Heroic Warriors

Roboto: Heroic mechanical warrior (1985)

Written by Adam McCombs

Name: Roboto
Faction: Heroic Warriors
Approximate US release date: February 28, 1985

My first exposure to Roboto came on the playground in third grade. I had gone to the same elementary school during kindergarten and first grade. But in second grade, we moved away for a year to a smaller town, which turned out to be something of a He-Man vacuum. All of the kids there seemed to be into either Voltron or Thundercats. But when I returned to my old school in the third grade, I found He-Man was still going strong there.

One chilly day on the playground, one of my friends brought out his Roboto and Two Bad figures. I never had either of these figures myself, but I was pretty impressed with both of them. Roboto had all kinds of bells and whistles – a transparent chest that showed moving gears as you twisted his waist, with an automatically-moving jaw. And you could change out three attachments on his right arm, like Trap Jaw.

The next year I had lost most of my interest in MOTU, but I begged my mom for a G.I. Joe B.A.T.S. Figure. It seemed to have been Hasbro’s answer to Roboto, albeit with a hologram sticker that only simulated a transparent chest.

Design & Development

Roboto’s genesis seems to lie in a concept illustrated by Ted Mayer, called Transparent Man. In the sketch you can see that this concept was meant to be an almost completely transparent figure, covered with mechanical bits.

From Tomart’s Action Figure Digest. Image courtesy of Jukka Issakainen.
From the Power and the Honor Foundation catalog. Per the book, the image was dated July 7, 1984.

We can get a bead on what a more fully developed Roboto looked like from his minicomic depiction. First minicomic appearances are often based on unfinished concept artwork or prototypes for toys:

At this point in his development, Roboto has a red and orange color scheme, rather than the red, purple and blue colors of the final toy. In the comic we see that there is a very literal “heart” in Roboto’s chest, but no indication of the rotating gears of the toy:

Production Figure

The final Roboto toy is very similar to the minicomics design, albeit with a change in color scheme and simplified design on the chest. I would suspect the external sculpted chest detail in the illustration would have made it harder to see through the chest into the figure’s working gears, which may be why it was not used on the final figure. By turning the figure’s waist, the mouth would open and close as the gears spun around. The figure’s heart was partially obscured behind the central red gear:

Roboto cross sell artwork

Roboto included three removable arm attachments. Aside from the laser canon (shown above), he also had a robotic claw and an axe:

From behind you can also make out his central “heart” inside his chest:

As seen in most of the above figure shots, over time the legs of vintage Roboto figures have started to leech a purple residue. This can be cleaned off with a magic sponge, but it will eventually return.

Speaking of his legs, they are reused from Man-E-Faces. His arms are based off of Trap Jaw’s, but with some additional sculpted mechanical detail added.

Packaging

Roboto was released on the standard blister card, with artwork on the reverse by Errol McCarthy. The artwork feature’s Roboto’s prototype orange and red color scheme:

Scan by Starcrusader

Roboto was also released in a few giftsets as well – one with Hordak and Sy-Klone, one with Thunder Punch He-Man, and another with Mekaneck. Photos are available at Grayskull Museum.

Roboto was depicted in some additional pieces of artwork by Errol McCarthy, for T-shirt designs as well as the MOTU Style Guide::

Roboto’s Style Guide description reads:

Role: Invincible mechanical warrior; the most powerful robot in the universe.

Power: The strength of a robot combined with the ability for endless battle.

Character Profile: Roboto would be little more than a fighting automaton were it not for the “heart” given him by his creator, Man-At-Arms. Though his heart gives Roboto the capacity to feel compassion and other human emotions, it is also his weak spot. Skeletor has already stolen the heart of Roboto once, turning the robot into an evil war machine. With his heart intact, however, Roboto is one of the bravest and indefatigable warriors in Eternia.

Minicomics

The Battle of Roboto establishes Roboto’s origin as the creation of Man-At-Arms. The story works to explain Roboto’s features, as well as the idea behind the heart in his chest:

Image source: Dark Horse
Image source: Dark Horse

In the story, Skeletor is able to take control of Roboto by removing his heart. Roboto becomes a very dangerous weapon due to his great strength:

Image source: Dark Horse
Image source: Dark Horse

In the end the heroes are able to restore Roboto to normal by returning his heart to his chest. However, Roboto worries that he is too dangerous a weapon should he ever be compromised again. In response, the Sorceress casts a spell of protection on him to prevent Skeletor from taking control of him again.

Image source: Dark Horse
Image source: Dark Horse

Animation

Roboto’s origin story in the Filmation He-Man cartoon is quite different. Roboto crash landed onto Eternia. As revealed in the episode, “Happy Birthday Roboto”, originally he had come from the planet Robotica, which was filled with mechanical beings like himself. As with the minicomic characterization, Roboto was immensely powerful in the Filmation cartoon.

Design-wise, the animated Roboto generally followed the design of the action figure, albeit simplified for animation. The most obvious difference is the mouth plate area, which has less of a steep slope to it compared to the figure.

Roboto model sheet. Vectorized and colored by Jukka Issakainen
Roboto model sheet with alternative concept colors. Vectorized and colored by Jukka Issakainen.
Image courtesy of Jukka Issakainen
Image courtesy of Jukka Issakainen
Image courtesy of Jukka Issakainen

Other Media

Roboto appeared in quite a number of different stories and activities in comics and magazines over the years. He was the subject of a word search in the Spring 1985 issue of Masters of the Universe Magazine:

Image source: He-Man.org

That same issue also includes a brilliant poster by Earl Norem, depicting Roboto battling against flying Roton vehicles:

In issue 34 of the 1987 run of the UK MOTU Magazine, Roboto and Man-At-Arms are attacked on their Jet Sleds by Dragstor, who is piloting the Fright Fighter. The two heroes’ remaining Jet Sled is damaged, but they are able to repair it using some parts from Roboto:

Image source: He-Man.org
Image source: He-Man.org

In issue 12 of the 1989 run of the UK MOTU Magazine, we see He-Man and Roboto in Viper Tower (which for some reason is identified as the headquarters of the Heroic Warriors). From there they enter a dimensional portal to travel to a distant planet, where they battle alien robots:

Image source: He-Man.org
Image source: He-Man.org

In the He-Man newspaper comic story, “Day of the Comet”, we see a Filmation-like Roboto assembled with the heroic warriors:

Image source: Dark Horse

In the Golden Book story He-Man Smells Trouble, Roboto accidentally causes some damage to a stage when he mistake’s Orko’s magic for a real threat. Orko in turn hurts Roboto’s feelings, and he wanders away. Roboto ends up briefly teaming up with Stinkor, who also had his feelings hurt by the evil warriors. Together they encounter some other robots who actually resemble some of Ted Mayer’s concept art for the figure:

Roboto appears in a couple of MOTU posters by William George:

Image courtesy of Jukka Issakainen
Image courtesy of Jukka Issakainen

Roboto (in his concept colors) was featured in a series of Fuzzy Iron-Ons included in boxes of Rice Krispies:

Image source: He-Man.org

Roboto in Action

Øyvind Meisfjord has graciously shared the following image and video of Roboto in action!

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Interviews

Errol McCarthy: Cardback Legend

Errol McCarthy at the CARtoons art show at LACMA (LA County Museum of Art) in 2016

Interview by Adam McCombs

I recently got the chance to interview Errol McCarthy, one of the most prolific artists ever to work on Masters of the Universe. Errol started out providing illustrations for Mattel’s first licensing kit in 1982, and moved on to illustrate the majority of the cardback artwork scenes for vintage MOTU figures. He worked on other license kit and style guide illustration projects, and he illustrated a number of scenes for apparel for Bates Nightwear

To begin with, Errol sent me the following bio detailing some of his life history:

Errol McCarthy was born in Los Angeles long long ago, but grew up in Billings, Montana. As a teen, he developed an interest in anything with an engine. This included airplanes, sports cars and motorcycles. His high school buddies had real hot rods and many, many evenings were spent cruising and occasionally actually picking up girls. “American Graffiti” was right on!

The closest thing to a real rod that he had was a bored out ’48 Chevy coupe with a split manifold. While writing a ticket, a cop said:”It was the loudest thing I’ve ever heard”! Plans to install a ’50 Olds V-8 with a Lincoln Zephyr tranny remained just plans. Drawing was a different thing,since, if you can draw, he reasoned, you can create anything. Errol became the school cartoonist and study hall was all about drawing cars and airplanes.

A short stint in the Air Force as an Aviation Cadet convinced Errol that he was not the military type; art school would be a better fit. He went back to Los Angeles to attend Art Center school and to meet his future wife, Mitzi, who was also an artist. Their first date was a hot rod show and a trip to a comic book stand; she passed the “test” and they were married. They both found that it was possible to make a living in art.

Errol’s first freelance comic book job came from answering a want ad in the paper. It was a one shot entitled “CarNuts” published by Quentin Miller. That job,plus an Underground comic story led to Petersen Publishing which had 3 comic books at the time: CAR Toons, Hot Rod Cartoons and Cycletoons. He soon had work in all 3, plus a full time job as an illustrator at McDonnell-Douglas. There were a few jobs for underground comics, Road and Track and Hustler magazines. A Master’s degree followed with a thesis on the influence of underground “comix” on art. Teaching art followed and then a stay at Mattel doing action figures like He-Man and Big Jim. There was also Hot Wheels work, where, he says, the high point of his art career was the design of the “Toilet Mobile”. There was other free lance toy work including Teenage Mutant Ninja Turtles.

To pay the bills, both he and Mitzi have done tech drawings for Clymer Publications motorcycle magazines for over 30 years, continue to this day and love it.

And now on to the interview!

Battle Ram: How did you come to be involved in Masters of the Universe?

Errol McCarthy: I started to do free lance work for Mattel about ’79. [My] old Art Center pal Mark Taylor hired me.

BR: Would your first project for MOTU have been the 1982 Licensing Kit? What can you remember about it?

EM: That was sooo long ago, I have no idea what the first MOTU work was about. I do remember doing lots figure and playset concepts, but I don’t remember if they were all produced.

BR: You went on to illustrate the action scenes on the cardbacks for most of the figures. Can you talk about how that started and what you were trying to achieve with your illustrations?

EM: I think it was just to illustrate what the figure was about & what it did like Mekaneck with his telescoping neck.

BR: Were the landscapes and scenery of the cardback illustrations created totally from your imagination, or did Mattel give you some direction for the look of Eternia (for example, the sinister-looking swamp for Evil-Lyn, the sweeping plains for He-Man)?

EM: All of that stuff was pretty much from my imagination. It’s fun to draw creepy creatures and landscapes.

BR: You illustrated cardbacks for characters like Skeletor, Mer-Man, He-Man, Teela, Faker, Fisto, Trap Jaw and many others. Which ones are your favorites and why? Any interesting stories associated with any of them?

EM: I liked all of them but particularly the main ones like Teela, Stratos and Mekaneck. I think there were about 100 or so characters in the line. It was great fun to draw all of them.

BR: It looks like your License Kit Castle Grayskull shows up in the background of your Skeletor illustration, and other illustrations as well. Did you commonly reuse your art where you could?

Image source: He-Man.org

EM: Drawings of things as complex as Castle Grayskull and other things like that are used over and over again and why not? The trick is to try to make it look fresh.

BR: You continued to do additional license kit artwork, as well as artwork for a MOTU style guide. Any stories or memories about either project?

EM: Not really-I think the Style Guide was meant to indicate what colors were to be used for each of the parts of characters or machines.

BR: You did some work for Bates Nightwear to create licensed MOTU artwork for T-shirts or pajama shirts, correct? Can you talk about that project?

EM: I think I did about 100 drawings for Bates Nightwear.It was great fun!

Image via He-Man.org

BR: Sometimes you signed your art EM, and other times you signed your full name. Was that based on your own preference, or did Mattel sometimes dictate how you were to sign your art?

EM: The signing sort of depended on the space available. Mattel or Petersen Pub. didn’t care about signing.

BR: Are there any other projects you worked on for the original Masters of the Universe toyline?

EM: I really can’t think of any other than the ones done recently for Super 7 which was for the collector’s market; they were done as card back art, the same as the original line back in the ’80’s. I think that Mattel has taken back the rights now.* We’ll see if they continue the line.

BR: You illustrated two comic books for the “New Adventures” He-Man reboot. Can you talk about how you got involved in that project? What did you think of the new futuristic He-Man concept?

EM: I wish that I could’ve done more with the comic books, but was too busy at the time with other free lance work, but they had a pool of great talent to do the books. A few years ago, Dark Horse reprinted the comics in a hard cover single volume and doubled the size of the art. They did an excellent job of it!

BR: You also illustrated some “New Adventures” futuristic He-Man concept art as well. Can you talk about how that came about? Do you remember anything about the idea behind the concepts you drew? Were these your character designs?

EM: These were all someone else’s concepts. I don’t know who was involved in it, but it was well done.

BR: Did you work on any other non-MOTU projects at Mattel?

EM: Yes, I contributed occasionally to Hot Wheels. My proudest project was doing the art for the Toiletmobile on the Real Monsters line and doing a lot of art on Big Jim packaging. There were others as well like Mighty Max.

BR: Were you always a contractor at Mattel, or did you ever join as a permanent employee?

EM: I freelanced for Mattel from about 1978 to ’89. I was a Mattel employee from ’89 to 1995, then back to freelancing again for Mattel and other toy companies. I think Mark [Taylor] did bring me in specifically to work in house on MOTU in 1989. Mark left after I did in 1995 and went on to work at other toy companies. We collaborated occasionally on projects.

BR: Recently you’ve done some new cardback illustrations for some of the vintage style Super7 MOTU figures. How did that come about? How did it feel to work on Masters of the Universe again?

EM: I guess they knew I was still alive and drawing stuff so I got to do the card backs. One of the biggest perks for me was to be able to work with Emiliano Santalucia over the internet. He lives in Sicily and I live in Long Beach, but the internet makes it possible to work together.

BR: As I understand it, you’ve done illustration work for a number of different toy lines, including Star Wars and Teenage Mutant Ninja Turtles. Can you summarize some of the major work you’ve done outside of MOTU?

EM: Yes, I worked on both of those lines doing mostly concept art which may or may not become a toy. My biggest accomplishment was doing the TMNT blimp!

BR: What do you think made MOTU such a success?

EM: I understand that Mattel wanted to do a Conan the Barbarian line but couldn’t get the rights, so did their own version.Little boys love that sort of thing, plus there was no limit to the imagination when it came to weird characters and odd scenarios; it was also the time of Star Wars, etc.

BR: Are you working on anything exciting at the moment?

EM: The most exciting thing for me now is to be able to still work on He-Man and that it still exists!

Image via The Art of He-Man.

Many thanks to Errol McCarthy for taking the time to answer my questions!

*Note: according to a recent Roast Gooble Dinner interview with Brian Flynn, the status of future 5.5″ figures is somewhat uncertain because of the upcoming Masters of the Universe Movie. The strategy for how Super7 and Mattel release MOTU figures ahead of that film is still to be determined.

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Evil Horde

Multi-Bot: Evil robot of a thousand bodies (1986)

Written by Adam McCombs

Name: Multi-Bot
Faction: Evil Horde
Approximate US release date: October 11, 1986

Multi-Bot was a figure I don’t recall ever seeing as a kid. The concept is familiar enough – take the transforming body idea from Modulok and turn it into a robot. It certainly makes more logical sense for a robot to be able to swap around its body parts, as opposed to an organic creature like Modulok. Then again part of the fun of Modulok was the gruesome fun of imagining a monster that could do such a thing. Update: Thanks to Eric Spikes for finding the stand-alone Multi-Bot commercial immediately below and sharing it with me! It includes an intro with some computer graphics, and there is mention of his origins as a creation by Modulok:

Design & Development

Modulok and Multi-Bot apparently originated with the same concept idea by Roger Sweet, called Modular Man (source: The Power and the Honor Foundation Catalog). Ted Mayer did the visual design work for both figures in June and July, 1984. We can see two of Ted’s designs for Multi-Bot below. They’re similar, although the right head and left yellow arm designs differ.

