Artwork, Cardbacks

Top Toys cardbacks & cross sell art

Written by Adam McCombs

Special thanks to Martin Alejandro Salinas for sending me the Top Toys cardback scans used in this article and providing some background information as well.

Typically the cross sell art used on the backs of Top Toys cards was the same as what appeared on US cards. One exception to that is Jitsu, where a photograph (mirror reversed) of the toy was used rather than artwork:

Another interesting difference is Two Bad. Although the artwork is the same as was used on US cards, Two Bad was grouped with the Evil Horde:

Below we have Zodac’s card, which is similar to the US reissue card, but the layout of cross sell art characters is changed, and it also includes larger toys like Castle Grayskull and Battle Cat:

Here is a selection of additional cardbacks from various Top Toys figures. One note is that the Trap Jaw cross sell art is the “jawless” version that appeared in later US cardbacks as well as on the backs of many of the US minicomics.

Another interesting note: Hordak’s cardback includes a blurred-out section for the Evil Horde faction on the back, with a message saying the the Evil Horde would arrive soon. Martin notes that Grizzlor, whose silhouette is visible in the blurred image, was never produced in Argentina.

Finally, Martin says that at the tail end of the line in Argentina, Toy Toys began using generic cards for figures. On the backs of those cards they used artwork from the cover of first issue of the Star Comics Masters of the Universe series. The name of the figure would be announced on the front with a sticker, since it wasn’t printed on the actual card.

Image via He-Man.org

Because there were no instructions for the toy printed on the back of the card, they would include a black and white printout of the instructions inserted in the bubble with the figure:

Thanks again to Martin for the wonderful scans and background information. This website would not be half as comprehensive as it is without contributions from fans like Martin!

Update: Martin has sent me some additional Top Toys cardback images:

Faker

King Hiss

Kamo Khan

Rattlor with instruction sheet

Michael Breithmeier also shared this alternative Hordak cardback, which features a giant Hordak cross sell image superimposed over the blurred out section:

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Evil Vehicles

Fright Fighter: Evil Dragonfly Attack Vehicle (1986)

Written by Adam McCombs

Name: Fright Fighter
Faction: Evil Warriors
Approximate US release date: September 28, 1986

Fright Fighter is one of the coolest vehicles created for the Evil Warriors in the vintage Masters of the Universe line. I don’t specifically recall seeing it as a kid, and it’s hard to find intact today due to the various detachable parts that came with it.

Design & Development

Fright Fighter started out as a concept drawing by Ed Watts, called Dragon Fly, dating to September 24, 1984. Compared to the final vehicle, the design on this initial concept is more elaborate, with a number of small radar dishes and exposed engine parts. It features two jet engines in the back and four wings that are somewhat squared off at the edges, with ridges throughout. One wonders if this might have been inspired by the ornithopters in Frank Herbert’s Dune.

Image source: The Power and the Honor Foundation
A photo of Ed Watts’ original artwork, noticeably darker than the original art. This was in the collection of John Hollis.

Incidentally, Ed Watts did another concept vehicle called Fright Fighter, although visually it has nothing to do with the Fright Fighter vehicle released in 1986. Apparently the boys’ marketing department thought that the Fright Fighter name would be more appropriate for an evil vehicle. This one dates to September 13, 1984.

Image source: The Power and the Honor Foundation

Update: You can see the Fright Fighter perched on the central tower in Ted Mayer’s February 5, 1985 concept art for the Eternia playset (thanks to Øyvind for the reminder!). Interestingly it’s sitting on tank treads – those treads actually ended up going to Blasterhawk, which is shown on the tower to the left:

It also appears as a foam cutout in an early Eternia prototype, below:

Image source: Sean Lehmkuh

You can see an intermediate stage in the vehicle’s design in this draft version of what appears to be packaging art, below. You can see it has fewer radar dishes and not as much exposed motor parts than the Ed Watts concept. Scale-wise it’s smaller, too. The wings have been changed in design, but they are still more squared off compared to the final toy. The jet engines have been moved to the “feet” of the vehicle, and the back of the fuselage has a more insect-like appearance:

From the John Hollis collection.

