One of the best things about getting new He-Man toys as a kid was the box art. The toys were of course amazing and fun, but personally I spent almost as much time staring at the boxes as playing with the toys. I remember being pretty heartbroken when my mother made me throw away my Castle Grayskull and Battle Ram boxes. She saw them as clutter, but for me they were almost stories in and of themselves. You could see whole adventures unfolding in a single painted scene.
Unfortunately, good photographs or scans of the original art are not
available for every piece. If you happen to have a nicer images than I
do (higher resolution, better composition, etc), please do feel free to
share, and I’ll make an update! For pictures of the packaging itself, a
neutral (white or black) background is preferred. High resolution scans
of the artwork, where it appears without logos, would be ideal. Bottom
line – if you have better images than I do, please share them!
One final note: I’m defining box art as the front-facing painted artwork that appeared on boxed Masters of the Universe toys. The illustrations on blister card packaging, then, are outside the scope of this series.
Part One: 1982
Name: Battle Cat Year: 1982 Artist: Rudy Obrero Description: He-Man sits astride an unhelmeted Battle Cat, with his axe and shield at the ready. Castle Grayskull looms in the background, partially shrouded in mist.
Name: Battle Ram Year: 1982 Artist: Rudy Obrero Description: Due to the folded shape of the box, this piece of artwork is in two sections. In the top two thirds of the artwork, He-Man flies the front half of the Battle Ram (Sky Sled) against enemies on similar flying vehicles, while a battle rages below. Several back halves of Battle Rams are launching missiles. Skeletor, Beast Man, Stratos, Man-at-Arms and Teela are seen, along side a warrior with a horned helmet, and Castle Grayskull in the background. The bottom section of the artwork features He-Man navigating rocky terrain in the complete Battle Ram, as several evil Sky Sleds attack him from the air.
Name: Castle Grayskull Year: 1982 Artist: Rudy Obrero Description: Skeletor stands ready just inside Castle Grayskull, while He-Man, Teela, Man-At-Arms, Beast Man, Stratos and Zodac prepare to attack. Several Jet Sled-like vehicles fly overhead.
Name: He-Man and Battle Cat Year: 1982 Artist: Rudy Obrero Description: In a misty, rocky wasteland, He-Man rides Battle Cat into battle, accompanied by Man-At-Arms. Skeletor and Beast Man ride their own Battle Cats into Battle, accompanied by Mer-Man.
Artwork with added logos (just for fun)
Name: He-Man and Wind Raider Year: 1982 Artist: Rudy Obrero Description: In a misty, rocky wasteland, He-Man pilots the Wind Raider against Skeletor, Beast Man, a mysterious warrior in red, and shrouded hordes of barbarian warriors. In the background, laser fire erupts from Castle Grayskull.
Name: Wind Raider Year: 1982 Artist: Rudy Obrero Description: Due to the folded shape of the box, this piece of artwork is in two sections. In the top half or so, He-Man uses the Wind Raider’s anchor to destroy a section of Castle Grayskull, while unknown enemies piloting their own Wind Raiders attack him. In the lower section of the artwork, the Wind Raider has landed, and He-Man and Teela battle against Skeletor, Beast Man, Stratos and hordes of unknown enemies.
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Name: Buzz-Off Faction: Heroic Warriors Approximate US release date: April 28, 1984
Buzz-Off is one of those figures that I never owned as a kid and had limited exposure to in general. I remember seeing him only once in the wild – when visiting some distant relatives for the first time. I remember their son showing me his He-Man collection, which included Mekaneck and Buzz-Off (the first time I had seen either figure in person).
My exposure to him as a character otherwise was mostly punctuated by his appearance in the Filmation cartoon episode, “Disappearing Dragons”, and his inclusion in a couple of my favorite mini comics.
Buzz-Off first appears in the December 1, 1982 Masters of the Universe Bible, under the name Bugoff. I believe that many of the characters listed in the Bible were just very early “back of the napkin” ideas without much development. In this case, Bugoff was based on a beetle rather than a bee, although Buzz-Off retained the high-tech wings in the description below:
BUGOFF* – part man, part beetle, but with high-tech wings, flies swiftly and fast. His sword and lance are his stingers. Bugoff’s beetle-like armor protects him from many dangers including some of the laser weapons of Skeletor and his crew.
*These names are not set yet and may change
In July of 1982, Colin Bailey finished an illustration of a character called Wasp Man, who has many design touches in common with the final Buzz-Off action figure. He has the wings pinned to his back, the yellow and brown striped chest, the helmet with the enlarged insect eyes, the clawed hands, and the enlarged monster toes.
Concept Wasp Man, by Colin Bailey. Image source: The Power and the Honor Foundation/The Art of He-Man
There are a few differences from the final figures as well. Wasp Man has spiny protrusions on the sides of his lower legs, and it looks like his clawed hands were supposed to be gloves. His thighs lack the bony protrusions of the final toy. He has white fur around his shoulders and head, and his wings are white and almost moth-like. But the most obvious difference is the head – it’s a reuse of He-Man’s head. From the working name Wasp Man it doesn’t sound like he was supposed to be a kind of He-Man variant, so the idea of reusing the head from the main protagonist in this way is rather bizarre. Then again, it’s possible that part of the original He-Man head was used as a basis for Mekaneck, so it’s not unheard of.
In this early mock-up of the figure (below), we see a hand-painted mashup of parts, with He-Man’s head (with brown hair instead of blond) and limbs borrowed from Zodac. The striped chest on this piece almost seems to resemble a rib cage. You can see some very thin insect wings on his back, and of course a large helmet with a somewhat creepy-looking insectoid face.
Image source: The Power and the Honor Foundation Catalog, Volume One
Given the parts used here, as compared to the concept drawing, it’s likely that Buzz-Off’s limbs had not yet been sculpted, and the designers went with the closest analogs they had on hand.
Interestingly, there was a version of He-Man released with brown hair – often called Savage He-Man (or erroneously “Wonder Bread He-Man”), he seems to have been been given out as part of a promotion, but otherwise very little is known about him. He may not have anything to do with Buzz-Off, but I thought it was an interesting little connection.
Image courtesy of Arkangel
Roger Sweet designed a character called Mandible Man, who seems to fit the description of Bugoff from the MOTU Bible. Mandible Man even shares the limbs and torso that Buzz-Off had (also used selectively on Clawful and Whiplash). Colin Bailey’s design for Wasp Man don’t seem to exactly match those final sculpted parts, although it certainly looks like an early pass at them. Mandible Man appears to have been made with the exact final sculpted Buzz-Off/Whiplash parts in mind. Putting on our historian’s hat, that should tell us this design came after these parts were sculpted, and Wasp Man came before.
Mandible Man, by Roger Sweet. Image source: The Power and the Honor Foundation Catalog, Volume One
The final version of Buzz-Off is mostly derived from the original Colin Bailey artwork. Wisely they decided to give him a unique insect head, which has none of the creepiness of the prototype model’s mask. The final, hand-painted prototype appears in the promotional image below:
Final prototype.
The hand-painted prototype also appears in a 1984 Mattel German catalog. In this image you can see that the model appears to have been cast in pink and painted over by hand.
Image courtesy of Olmo
Update: here’s another hardcopy Buzz-Off. This appears to be earlier than the above example, because you can see the feet are different from the final version. This version seems to have been the model for the early version of the cardback art by Errol McCarthy (discussed later in the article).
Image courtesy of Alessio di Marco
This cross sell artwork used to promote the toy is quite faithful to the design of the final prototype. The final prototype itself is identical to the final toy, except for the eye color, which was changed to blue/green for the mass-produced toy.
Buzz-Off cross sell artwork. Image courtesy of Axel Giménez
His clawed arms have the same spiky protrusions as the concept art, although now they look like a part of his anatomy. Similar structures were added to his thighs. His helmet was removable, but so loosely fitting that it was easily knocked off. For a weapon he was given a brown version of the axe from Castle Grayskull’s weapons rack, albeit with an extra loop to allow him to hold it. Even so, it didn’t work terribly well – had his claws been rotated 90 degrees, he could have held the weapon much more naturally.
One my my favorite things about Buzz-Off is the design of his chest. The brown area is covered in little bumps, while the yellow bands that go around this chest are mostly smooth, with a few alternating ridges. That makes him wonderfully tactile in hand.
His wings are quite remarkable as well. Cast in translucent yellow, they have little mechanical parts throughout the structure. There are lots of details to discover in this toy.
Although Buzz-Off’s limbs are technically new pieces, it is apparent that they were made by modifying the original arms and legs used on He-Man. The musculature, in the areas where there are no added ridges or bumps, is identical.