Modular Man, by Ted Mayer. This one has an organic green face on the right head. Image source: Power and Honor Foundation/Dark Horse
Modular Man, by Ted Mayer. This version has a robotic right head and a hammer shaped left yellow arm. Image source: Power and Honor Foundation/Dark Horse

Both of these designs, although different from the final look of the figure, were ported into the minicomic and the She-Ra cartoon, respectively. As was often the case, animators and comic book artists needed more lead time in order to meet deadlines, resulting in a mismatch between what was on the shelves and what was on TV screens.

Concept character vs animated look. Image source: Dušan M.

Production Toy

The cross sell art for the character reflects the finalized design of the toy, albeit with some slight differences in the exact color shades used:

The toy design is closer to the Ted Mayer concept design that was used for the minicomics, particularly in regard to the green and black head. The color choices are generally retained, although switched around a bit. The torso design has been reworked quite a bit, and the figure was given a second torso, giving him greater flexibility to work as two fully independent figures.

Generally speaking, Multi-Bot about the same height as Modulok, but he’s significantly bulkier. And of course depending on how they are configured either figure can be made to be either short or tall. The 1985 wave of Evil Horde figures was generally filled with monsters, while the 1986 wave was mostly comprised of robotic or cyborg characters, including Horde Trooper and Dragstor.

Left to right: Multi-Bot, Modulok, Hordak
1987 German MOTU Magazine. Source: www.he-man.org
1986 Mattel catalog. Source: Battle Armor Dad

Multi-Bot and Modulok are compatible with each other, and can be mixed and matched to create “Mega-Monster” (also known as “Megabeast”).

Image courtesy of Øyvind Meisfjord

Packaging

Multi-Bot came in a box very similar to the one used for Modulok, down to the size, shape, and art style. The back features a number of ways to “build” the character, as well as an action scene depicting Multi-Bot transforming while battling Evil Warriors and Snake Men.

There are two versions of the packaging – the blue background, as shown earlier, and a silver background version, shown below (thanks to Thorsten G. for pointing this out):

Multi-Bot came with the instructions below, showing him in action scenarios and in different build combinations, using his own parts and combing him with Modulok (images come via Michele Rella):

Minicomics

In The Menace of Multi-Bot, we find out that Modulok invented Multi-Bot. He gives Multi-Bot enormous strength, and the ability to reassemble himself when damaged. Multi-Bot is sent to Eternia to challenge He-Man (with a secret plan to attack Hordak after He-Man was defeated, allowing Modulok to take charge).

Multi-Bot is at first a formidable foe, but he is defeated (and turned on Hordak) in the end with the use of some magnets:

Star Comics

In issue 5 of the Star Comics Masters of the Universe series, a (more or less) toy-accurate Multi-Bot is used as a kind of antenna to summon Monstroid:

Later in the story, Multi-Bot tussles with Extendar, but in the end Orko forces him to save Extendar from drowning. Notice that Multi-Bot is given a goatee, which seems to stem from a misinterpretation of the source material.

Animation

In the She-Ra animated series, Multi-Bot was again the invention of Modulok. Multi-Bot is not frequently used, but he seems to have the ability to transform his body into anything at all:

Other Artwork

Multi-Bot makes a minor appearance in this Eternia poster by William George, as “Megabeast” (combined with Modulok):

Multi-Bot in Action

Øyvind Meisfjord has graciously shared the following images and video of Multi-Bot in action!

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Super7 5.5" Figures

Skeletor: Evil lord of destruction! (2018)

Written by Adam McCombs

Announced in 2017, Super7’s vintage style, 5.5″ Filmation inspired Skeletor figure was released in 2018 along with similar versions of He-Man, She-Ra and Hordak. The design ethos seems to be based on the following premise: what if, in the 1980s, Mattel released a series of He-Man variant figures that were “as seen on TV”? That’s pretty much exactly what we get with this series, including the occasional design shortcuts that Mattel might plausibly have implemented in the 80s.