The final design of the toy is evident in the artwork from the back of the packaging, shown below. The biggest change is to the wings, which look much more dragonfly-like in shape, with mechanical embellishments. The overall color scheme is purple and blue, as opposed to the green and yellow of the original design.

Toy & Packaging

The Fright Fighter is an impressive looking toy. It featured two separate triggers on the handle. The larger hand trigger made the dragonfly wings move up and down (alternating from front to back), while the smaller finger trigger made the pincers in front close, allowing the vehicle to grab and carry a figure in front. The cockpit was large enough for one figure. The earliest newspaper ad I’ve found for it dates to September 28, 1986, meaning that it was probably available in stores around or slightly before that date.

All of the images below of the toy and its packaging come from old eBay auctions, as I don’t own this vehicle.

The vehicle shipped with most of the parts not assembled, and some of them were still attached to sprues, as shown below:

The packaging includes artwork by William George. In the artwork we see Fright Fighter piloted by Skeletor in his Battle Armor, while Battle Armor He-Man, Roboto and Man-At-Arms are depicted in the cratered desert surface below. The box includes something that looks similar to “cross sell” art on the back, although it’s really being used to advertise the actual toy in the packaging. There are also images of the vehicle in action on the sides of the box.

Comic Appearances

Fright Fighter appears in Energy Zoids, where Skeletor and his minions use the vehicle to capture Rotar:

Image via the Dark Horse minicomics collection

Fright Fighter is interestingly a vehicle of the Evil Horde in Roboto’s Sacrifice, a story that appears in issue 34 of the UK Comics. In the story, Hordak is the creator of the vehicle, and Dragstor uses it on its maiden flight to pursue Roboto and Man-At-Arms. Images below come from He-Man.org.

Fright Fighter appears in From Here to Eternia, in issue 6 of the Star Comics, where it is correctly noted as Skeletor’s vehicle. In the story, Skeletor flies to Eternia (the playset version), lands, transforms himself into Orko to trick the heroic warriors, and turns his Fright Fighter invisible. Images below come from http://www.motucfigures.com/.

Fright Fighter appears in several stories from the German Ehapa Verlag series, including issues 3, 9 and 12 from the 1988 series (images via He-Man.org):

The vehicle also appears in the issue 2 of the Italian Magic Boy series from 1988:

In the the Fall 1986 issues of the US Masters of the Universe Magazine, we get a brief appearance of Fright Fighter in The Struggle For Eternia.

In the same issue it appears in artwork by Earl Norem featured on the cover and in a bonus poster:

Other Artwork

Errol McCarthy depicted Fright Fighter in a couple of illustrations, as shown in the artwork below (scanned by the Power and the Honor Foundation):

The above illustration was used in Mattel’s style guide, which included some background information for Fright Fighter as well as Blasterhawk:

NAME: Fright Fighter
GROUP AFFILIATION: Evil Warriors
ROLE: Evil winged vehicle of Skeletor.
POWER: Stalks enemies of Skeletor from the air; can swoop down and grab warriors in its might pincers: radar scanner tracks down foes from miles away.
CHARACTER PROFILE: Like a dragonfly, this vehicle has the power to hover silently and cut through the air with incredible speed. Its hovering ability and quiet sound make it perfect for spying or sneak attack missions.
YEAR OF TOY INTRO: 1986

It also makes an appearance in William George’s Eternia poster, as well as his box art for the Eternia playset:

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Fright Fighter appeared in a number of US and foreign advertisements:

Image Source: Battle Armor Dad

Fright Fighter In Action

Check out Fright Fighter in action with the image and videos below shared by Øyvind Meisfjord:

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Heroic Beasts, Powers of Grayskull

Gigantisaur: Heroic Dinosaur & Battle Station (1987)

Written by Adam McCombs

Name: Gigantisaur
Faction: Preternia/Heroic Warriors
Approximate US release date: never released

Gigantisaur, had it been produced, would have been by far the largest non-playset toy in Masters of the Universe, dwarfing even Tytus and Megator. Although it appeared in Mattel’s 1987 dealer catalog, it was never released in stores. There are a small number of unreleased MOTU prototypes that Mattel actually showed in catalogs – Eldor, He-Ro, Gyrattacker, Evil Robot and Gigantisaur. I’ve written about three of those so far, and I decided it was Gigantisaur’s time in the spotlight.

David Wolfram, the final designer for the toy, actually went over some of the history of Gigantisaur during a panel at Power-Con 2012:

Toward the end of the segment he talked about one of the toy’s action features and the fate of the prototype:

“It had a piano string, and when you pressed the button it would shoot up and stand up. It was very cool but by the time we made it to Toy Fair, people weren’t even going to the He-Man gallery anymore, it came so late. Unfortunately I threw away the prototype at some point… it was too big to keep around the office. It ended up being a much better toy and it did make the catalog in ’87.”

In my interview with Wolfram, he was kind enough to go over the design history of the toy with me in detail, and shared images of his concept art to boot!

Battle Ram: I’ve heard that [Gigantisaur] has something of a storied history. Were you the main designer on that? That one showed up in the 1987 Mattel Catalog, but of course was never released. Could you share some of the background on that?

David Wolfram: Yes, I was the designer on the many iterations. When it was first shown to me, there was a beautiful, but totally unrealistic painting by Ed Watts, and a white prototype model that was submitted by a well known outside toy invention company.

Turbosaurus, by Ed Watts. This would eventually evolve into Gigantisaur. Image source: The Art of He-Man/The Power and the Honor Foundation. July 13, 1984

DW: My first boards (especially the side view) show the reality of what I had to work with. One of the big visual issues is that the feet had to be huge to extend past the center of gravity. Ed’s (a great guy by the way, who went way too soon, and not in a way I would want to go) drawing hinted at this voluminous interior, when in fact, because of the cockpit, could only hold one figure.

Turbosaurus revision by David Wolfram. Image courtesy of DW. November 27, 1985

DW: There was also a figure that was supposed to hide in the tail section, but in the model it looked like the dinosaur was taking a dump! There were lots of meetings when marketing and management were forced to confront the reality of this turkey-like bastardization rather than the seductive drawing. I was given the go ahead to take some of the elements of the old model, and another provision was that it had to swallow a figure.

I did a lot of work with foam and clay to work out a better proportioned creature, and the engineer that I worked with, Ben Guerrero (Tony the sculptor’s brother) came up with the idea of marrying the tail with the part of the body with the rear legs to create a tripod which eliminated the need for gigantic feet to let it stand up. It not only stood up, it shot up, because Ben used a very strong spring. Of course, after all that it went to pre-Toy Fair, where the line was for all intents and purposes dead domestically.

Turbosaurus revision by David Wolfram. December 16, 1985.
Turbosaurus revision by David Wolfram. December 18, 1985.
Gigantisaur final concept art, November 5, 1986. “I actually got a spray can to create the misty mountains in the background. I used markers and wash for the highlights.”

In my interview with Martin Arriola, he also gave some background about Gigantisaur:

We did Turbosaurus [later, Gigantisaur] that never got made. Too impractical? Of course. Roger Sweet had a sketch done by Ed Watts. It showed He-Man on this dinosaur. He sold it with all these features at a price that was low. I said, do you know how big this is going to be?

I went to Dave Wolfram, and I said, “We gotta breadboard this stuff.” Sure enough, that dinosaur was probably three feet. I told marketing, if you want this to reflect what Sweet sold you in the B-sheet, this is how big it’s going to be. We hand painted it. One thing that Sweet sold to marketing is that it would swallow a He-Man figure. But you know how splayed out the he-man figures were. It would have been as big as Eternia.

Unfortunately we don’t have any packaging art for Gigantisaur, but there was a fair amount of information about the toy included in that 1987 catalog picture.

Image source: Nathalie NHT

The first thing that stands out, other than his enormous size, is that unlike the other three dinosaurs that were released in the line (Tyrantisaurus, Bionatops and Turbodactyl) Gigantisaur apparently has no exposed circuitry or mechanical parts on his exterior, despite the fact that he has a gun that pops out of his chest:

Pop-out chest gun, with Thunder Punch He-Man

One of his major features was his ability to swallow a figure. Given the width of the typical muscular MOTU action figure, this feature meant that Gigantisaur had to have a very thick neck:

Chomping on Tung Lashor
Gulp!

Once figures were swallowed, they could be retrieved via a door on the side of the figure’s belly:

Heroic Warriors chilling out in the “belly door

Aside from the articulated jaw, it would have had articulated legs as well:

As stated by Wolfram, a lever on the figure when activated would cause the figure to rear up on its hind legs:

As mentioned previously, no packaging artwork for Gigantisaur has ever surfaced, but Joe Manzo created a nice kind of mashup mockup of what the packaging might have looked like, roughly, had it been made.

Gigantisaur appears in Playthings Magazine’s coverage of 1987 Toy Fair. The image below was shared in the Vintage Toys MOTU Facebook group. A small image of Gigantisaur is shown.

The relevant text in the article reads:

The Masters of the Universe collection now includes Preternia, a new dimension to the fantasy world of He-Man that sends him back into time to a prehistoric Eternia, where dinosaurs roam the land and many new magical forces abound. There is He-Ro, the most powerful wizard in the universe, who leads the Powers of Grayskull warriors against the evil dinoreptilian kingdom. Eldor, his mentor and teacher, and Turbodactyl and Bionatops, his mighty dinosaur allies battle against the evil kingdom and the dreaded Tyrantisaurus Rex, which is able to release a wind-up creature from its chest called a “mecha-drone.” Tytus, Gigantisaur and Megator, each standing 16″ tall, are also inhabitants of the new fantasy land of Preternia.

Returning to the Futuristic world of Eternia, the Masters of the Universe collection introduces many new heroic warriors, including King Randor, Sorceress and Klamp Champ. who battle against new enemies like Snake Face, Sssqueeze, Nin-Jor, Scare Glow and Faker, the evil robotic imposter of He-Man. A host of new vehicles, accessories and playsets will also be available.

Gigantisaur doesn’t appear directly in any of the original 1980s MOTU media, other than a design by Errol McCarthy for a T-shirt featuring He-Ro and He-Man. The version of the dinosaur here is the earlier “Turbosaurus,” featuring sharp teeth and a smaller mouth and neck.

There is a similar-looking sauropod dinosaur in The Powers of Grayskull minicomic, but my guess is that it was just created by the artist to fill out the scene, along with the various other bio-mechanical creatures on the splash page:

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Mark Taylor

The Design Language of Mark Taylor

Image source: The Power and the Honor Foundation Catalog

Written by Adam McCombs

Two years ago on December 23, 2021, we lost Mark Taylor, the creator of He-Man, Skeletor, Castle Grayskull and other icons of Masters of the Universe. For a while now I’ve been thinking about writing this article, and I think the two year anniversary of his passing is a good time to do it, as a tribute to his memory.

While Masters of the Universe had many creators, no one was so instrumental to its foundation and roots as Mark Taylor. Although many of his designs would be softened and simplified by the limitations of toy manufacturing in the 1980s, his unique vision usually survived the process intact. Mark had an indelible, unmistakable style. As you look through his artwork, you do start to notice some repeating themes and patterns. For a while now I’ve thought of this as Mark’s “design language.” Much of it is influenced by classic fantasy, golden age comic books, and Frank Frazetta art, but of course expressed with Mark’s own unique artistic flair. I thought I would share some of these themes here.

Scimitar with Animal Handle

Mark used this sword design in at least two of his illustrations. Interestingly, a similar sword appears in an illustration of Skeletor by Earl Norem.

Pre-Skeletor villain illustration, dating the the 1970s.
The above character was named “Demo-Man” in the MOTU Classics era, although originally it was unlabeled and unnamed. Contrary to popular belief, it’s a unique character with no connection to Skeletor. Mark named him “The Merciless,” which appears in set of sketches released by Mark several years ago.
Note: this artwork is by Earl Norem for the Sunbird Legacy Golden Book. Interestingly Skeletor’s sword is very similar to the one held by Mark Taylor’s pre-Skeletor “Evil Incarnate” drawing, dating to the 1970s.

Double Horns

While Mark makes frequent use of horns on many different illustrations, the characteristic “double horn” appears on Battle Cat’s helmet, Beast Man’s armor and the unproduced Rhinoman or “Custar” helmet:

Battle Cat concept art
Beast Man concept art
Image via Doug Feague. Rhino Man or “Custar” concept art

Axes

Mark had a fondness for double-bladed axes. While his various axe designs differed in some details, they all had a similar look to the blade and the handle.

Pre-MOTU hero illustration
Very early He-Man illustration. Image source: The Power and the Honor Foundation.
Early He-Man illustration. Image source: The Power and the Honor Foundation.
He-Man B-Sheet illustration
“Vikor” illustration

“Viking” Helmets

The so-called “Viking” helmet shows up in several illustration. Actual historical Vikings of course did not have horns on their helmets, but they’ve been depicted that way in popular culture since the 19th century.

Image source: The Power and the Honor Foundation. From Mark’s “Torak” drawing, 1979.
Pre-MOTU hero illustration.
“Vikor”
The Merciless, aka “Demo-Man”
He-Man B-sheet. Image source: The Power and the Honor Foundation.
Image source: The Power and the Honor Foundation.
Early Ram Man concept. Image source: The Power and the Honor Foundation.

Ornamental Bird Heads & Wings

Mark would frequently employ bird wings and bird heads as ornamentation on his designs.

Battle Catapult illustration. Mark did this video before handing off vehicle design to Ted Mayer, who replaced this design with the Battle Ram. Image source: Rebecca Salari Taylor.
Pre-MOTU hero illustration. Image source: Rebecca Salari Taylor
Pre-MOTU hero illustration
Skeletor or “De-Man” B-sheet.
Torak illustration, 1979. Image source: The Power and the Honor Foundation.
“Vikor”
Pre-MOTU character that would be re-designed and made into Man-At-Arms

Ram Heads & Skull Staffs

There are two ram’s head motifs below, and two skull staff motifs as well in Mark’s drawings of He-Man and Skeletor.

Mark’s depiction of He-Man in the chariot may be the oldest surviving visual depiction of He-Man that was done by anyone officially for Mattel. Clearly this was made as a toy design, and is not just a private drawing. But, while He-Man has his harness and his axe, he doesn’t yet have the familiar cross design on his chest. For that reason this reads as a more primitive iteration of He-Man, probably predating all of the other official drawings and prototypes for the character. Note that Mark’s 1979 Torak drawing was done by Mark on his own time, and so wasn’t officially done for Mattel. However it was used as a basis for the creation of He-Man, and would predate this drawing of He-Man on the chariot by about a year. I would posit that Mark probably created the drawing above for the Preliminary Design group as they were preparing their pitch for the He-Man line, probably in the fall of 1980. Image source: The Power and the Honor Foundation.
Skeletor B-Sheet
Image source: The Power and the Honor Foundation.

Interestingly, the above staff also appears in He-Man and the Power Sword (illustrated by Alfredo Alcala), indicating that it may have appeared in some additional concept art associated with the Sorceress and/or Skeletor:

Head Encircled by Horns

All Beast Man concepts had costume designs that encircled his head with sharp horns. That theme is repeated in Mark’s Mer-Man B-sheet, although in the final toy Mer-Man would lose all but two of those spikes.

First Beast Man concept art, rejected because he was too Wookie-like
Second Beast Man concept. Image source: Rebecca Salari Taylor
Beast Man B-sheet
Mer-Man B-sheet

Rotting face

In Mark’s early depictions of skull-faced places or characters, the faces are usually partially decomposed.

Very early Castle Grayskull. Image source: The Power and the Honor Foundation.
The Merciless, aka “Demo-Man”
Skeletor B-Sheet

Ornate Skulls

Mark would occasionally give his characters Skull ornamentation on their costumes, as shown in Mark’s pre-MOTU hero and in Ram Man, below.

Roman Baltea

Mark’s pre-MOTU warrior below, his pre-MOTU Skeleton villain, and Skeletor B-sheet all incorporate elements inspired by Roman baltea.

Image source: The Power and the Honor Foundation.

Ornate Wrist Bracers

On Torak, early pre-B-sheet He-Man and on early Beast Man concept art, a distinctive, variations on an ornate wrist bracer design are used.

Image source: The Power and the Honor Foundation.
Image source: The Power and the Honor Foundation.
Beast Man concept

“Wrap” Boots

This style of boot is pretty prevalent in Frazetta’s illustration and other fantasy artwork. Mark used it early in a few drawings, and it eventually became the standard boot for many Masters of the Universe characters.

Pre-MOTU hero illustration
“Vikor”
He-Man B-sheet. Image source: The Power and the Honor Foundation.

Belt Styles

Mark envisioned a reusable belt style that consisted of many round decorations and a square belt buckle, with the fur from the loin cloth spilling over the top of the belt. This design was changed a bit once it was sculpted, with a large center oval design and a cleaned up top of the belt with no fur spilling over.

Connected Ornamental Circles

One piece of ornamentation that shows up several times is a row of interconnected flat circles around a character’s waist, neck, or arms. We see that below in Teela, Sorceress/Goddess, and “The Enforcer.” I should note that all of the design elements of the costumes for both Teela and Sorceress are striking, although most of them don’t get repeated elsewhere in Mark’s work, at least to my knowledge.

Image at far right via Doug Feague

Shin Guards

The early Skeletor or “De-Man” design is well known for his bare feet and shin guards. The shape of those shin guards harkens back to the skeleton warrior from Mark’s Torak design, although in that case they were part of a pair of boots.

“Compass”

Interestingly two very similar round “compass” (for lack of a better term) shapes appear both on Beast Man’s chest and on an unnamed warrior created by Mark.

Spiked Mace

A similar mace weapon appears with two unproduced Mark Taylor characters.

Left image: Rebecca Salari Taylor. Right image: The Power and the Honor Foundation

Bolts

One of the most common features on Mark’s male figure designs are a series of regular “bolts” on costumes and shields.

Cylinders

Update: Artist and customizer Walter de Marco added another observation – repeating cylindrical shapes in Mark’s Man-At-Arms and Battle Cat designs:

Grayskull Shield

The shield on Mark’s pre-MOTU Eternal Hero drawing shows up as the shield included with the Castle Grayskull weapons rack.

Mark’s illustration for the Castle Grayskull weapons rack. Image source: Jukka Issakainen

Bare feet

And finally the question of whether or not characters are wearing anything on their feet. Early on in the process, it appears that those characters intended to be evil are usually depicted barefoot. Heroes wear boots. Recall that early on, Stratos was characterized as a villain and Mer-Man as a hero, at least in some Mattel documents. By the time the cross sell art was made, Stratos was aligned with the heroic warriors and Mer-Man was a villain – and in those depictions Stratos seemed to be wearing some kind of footwear and Mer-Man was depicted barefoot.

Medieval European Imagery

Mark implemented some classic medieval imagery in his He-Man and Teela designs. Mark gave He-Man a red cross pattée, which can be found in some of the British crown jewels and in German imagery. However the specific inspiration was the Cross Templar:

Teela’s costume implements many flourishes reminiscent of the French fleur-de-lis:

In St. Edward’s crown (below), you can see both the cross and the fleur-de-lis in the same crown:

Image: Wikipedia

I will also note that Mark’s Battle Catapult (mentioned earlier in this article) has a bird design somewhat reminiscent of many medieval coats of arms featuring griffins, although the creature in this drawing has two legs like a real bird, rather than four legs like the mythical griffin creature. The resemblance is mainly due to the pose of the bird.

I hope you’ve enjoyed this look at the design language of Mark Taylor. This of course isn’t totally exhaustive, but it touches on many of the major themes.

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