternia into a space/time warp, where it remains held in a timeless limbo.
Eternia is a rugged, primitive type world, inhabited by various warlike races. Occasionally other beings from distant worlds are cast into the time warp to take refuge on Eternia. The planet’s surface is a savage world of dense jungles, dark forests, active volcanoes, etc. The seas are turbulent and infested with bizarre formes of marine life. The skies are dominated by all manners of strange flying creatures. What little remains of Eternia’s past science has been channeled into various weapons of war — weapons appearing both primitive and yet strangely futuristic.
The idea of a post-apocalyptic Eternia is one of Mark’s ideas, so this may have been communicated to Glut.
Among the remnants of the pre-war days of Eternia is the ominous and awesome Castle Grayskull. The Castle is so ancient that none of Eternia’s inhabitants knows who (or what) built it. What is known is that the Castle is equipped with all manners of weapons, traps and devices. The place is a veritable fortress. Legend has it that the Castle harbors, in some secret place, the mysterious Power Gem — the product of both pre-war science and sorcery. The Power Gem will make its possessor all-powerful and the master of all Eternia. Naturally, then, Castle Grayskull and the Power Gem are coveted items and the reason for much conflict on Eternia.
I hadn’t seen this “Power Gem” concept before. Obviously it was dropped, and perhaps was the inspiration behind the Power Sword.
Skeletor talks about the Power Sword in He-Man and the Power Sword, written by Don Glut, illustrated by Alfredo Alcala
Castle Grayskull concept, by Mark Taylor
Among the various characters living on Eternia are four strange beings that we can consider heroes. They are:
He-Man — A native of Eternia, raised by his jungle-dwelling tribe. He is a mass of muscle, with incredible physical strength and a short-fuse-temper. His prowess got him awarded, by the tribe’s elders, a series of fantastic weapons and costumes which they had found in the ruins of a fortress once occupied by Eternia’s pre-war scientists. The costumes augment his strength, each one giving him a single new power — a forcefield, the increased strength of a Hercules, etc. He-Man loves his people, but he craves excitement and adventure, and so has set off on his own. He does not always fight fair and often resorts to underhanded methods to get the job done.
The costumes that give He-Man different abilities are familiar from the first minicomic, but the characterization of He-Man as someone who is a short-tempered lout who doesn’t fight fair is something that was obviously abandoned quickly.
He-Man concept art, by Mark Taylor
He-Man’s forcefield garment, as mentioned in the Glut’s Fighting Foe-Men treatment
Early minicomic art by Alfredo Alcala, depicting He-Man and the Sorceress with an early concept vehicle, the Battle Catapult. Image source: Power of Grayskull documentary. Image courtesy of Jukka Issakainen.
Battle Catapult concept by Mark Taylor
Early minicomic art by Alfredo Alcala, depicting He-Man and the Sorceress battling a monster. Image source: Power of Grayskull documentary. Image courtesy of Jukka Issakainen.
MAN-OF-ARMS (alternate names: Arms-Man, Knight-Man, War-Man) — A cold, calculating and totally confident Master of All Weapons. He was trained since childhood by his people in the arts of battle, and is master of such weapons as the laser-axe, the electro-sword and any others that come his way. Unlike He-Man, he is a planner and never plunges into battle without ample preparation. He has left his people to right wrongs wherever he finds them, but knows that, if necessary, he can summon his people to his side as an army.
This depiction of “Man-Of-Arms” (Man-At-Arms) seems pretty close to Mark Taylor’s own conception of the character, and seems at least compatible with his appearances in early minicomics.
Early minicomic art by Alfredo Alcala, depicting Man-At-Arms in a concept vehicle design by Mark Taylor. Image source: Power of Grayskull documentary. Image courtesy of Jukka Issakainen.
Concept vehicle by Mark Taylor. Image source: The Power and the Honor Foundation
An early concept that became Man-At-Arms. From Mark Taylor Sketches Vol 1
WING-MAN (alternative name: Air-Man) — One of the last of a race of mountain-dwelling beings who have mastered the air. Wing-Man is a denizen of mountain peaks hidden high above Eternia’s clouds. He utilizes a flying craft equipped with various weapons resembling characters of flying creatures — a deafening bird’s cry siren, a hornet’s sting, etc. But he can fly without use of the craft, thanks to a set of foldable wings — including a net of bird’s wings, bat’s wings, insect’s wing, etc. He has a good sense of humor and is a natural practical joker, which makes him bearly [sic] tolerable to such brooding characters as He-Man.
Wing-Man or Stratos sounds pretty similar to his minicomic depiction, until you get to the description of his various wings. I’m not sure if that was ever in the works at Mattel or if that’s something Glut came up with on his own.