Update: there was a proposed Top Toys variant with pink wings that was tested but never released. Images courtesy of Rufus, via MOTUOriginsCork:
The action illustration on the back of Buzz-Off’s card was done by Errol McCarthy. There are actually two different versions of the illustration on the printed cardbacks. Both of them are different from an earlier take that Errol drew that was not used. I’ll show them in what I believe is the order of design. You can see that Buzz-Off starts off with feet that are quite bird-like in the line art version below, like one of the prototypes shown earlier:
Cards marked “NEW!” on the front (representing the early release cards) often feature the illustration below on the back, which is similar to the illustration above, but with feet that are a bit closer to the shape of the toy:
The more common version of the cardback illustration has feet that are closer still to the look of the toy, with thicker toes and clearer delineation between claws and feet. The image is also flipped in mirror image from the original.
McCarthy also illustrated Buzz-Off (along with many other characters) for licensed He-Man T-shirts. This one has feet reminiscent of Skeletor’s:
Image source: He-Man.org
Buzz-Off was also sold in a gift set with Moss Man and Mekaneck, and in a JC Penny two-pack with Fisto.
Image via Grayskull Museum
Buzz-Off makes a couple of appearances in the MOTU box art, in the illustrations for Battle Bones and The Fright Zone. Both were painted by William George:
Buzz-Off also shows up in a few posters by Earl Norem and William George:
Buzz-Off shows up fairly frequently in the mini comics. My favorite appearances are in He-Man and the Insect People and The Obelisk, due in large part to the artwork by Alfredo Alcala.
In Insect People, He-Man, Teela, Buzz-Off and Mekaneck discover a race of insect-like people living under ground. Apparently, however, they are unrelated to Buzz-Off and no mention is made of any kind of connection between the two (mini comic images via the He-Man and the Masters of the Universe Mini Comic Collection).
In The Obelisk, Buzz-Off plays a much more active role in the story, first as spy, and then as a warrior who manages to send Skeletor running:
Buzz-Off is also a major character in Grizzlor: The Legend Comes Alive! Buzz-Off scares his compatriots (Man-At-Arms, Fisto, and Teela) with a spooky campfire story about a legendary monster called Grizzlor, who turns out to be very real.
Buzz-Off is a frequent collaborator with Mekaneck, not only in the mini comics but also in the Filmation He-Man cartoon series. Both of them are supposed to be spies, although in a fight I think Buzz-Off’s claws and axe (or stinger lance, which he used in the cartoon) would come in a lot more handy than Mekaneck’s periscoping neck and ornate club.
In the cartoon, Buzz-Off is part of an entire race of bee people. This is one of the few times an animalistic character is said to be part of a larger race of sentient beings in the cartoon series.
Several years back, The Power and the Honor Foundation shared this early model sheet for Buzz-Off (edit: Dušan Mitrović informs me that this was called Bug-Off at the time), which is based off of Colin Bailey’s original concept drawings. Often Filmation would go with concept designs rather than final toy designs given the lead time required to produce an episode. In this, case, however, they ended up going with a simplified version of the final toy design.
Buzz-Off is also a recurring character in the Golden Books series of He-Man books, although perhaps his strongest appearance is in The Rock Warriors:
Buzz-Off seems to have been fairly popular, given the relative frequency of his appearances in the cartoon and mini comics. He was even offered as a Halloween costume by Ben Cooper back in 1985:
Conceptually, Buzz-Off is not so different from characters like Mer-Man or Beast Man. Like them, he is a kind of human/animal hybrid. The bee motif does make him seem less serious, but he remains a personal favorite of mine.
Image source: Wishbook
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Name: Roton Faction: Evil Warriors Approximate US release date: March 11, 1984
Roton was a toy that, as a kid, I admired from afar, but was never able to own (at least until many years later). I remember very clearly going over to my friend Tyson’s house in first grade and being bowled over by his collection, which dwarfed mine. Among other things I got to see in person for the first time toys like Zodac, Stratos, and the amazing Roton.
Design & Development
December 1, 1982 marks the earliest known mention of Roton, where it appears in the Masters of the Universe Bible. It was originally conceived as a vehicle for the heroic warriors:
ROTON – when this vehicle’s in the fight, He-Man’s enemies scatter, literally. He-Man rides atop the round vehicle which has a swiftly moving buzzsaw sipping around its center. Instead of blades, the buzzsaw’s blunted, club-like appendages sweep away anything or anyone in the way.
In a way, conceptually the Roton seems to have been merged with another early idea, called the Tornado Traveler (also from the MOTU Bible):
“TORNADO TRAVELER* – a wild, whipping flying craft which only Skeletor can control through the skies of both Infinita and Eternia. Whenever it appears it’s preceded by a violent windstorm.”
While the Roton seems to have been originally intended as a ground assault vehicle, its spinning blades make it look like it could plausibly fly, and so it was often depicted that way.
A couple of early concept drawings related to the Roton appear in The Power and the Honor Foundation‘s Catalog Volume One. Both are illustrated by Ed Watts.
The first is a Roger Sweet concept call the Gyro. This does not seem to be directly related to the Roton, as the drawing is dated September 17, 1983, and the Roton had its name set already in December of 1982 and the trademark filed on August 22, 1983. Still, the rotating blade concept is very similar.
Gyro, by Ed Watts. Image source: The Power and the Honor Foundation Catalog, Volume One
This undated drawing by Ed Watts shows a Roton that bears close resemblance to the final toy, with some key differences. The color scheme is red and white. The design around the sides is in keeping with the look of the final toy, except the decals are simple triangular shapes. The face on the front is quite different, as is the design of the seat back. All in all this version looks much less monstrous. I would guess that at this point it was still intended to be a heroic vehicle.
Artwork by Ed Watts. Image via The Power and the Honor Foundation Catalog Volume One
However, up until this point in the line (1984), there hadn’t been a single vehicle produced that was specifically intended for the Evil Warriors. Perhaps with that in consideration, the design was changed to make it look more sinister:
Roton cross sell art. Image courtesy of Axel Giménez
The above cross sell art, which matches exactly the look of the final toy, shows what changes were made to make the Roton fit with Skeletor’s crew. The vehicle was now black, with red blades. The face on the front became much more monstrous, and organic-looking spiny plates were added to the back side of the vehicle. The shape of the twin guns on the front was also overhauled.
Packaging & Toy
William George did the packaging artwork for the Roton. In his illustration, the vehicle is cruising along the ground, as a lizard and a tiny demon-like creature look on. George often included little creatures like this in his artwork.
The toy itself is relatively compact and simple. No batteries were required. You simply rolled it along the ground, and an internal set of gears would cause the buzz saw to rotate with a satisfying (or annoying, if you’re a parent) clicking sound. Of all the evil vehicles, this one seems to lend itself most to fleet-building. Like the Battle Ram, it works as a ground or air assault vehicle.
Model Kit & Artwork
Monogram produced a model kit version of the toy, as they did for the Attak Trak and Talon Fighter. In the case of those two vehicles, Monogram based the models on early prototypes or concept drawings of the toys. I wonder if that isn’t also the case with the Monogram Roton. It looks closer to the final toy than the to the Ed Watts concept art, but there are a few differences as well, the canopy being the most obvious one. Larry Elmore did the packaging artwork:
Curiously, the Roton doesn’t show up once in the mini comics, while the Land Shark (released a year later) shows up in multiple comics across multiple years.
Errol McCarthy illustrated this scene of Skeletor “mowing the grass” in the Roton. I believe this was intended for use on a T-shirt:
The Roton makes some prominent appearances in Golden Books stories, including Dangerous Games, The Rock Warriors, Secret of the Dragon’s Egg, and The Magic Mirror:
The vehicle also plays a supporting role in the Lady Bird story, He-Man and the Asteroid of Doom (images via He-Man.org):
The 1985 German Masters of the Universe Magazine is mostly filled with toy photography, but it does include a short comic story, and the Roton is a formidable presence:
The Roton appears in the background of a few different posters by Earl Norem and William George:
1984 poster by William GeorgeFrom “Lake of Mystery” by Earl NoremPoster for MOTU Magazine by Earl Norem
Animation
The Roton made several appearances in the Filmation He-Man cartoon, although it was never a regularly used vehicle. The Filmation design is simplified for ease of animation, and its buzz saw has longer (but fewer) blades, but otherwise it’s fairly true to the toy design:
Advertising Images
Of all the evil vehicles produced for the line, the Roton is my favorite. You just have to take one look at it and you immediately get what it’s about and you feel sorry for any heroic warriors who have to go up against it.
From the 1984 Mattel Dealer Catalog. Image via Orange Slime.From the 1985 Mattel Dealer Catalog. Image via Orange Slime.
Roton in Action
Øyvind Meisfjord has kind contributed the following image and video of the Roton in action:
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The Art of He-Man and the Masters of the Universe (published by Dark Horse, April 28, 2015) is a celebration of He-Man from his earliest known concept drawings in 1979 to his latest 2015 evolution in modern comics and toys (images below courtesy of Jukka Issakainen).
Limited Edition printing of The Art of He-Man, with Castle Grayskull slipcover and exclusive artwork by Gerald Parel.
The focus of the book is primarily on artwork, although there is some time spent on toys. In many ways the Dark Horse book seems to take some cues from Mattel’s 2009 book, The Art of Masters of the Universe (a San Diego Comic Con exclusive). The 2009 book took a broad approach to the subject, starting with early concept artwork and moving on to cross sell artwork, box art, mini comics, the New Adventures of He-Man line, the 2002 He-Man line, the ongoing Masters of the Universe Classics adult collector line, and finishing up with some modern concept art for a potential rebooted line. The Dark Horse book follows the same general outline, but radically expands it with more than five times as much content.
The Art of He-Man was written by Tim and Steve Seeley and edited by Daniel Chabon and Ian Tucker, with contributions by Emiliano Santalucia, Joshua Van Pelt, James Eatock, Danielle Gelehrter, Val Staples, and others. Drawing on a wide variety of sources, from current and former insiders at Mattel to external collectors and experts, The Art of He-Man is able to delve deeper into the subject than the 2009 Mattel SDCC book, and expands the territory into areas like the 1983 Filmation cartoon and the 1987 live-action film.
By comparison, The Power and the Honor Foundation’s 2011 Catalog Volume One went into far greater depth on the subject of toy design, but stayed away from topics like packaging design, mini comics, and Filmation. Some of the artwork from both The Power and the Honor Foundation Catalog and the 2009 Mattel book made it into The Art of He-Man, but by no means all of it.
Early on, The Art of He-Man was slated to be much shorter, capping out at 168 pages by the beginning of chapter 10 (thanks to Jukka Issakainen for the image and the reminder):
After I believe some extensive contributions from The Power and the Honor Foundation and others, the page count was radically increased to about 320 pages total:
The Art of He-Man starts things off with some tantalizing internal memos, most of them directly or indirectly related to the creation of He-Man. One notable exception is the December 24, 1981 memo from Mark Ellis looking into the creation of a generic male action figure line for use in licensed properties. The He-Man line had already been largely created by then, and the memo seems to favor a smaller scale line of figures.
If you’re familiar with my blog, it might not surprise you that the first chapter of The Art of He-Man is my favorite, as it covers early concept designs by Mark Taylor, Ted Mayer and Colin Bailey, as well as the first He-Man prototype sculpted by Tony Guerrero. We also get to see a number of other concept drawings by Roger Sweet, Ed Watts, Mark Jones, James McElroy, David Wolfram and others. Quite a lot of the artwork in the sample below was contributed by The Power and the Honor Foundation:
About 40 pages in, the book switches gears to packaging artwork, including figure and vehicle cross sell artwork, some of it blown up gloriously large. It’s here where I get a little frustrated at the limitations of printed media, as many of these images are heavily cropped.
At about 50 pages in, the book changes focus to concept artwork for unproduced toys like He-Ro, Turbosaurus, Rotary Man, Rhino Man, Torton, and others. Some of my favorites here are the Ed Watts concepts, which were also contributed by The Power and the Honor Foundation. Watts created some really imaginative vehicle and vehicle/creature designs in full color illustrations with background scenery included.
Turbosaurus, by Ed Watts. An early incarnation of Gigantisaur. Originally via The Power and the Honor Foundation.
About 60 pages in the book begins to explore some of the painted packaging artwork that appeared on product boxes and cardbacks. We’re treated to a gorgeous, two-page spread of Rudy Obrero’s iconic Castle Grayskull illustration. We also see a great deal of artwork by prolific MOTU artists Errol McCarthy and William George. There is also the packaging illustration for Tyrantosaurus Rex artwork by Warren Hile, who painted several packaging illustrations near the tail end of the line.
At around the 70 page mark, the book changes focus to the vintage mini comics. I would say that this section had been rendered mostly redundant by the Dark Horse He-Man and the Masters of the Universe Mini Comic Collection (more on that in a separate article), but this section does feature some lovely blown up pages, as well as an interview with writer Steven Grant and illustrator Larry Houston.