Design & Development

Within the packaging for Skeletor we get a brief write-up of the history of how Skeletor’s design was translated from toy to cartoon:

In the above sheet (put together by The Power and The Honor Foundation), we see the vintage Skeletor figure, along with a work in progress and a finalized version of Skeletor’s animated design. His animated appearance in an early Castle Grayskull commercial is also referenced, although an image isn’t included, likely because most images of Skeletor in the commercial are close-ups.

In Skeletor’s first animated appearance (a commercial animated by Filmation Studios to help advertise the toyline), Skeletor more or less follows the design of the action figure, including the highly detailed costume, monster feet, and red eyes. The only liberty taken is with his face, which doesn’t feature the green paint applications of the action feature. The commercial can be viewed in its entirety here: https://www.instagram.com/p/BpmvudrnPlj/

Image source/owner: Rob Hexevo

As shown in the card that came with the Super7 Skeletor figure, Skeletor’s more detailed action figure design was simplified for ease of animation once the animated series was greenlit for development. The evolving and finalized designs can also be seen in the images below. He also has a more realistic hood design compared to the vintage action figure, and an angrier-looking face.

Image source:
He-Man and She-Ra: A Complete Guide to the Classic Animated Adventures (James Eatock)

In some ways these changes brought him a bit closer to Mark Taylor‘s original design, which also featured a larger hood and relatively human-looking feet

In fact, material from the Series Guide shows an intermediate Skeletor design that is partway between Mark Taylor’s original concept and the animated version:

Image source: He-Man.org

The prototype Skeletor figure was revealed in February of 2017 at New York Toy Fair. It’s pretty close to the mass produced figure, although his colors are a bit different, with paler blue skin, a more vivid yellow skull, and black fingernails:

Image source: He-Man.org

Production Figure

Design-wise, the sculpt of the chest and pelvis seem to be taken directly from the vintage 1982 figure. The arms are based on the vintage figure as well, but the “fin” structures on the forearms have been removed. The feet have been changed, removing the three-toed feet and substituting the streamlined boots from the cartoon.

The production figure, as is always the case, isn’t quite as sharp as the prototype. It’s pretty closely based on the Filmation source material, but of course with the bulky proportions of the vintage toy.

The figure comes with a pretty Filmation-accurate Havoc Staff, with the exception of the color, which came out more pink than light purple. Skeletor also includes a purple version of the He-Man’s cartoon style Power Sword (not a weapon Skeletor used in the cartoon, but a nod to the vintage figure), as well as a half Power Sword that fits together with the 2018 Super7 He-Man figure. The Swords are pretty closely based on the animated design, but also feature a hand guard, which Mattel tended to use on almost all of its swords in the vintage line.

Out of the packaging the armor tends to ride a little low, and it’s fairly stiff plastic, making it difficult to adjust. However, 10 seconds with a hair dryer makes it temporarily rubbery and pliable, which allowed me to adjust the armor to sit correctly, as shown in my example above.

Compared to the vintage figure, the 2018 version is certainly less detailed, but the face actually looks a bit more evil. The new version has a hard head as opposed to the soft, hollow polyvinyl of the original. The Filmation-inspired Skeletor’s blue skin is also quite vivid compared to the pale blue of the original.

Packaging

The design of the packaging was directed by The Power and the Honor Foundation. The main carded version (which was actually released second) is based on the original 1980s design, with an “AS SEEN ON TV” burst which, although not featured on vintage MOTU packaging, was pretty commercially ubiquitous at one point. The shape of the bubble on the front has been altered compared to the vintage packaging.

The main artwork on the back was done by Errol McCarthy, who worked on cardback art for most of the vintage MOTU figures. The cross sell artwork and the insert were illustrated by Emiliano Santalucia:

The first version to be released was actually a two pack, in the style of some of the vintage figure gift sets. This set was released in limited numbers.

Another limited release of the figure came in the form of a “Los Amos” package, based on the design of vintage “Los Amos” (Mexico) figures:

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