Stratos concept. Image courtesy of Rebecca Salari Taylor
MER-MAN (alternative name: Sea-Man) — The last survivor of an extraterrestrial race of water-dwellers. When his water-world was drawn into its sun by the force of gravity and evaporated, Mer-Man — a scaly humanoid with fishlike gills and fins — escaped to Eternia and took residence in its seas. There this intelligent being took command of the sea’s creatures. He can exist on land, where his strength, accustomed to the pressures of the sea’s depths, is increased — but extreme heat can dehydrate him, weakening and eventually killing him.
I had heard something like this characterization for Mer-Man before, but hadn’t seen evidence to support it until now. Mer-Man’s susceptibility to dehydration is familiar from the comics, but otherwise his backstory and heroic characterization is totally unlike anything seen in MOTU canon.
Mer-Man as a hero was also something that shows up in a figure sheet included in one of the extra scenes in the excellent Power of Grayskull documentary:
Image courtesy of Jukka Issakainen
Mer-Man getting dehydrated in the heat of Skeletor’s blade
Image source: The 2016 Mark Taylor B-Sheet Collection . Scan by Axel Gimenéz
Each of the villains is out for his own gain, usually to obtain the Power Gem for himself, but they occasionally accept one of them as their leader — Beast-Man
BEAST-MAN — Another native of Eternia’s jungles whose tribe — or pack — has seemingly always been at war with their natural enemies, the human tribe of He-Man. Beast-Man has formidable strength, but it is his ferocity that makes him a natural leader. He has the agility of a gorilla. But when he dons his various costumes, he takes on the powers of other animals — the speed of a gazelle, the charging force of a rhino, etc. Beast-Man, though he despises He-Man’s tribe, yearns to take one or more of its females as a bride. He is totally evil and corrupt. His only redeeming quality is the “love” he bears for his own race, though it is actually more like instinct than any real emotion. His voice is gutteral, almost a growl.
This is a quite surprising casting of Beast Man as the primary enemy of He-Man. I had heard that this was once the case, but had never seen actual evidence until now. In this treatment he is given parallel powers to He-Man, in that he gains different power from wearing different costumes.
Beast Man and Mer-Man prototypes. Image via Andy Youssi
Early Mark Taylor Beast Man concept art
DE-MAN — A regular demon in the flesh. De-Man once inhabited an alien dimension resembling Dante’s version of Hell, but was thrown into Eternia’s dimension when the great war created a rift between the two dimensions. De-Man is possibly Beast-Man’s most dangerous ally. He has incredible powers and weapons, which can throw bolts of fire, electrical energy, cold. etc. He can control the very elements, bringing down a terrible storm from a cloudless sky, etc. He speaks in a raspy voice and is waiting for just the right opportunity to turn against Beast-Man and seize the Power Gem for himself. Then he will reopen the dimensional rift and bring more of his own race – to conquer eternia.
Some of De-Man’s (Skeletor’s) story here shows up in He-Man and the Power Sword (specifically the part about De-Man as a demon from another dimension). The control over the weather wasn’t really explored. De-Man’s obsession with the Power Gem became Skeletor’s obsession with the Power Sword.
Mark Taylor’s De-Man (Skeletor) concept art, published by Super7 and the Power and the Honor Foundation. Image courtesy of Axel Giménez.
Skeletor’s origin story
WOODS-MAN (alternate names: Tree-Man, Green-Man) — Another naturally-born Eternian. The master of the Forests and Jungles, Woods-Man has the power to control all plant life. Bening a manlike plant himself, Woods-Man does not have the ability to speak — but he does have a telepathic ability to communicate with others of his kind or other plants. His secret ambition is to subjegate all animal life and make Eternia’s plants the rule or this planet.
At first glance Woods-Man reminds me of Moss-Man, who was released in 1985. However, this may have been referring to the Mark Taylor concept below:
From Mark Taylor Sketches Vol 2
KA-MAN (named for the crocodilian Caiman) — a humanoid reptile, not too smart, but incredible sinister and evil. Being reptilian, the scaly warrior is cold-blooded and susceptible to changes in temperature. When he speaks it is hardly more than a hiss. Like a lizard, he can scale walls, change his color to match his environment, look about in all directions with his globelike eyes, etc. His various costumes give him extra reptilian powers — the rattle and striking power of a snake, the fiery breath of a dragon, etc. Naturally his snakelike fangs are venomous. His small reptile’s brain affords him little thinking ability and makes him extremely susceptible to taking orders.
It’s hard to know for sure, but this Ka-Man character might be referring to this Mark Taylor concept:
From Mark Taylor Sketches Vol 2
After the characters are set up, Glut lays out a story synopsis for the first comic book in the series, one that sets up the heroes independent and squabbling warriors who must reluctantly form a team to stop the villains. He-Man’s arrogance at first prevents them from working together, after the forces of Beast-Man bring them to the brink of destruction, they must unite in order to survive.
In the Fighting Foe-Men treatment, as in He-Man and the Power Sword, He-Man makes his home out of rocks.