Speaking of interviews, The Art of He-Man is peppered with them. Interviewed subjects include:
David Wolfram
Dolph Lundgren
Earl Norem
Eric Treadaway
Erika Scheimer
Gabriel de la Torre
Gary Goddard
Joe Ferencz
Larry Houston
Paul Dini
The Power and the Honor Foundation
Rob David
Scott Neitlich
Steven Grant
Val Staples
William Stout
At the 85-page mark, the book switches focus to the subject of the Filmation He-Man series. It includes some lovely drawings from the early Filmation animated toy commercial, and development artwork and story boards for the actual series. One of my favorites is a page showing numerous early designs for Hordak. There is also included a replica animation cel and three printed backgrounds, so you can get a tangible lesson in the magic of traditional hand-drawn animation.
At 120 pages in, we turn to the subject of artwork from magazines, story books and posters. That means we’re treated to a number of large size images of artwork by the late, great Earl Norem, not to mention the fantastic William George.
Artwork by Earl Norem
Some 150 pages into the book, there is a smattering of miscellaneous subject matter, from the vintage DC comics, newspaper comic strips, Golden Books, coloring books, as well as some style guide and licensing artwork by Errol McCarthy.
At 175 pages, the book takes a very in-depth look at the 1987 Masters of the Universe motion picture, a topic not covered in the 2009 Mattel art book. This section is thick with interviews, draft scripts, and concept artwork by William Stout, Claudio Mazzoli and Ralph McQuarrie.
Ralph McQuarrie’s Man-At-Arms
The subject turns to the New Adventures of He-Man some 200 pages into the book. We get to take a peek at early attempts to relaunch He-Man as a G.I. Joe-like military hero, before designers eventually moved toward a science fiction look for the most powerful man in the universe.
New Adventures of He-Man concept, by Martin Arriola
At 219 pages we finally move on to the 21st century, with a look at the 2002 reboot of Masters of the Universe. I remember at the time I did encounter the Commemorative reissues of the vintage toys (I bought one of the five-packs immediately when I saw it at Toys ‘R’ Us), but I somehow missed the entire 2002 relaunch.
We get some great concept drawings from the Four Horsemen, including depictions of many new characters who never made it into the toyline or the cartoon series. This section also covers the Mike Young Productions cartoon, with some lovely background art, as well as an extensive look at artwork from the MVCreations comic book series. I do like the Four Horsemen’s original concept He-Man, but I’m not as fond of the anime look and oversized weapons that are peppered throughout the 2002 line. On the other hand, I absolutely adore the line’s vision for characters like Stinkor, Leech, Mer-Man and Webstor. I also find the stories in the 2002 cartoon series more compelling than the original Filmation series, although I prefer the look of the original cartoon.
Concept 2002 He-Man, by Four Horsemen Studios. Image via The Art of He-Man.
At about 250 pages in, we turn to the 2008 adult collector series, Masters of the Universe Classics. We to see some of the artwork that Rudy Obrero produced for the toyline (including his maps of Eternia and Etheria), as well as prototypes from Four Horsemen Studios. There are also maps, concept art, packaging artwork by Nate Baertsch and Axel Giménez. Tucked away in this section is also the original 1981 Wind Raider box art, which was used as a basis for the Masters of the Universe Classics version of the toy.
Classics “Alcala” style Skeletor and prototype Demo Man
The last 20 pages or so are a hodgepodge of subjects, from mobile games to social media, modern DC MOTU comics and far-out, exploratory artwork.
The Art of He-Man and the Masters of the Universe is practically mandatory reading for any serious He-Man fan, but I there’s I think it’s broad enough to appeal even to non-collectors who merely remember He-Man with fondness.
Several sections of the book have since been expanded into separate Dark Horse books, or else are in the works:
He-Man and the Masters of the Universe Mini Comic Collection
He-Man and She-Ra – A Complete Guide to the Classic Animated Adventures
He-Man and the Masters of the Universe – The Newspaper Comic Strips (Available February 14, 2017)
He-Man and the Masters of the Universe – A Character Guide and World Compendium (May 16, 2017)
I hope that at some point we’ll see the subjects of vintage toy concept artwork and packaging artwork get the same treatment. The two topics could easily fill a couple of large volumes, and would be, in my opinion, required reading.
Modulok illustration for Masters of the Universe Classics, by Axel Giménez
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