Included among the documents is what looks like feedback from Mattel for some changes to the story. Those changes include making Grayskull more mysterious and emphasizing that it holds the secrets of the universe. Mattel also wanted to make De-Man (Skeletor) the primary villain. He-Man was to be made more heroic and less arrogant and underhanded; he was also supposed to get along with the other heroes. In this feedback, Tee-La (Teela) was to be written out of this particular story. That last edit obviously didn’t take, as Teela features prominently in the minicomics written by Glut.
“Tee-La” attacks “Beastman” in the first MOTU minicomic, He-Man and the Power Sword
I previously wrote about the 1982 Mattel Wish List, in the context of juxtaposing some early MOTU product imagery and the presence of rare early variants and unfinished prototypes in those photographs.
The 1983 Wish List doesn’t seem to feature any prototypes or rare variants, but it’s still fun to flip through the pages and see 1983 through a child’s eyes again. To that end, here is the entire mini catalog, which features Barbie, Poochie, the Smurfs, Tuff Stuff, Hot Wheels and of course Masters of the Universe. Happy holidays!
I didn’t see the 1987 Masters of the Universe Movie (or really know anything about it, other than one was made) until probably the early 90s, when I saw it on TV. Even though I considered myself too old for toys at the time, I still felt a little affronted that the designs of the main characters had been changed so much, particularly Skeletor. Despite myself, I stayed for it and watched the whole movie. It was actually a pretty fun little film. As an adult I can appreciate the beauty of the movie designs.
Design & Development
Gwildor was designed for the movie by Claudio Mazzoli. He seems to function as an Orko-type character, but with penchant for inventions rather than wizardry. We can see a glimpse of early concept art in The Power of Grayskull documentary, where we see an older looking character with white hair:
A more developed design appears in the background of the image below, which also shows a maquette created in pre-production. You can read more about it at the excellent MOTU Movie site. The images come from Theresa Cardinali, a crew member on the film:
The final design for Gwildor as a movie character of course appears in the actual costume used by actor Billy Barty. The costume was somewhat changed compared to previous designs:
On Mattel’s side, Alan Tyler used Mazzoli’s concept (specifically the maquette version) to create the designs for the action figure:
Gwildor’s action figure was given a blue rather than a brown jacket, which recalls the color scheme of the concept illustration from the Power of Grayskull documentary. The glasses were removed from the final figure, as represented in the cross sell artwork below:
Gwildor was minimally articulated – he has no waist joint, although his feet do swivel, along with his arms and head. His Cosmic Key accessory swivels at the top. He features a great deal of sculpted detail compared to most other Masters of the Universe figures, particularly around his costume.
Gwildor was trademarked on October 7, 1986. He appeared in a number of catalog and advertisement pictures in 1987:
Gwildor came on the typical 1987 MOTU card, featuring artwork on the front by Bruce Timm. Errol McCarthy did the scene on the reverse. The example below features a sticker on the blister referencing the 1987 Masters of the Universe movie, although it’s not present on every release.
Saurod, Gwildor and Blade were all packaged with the same minicomic: The Cosmic Key. The story doesn’t have anything to do with the movie, however. A cosmic force called the Evil Cloud gives Skeletor evil powers, including the ability to summon Saurod and Blade, and He-Man must call on Gwildor to stop the power of the entity.
Some versions of the minicomic actually had the Powers of Grayskull artwork on the back, which would have been the artwork on the front of the cards for He-Ro and Eldor, had they been produced:
Gwildor appears in the Summer 1987 issue of the US Masters of the Universe Magazine, where he sends a group of Tyrantisaurs Rex creatures back in time:
The same issue includes and some production shots of Gwildor in the movie:
Gwildor also appears in the Winter 1988 issues of MOTU Magazine, where he plays a decidedly Orko-like role in the royal palace:
Gwildor appears in several issues of the UK Masters of the Universe Adventure magazine:
Gwildor also appears in the November 1987 Star Comics story, The Motion Picture, based on the plot from the film. The artwork replicates the movie designs (or prototype designs) for the newly introduced characters and for Beast Man. Established characters like He-Man, Skeletor and Evil-Lyn are drawn with their classic toy looks:
Thanks to Dušan M. for the gentle reminder: Gwildor appeared frequently in the He-Man and the Masters of the Universe newspaper comic strip series and served as the royal scientist. As in his minicomic appearance, he is depicted with pink skin, although it’s much more extreme here. It’s mentioned that he comes from the Thenurian race, which is also established in the 1987 MOTU movie. Images below come from Danielle Gelehrter:
Earl Norem included Gwildor in a couple pieces for Masters of the Universe Magazine:
Gwildor also appears in William George’s 1987 Preternia poster:
Gwildor in Action
Øyvind Meisfjord has kindly contributed the following images and video of Gwildor in action: