MOTU History

Masters of the Universe Power Promo

Written by Adam McCombs

I hope everyone has been having a wonderful holiday season. I am excited to share a document I’ve been chasing for a little while. Years ago I’d seen a couple of low res images from it. This year it came up for auction, but I didn’t end up winning. Then Andy Youssi was kind enough to send me some scans of his copy, which is greatly appreciated. For those who don’t know, Andy Youssi is the person who first shared with us the “Lords of Power” slides with all the early prototype images, created when Mattel was calling the line Lords of Power. Andy had this material because his father John Youssi was a freelance artist for Mattel who did promotional artwork for MOTU.

The “Power Promo” was given out to retailers and venders as a way to promote the soon-to-be launched Masters of the Universe line. It was not intended for consumers, which is why you rarely see it pop up. The document outlined Mattel’s plans for promoting the new Masters of the Universe line, along with some great pictures of the figures. Each page has text added by Andy as way of making sure the source of the images is retained in the future. I’ll go over each page and add some commentary.

Cover Page

The above cover image shows Castle Grayskull, He-Man and Skeletor. He-Man and Skeletor lack the quirks of the first release figures. Texture-wise Skeletor especially looks like a hard copy prototype rather than a factory example. As we’ll see later, Castle Grayskull is probably an early factory sample. This image also appeared in the 1984 Aurimat (Mexico) MOTU Catalog.

Page 1

Page 2 mainly focuses on marketing and market research Mattel had conducted on the line before release. Mark Taylor talked frequently about the early child testing for the line, and how kids were so excited about the early product they would often try to steal it from the testing room!

Page 2

Page two talks about some of the planned promotions, including TV ads, national print ads, the free minicomics included with figures, something called a “Power Sword National Sweepstakes,” shelf strip marketing, and cash rebates. The earliest commercials must have been filmed at this point, since there appears to be a screen grab from one of them. However, I’m not familiar with the Power Sword sweepstakes. That will show up again later in this article.

Page 3

Page three talks about some of the other promos, including the upcoming DC comics full-size five issue miniseries. They don’t have actual covers for them, so they must not have been available yet. Also discussed are Ben Cooper Halloween costumes and the MOTU Pop-Up Game. Also included in a folder on the page was the early sample version of He-Man and the Power Sword, which I recently discussed in a separate article.

Since both pages work together as a centerfold, I’ve included them together below:

Page 4

I’ve previously covered the history of early MOTU photography, as way of tracking toys from their early prototypes to final prototypes/hard copies, to early factory samples and eventually to common production examples. The photos on Page 4 appear to have been taken sometime after the photos in Mattel’s 1982 dealer catalog, because the development of the toys is further along on almost all of them:

Castle Grayskull: looks like an early factory sample. It has the finalized lock mechanism and the light colored jaw bridge, but the fine paint of early Mattel models.

He-Man: this looks pretty close to a factory He-Man, but it lacks the production quirks of early examples. Maybe it was an early factory sample that was sent to Mattel before the partially unpainted boot tops became a common error on early figures sold at retail.

Battle Cat: this looks like a factory striped tail Battle Cat, as opposed to a hand-painted prototype.

Skeletor: this version looks hand-painted to me – possibly a hard copy made at Mattel.

Teela: this is at least the third generation Teela prototype, the first that was actually articulated. Note the Barbie/She-Ra style hip articulation, green snake eyes on armor, and large shield. There was at least one other prototype made after this before Teela actually went into production.

Battle Ram: this looks pretty much like a factory version.

Man-At-Arms: this is an early version that has the cuff at the wrist. The armor looks like it might be painted, so possibly this is a hard copy made at Mattel.

Beast Man: this looks like it might be a sample from the factory, except he has an early whip that actually fits in his hand (thanks to John for the heads up).

Mer-Man: possibly a hard copy made at Mattel? It looks to have a matte, painted finish.

Stratos: this has the glossy finish of a factory toy. But, it has a gray beard and blue goggles. Perhaps the Blue Beard variant/error came in once they went into full production.

Zodac: He looks like he has a matte body, but his armor has been updated from his appearance in the 1982 dealer catalog to the finalized version. He still has the prototype paint pattern on his helmet (thanks to John for the tip).

Wind Raider: this has been updated since its appearance in the 1982 dealer catalog, with enlarged engines and more detailed looking wings.

One more interesting thing below: we see what looks a few early packaging samples. Note that He-Man and Skeletor are missing their minicomics, and Battle Cat is missing the black insert in his packaging. Note also that Battle Cat is the early striped tail variant.

Recently some similar figures showed up at auction. The Man-At-Arms below lacks a minicomic in his packaging as well, although he does have a warranty slip. The card has a Mattel Archives sticker on it, and was something Mattel held onto for a while and eventually offered to its employees for sale.

Page 5

Page 5 is interesting because it includes a marketing schedule. Now, I’ve done quite a lot of research on the release dates for the MOTU toys. Multiple lines of evidence point to May 1982 as the mass retail introduction for Masters of the Universe. However, Mattel’s rebate program for the year included a March 1, 1982 date as the earliest window for the rebate. It’s possible that the so-called test market program was going on in March. It’s long been rumored that Mattel did a limited release of the figures ahead of time to one geographic area as a way of testing out the figures at retail. The March date for “promotions” on the calendar above may also point to that as the true date of introduction of the line. But, I’ll also point that this page says that Mattel reserved the right to change their marketing schedules, so this wasn’t written in stone.

Other interesting dates are May, August, September, November and December 1982 for comic issues, presumably referring to DC comics. The actual printed dates on those comics was somewhat later than the dates printed here, but Jukka Issakainen has pointed out that actual release dates for DC Comics was usually ahead of the printed date.

For network TV we’re given dates of June, July, and then September through December 1982. For merchandising we’re given a date of May 1982 through the rest of the year, which may give us a date for the MOTU Pop-Up Game. I believe the Ben Cooper masks actually came a bit later.

John also included the following scans of the proposed Power Sword Sweepstakes promotion and Shelf Talker. Again, I’m not familiar with that particular promotion or if it event went into effect, so if someone has any information on it to share I’d be grateful!

Below is the actual final art Andy’s father John Youssi did for the shelf talker promo:

Because it’s so wide and short, I’m chopping it up into two pieces to make the art easier to appreciate:

And finally, here is a pencils version for a promotional Man-E-Faces standup display, by John Youssi:

Thanks again to Andy for sharing this amazing material with me. He has truly been a treasure trove of historical information over the years!

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Golden Books, Interviews, MOTU History

Interview with Jack C. Harris – Golden Book Writer

Interview by Jukka Issakainen

Thank you very much for agreeing to this interview! Tell us about yourself!

Born and raised in Wilmington, Delaware, I was a life-long comic book fan and, originally, I studied art at the University of the Arts in Philadelphia with the goal of being a comic book artist. However, that path changed when, upon graduation, I was hired by DC Comics in New York to be one of their Assistant Editors. That shifted my focus on to editing and writing. As a full Editor at DC, I edited such titles as Green LanternWorld’s Finest Comics, Legion of Super-HeroesBlack LightningFirestorm and many others. As a writer, I wrote stories for Wonder Woman, Supergirl, Batgirl, Robin and others. I created the Ray and wrote the graphic novel, Batman: Castle of the Bat.

How did you end up working for Western Publishing (Golden Books) and their projects?

After leaving DC and working for a trade magazine for the licensing industry, I freelanced for DC, Marvel, Archie Comics, Darkhorse and just about every independent comic book company there was.

While working for the licensing industry magazine, we covered publishing. I received a press release regarding Golden Books’ (Western Publishing) plans to issue a series of Masters of the Universe storybooks. The editor was a gentleman I knew from the comics industry. In my capacity as a freelance writer, I contacted him and soon had MOTU assignments.

With Masters of the Universe stories, what did Mattel provide you with in order to form new tales for our heroes?

When crafting these stories, the editor would forward everything I needed for the backgrounds of the characters. These would be in the form of press releases from Mattel, which included a photo of the toy or a picture of a prototype. Sometimes, I would get the toy itself.

How long would writing a story take?

I was free to plot any kind of story I wanted as long as it didn’t go against the main, established storylines and characterizations of the characters. I could usually plot a story in a day and talk it over with the Editor. This was during the days before the Internet, so our communication was over the phone.

Once a plot was approved, it took me about a week to type up a script, writing about two manuscript pages for each printed page. Typically, a 24-page storybook followed a 48-page, typewritten manuscript. These were delivered through the mail or, if I was going to be in the city, I would drop the manuscript off in person.

With character selection, did your Editor (or Mattel) require specific characters with each respective story?

In the very first MOTU story I did, Mattel did request the inclusion of Fisto, who was a new character at the time. They sent me a Fisto toy (but I don’t recall whatever happened to it).

You wrote a hardcover story “New Champions of Eternia”, which has a unique origin story for the Skeletor henchmen Evil-Lyn, Beast Man, and Tri-Klops; as passengers onboard the spaceship that Queen Marlena piloted. What do you remember about this story and reference Mattel provided?

All of the origin stories and back stories of the MOTU characters came, in detail, from Mattel. I might have embellished them in a narrative, but the basics were always there from Mattel, whether in text or in the drawings or prototypes. There may have been incidences where I made something up, but it was too long ago to recall specifics.

Which story was your first and which one is your favorite and/or least favorite?

Mattel requested Fisto’s appearance in the first MOTU book I wrote, The Secret of the Dragon’s Egg. This is also my favorite of the ones I wrote, mostly because of the stunning Norem cover. Some time ago, I tried to track down the original art of this cover, hoping to obtain it for myself.

Super7 Art Print, in association with the Power And Honor Foundation

My least favorite was New Champions of Eternia because the interior art completely misses the mark, from misinterpreting my original manuscript to not maintaining the established “look” of the characters.

What were the challenges?

Compared to writing for the comics, the storybooks were a little easier since they usually focused on one major incident, rather than a complicated series of events. The scripts would include descriptions of all the illustrations for the artist and all the dialogue for the typesetter. References for the characters were attached, usually copies made from the material provided by the Editor which he had obtained from Mattel.

I don’t have copies of any of these old scripts.

Goat Man from Golden Books (Masters of the Universe)

In the story “The Secret of the Dragon’s Egg”, there is a new character called Goat Man. He did not have a toy in the 80s and your book was his only appearance. What can you tell us about him and his creation?

In the instance of “Goat Man,” I had originally included an unnamed monster minion for Beast Man, but the editor added the name to him. He wasn’t based on any toy.

What was the name of your editor while you worked on the MOTU stories?

Mike Tiefenbacher was my editor at Golden; there were a few Assistants I also worked with such as Charlie Kochman, who later became an editor at DC.

There were many talented artists working on the stories. How did they get paired with writers?

The editor assigned the artists, so I never had any input as to who was going to draw my stories. I was lucky, in that I usually got some extremely talented individuals to illustrate my tales. Some of them I had teamed up with previously in comic books, such as Luis Eduardo Barreto and Fred Carillo. What really impressed me were the painted covers, especially the ones by Earl Norem, who also illustrated covers for such magazines as Reader’s Digest and Field and Stream.

Were there any stories left on the “cutting room floor”? Or pitches that were vetoed?

I never pitched a MOTU story. These were always assigned to me. I would get a call from the editor and he would give me a list of characters to use and I would go from there. The only “pitch” I would give was to the plot of the adventure. I never originated the discussion of stories.

Golden Books also did stories with “She-Ra, Princess of Power” who was He-Man’s twin sister. Were you offered to do any stories for She-Ra?

I never did any She-Ra stories.

Who is your favorite MOTU character?

He-Man himself was always my favorite MOTU character, because he had all the classic “super hero” traits, from super-strength down to the Clark Kent-ish meek alter ego.

You have worked as an Editor and a Writer. What pros and cons do you feel come in those positions? Which one do you prefer?

The best part of being a comic book editor was all the great creative people you were able to meet and work with! The downside were the never-ending deadline pressures!

Oh, and being a writer was more fun than being an editor.

Were there any artists you would have liked to have worked with? Did the writers have any say in the matter?

I was paired with many other artists on other books, such as Al Bigley, Mike De Carlo, Dan Adkins, Carmine Infantino, Gene Biggs, and so many others.

Your MOTU stories appear in both softcover versions and hardcover. Did you know the format in which the story would be published, and what the approach was like?

The format for these books was 8″ x 8″ in both soft and hardback editions. I never knew if the soft covers would also be published in hard-cover editions, and it really didn’t matter as the scripts were typed up in the same matter for either.

What other projects did you work on during your time at Golden Books?

Once I had the MOTU books under my belt, other projects followed, on an extremely wide field of characters and subjects, both fiction and non-fiction: Other licensed characters such as Batman, Conan, the Dino-Riders, Garfield, the Ring Raiders, Zelda, the Galaxy Rangers, the Super Mario Brothers. I did a biography of Dwight Eisenhower and non-fiction books on jet planes, firefighters, and boats. It was a long and varied list.

Did you ever watch the animated series by Filmation?

Since I was writing so many licensed characters, I spent many a Saturday morning watching cartoons with my three daughters. This was “research”!

What projects are you currently working on?

Currently, I am mostly retired, but still touch upon the occasion freelance assignment. In October, I have a book coming out from TwoMorrows Publishing entitled Working With Ditko, which chronicles my many comic book collaborations with legendary comic book creator Steve Ditko.

Thank you very much Mr. Harris!

You’re welcome!

History, MOTU History, ToyFare

ToyFare #71: CHANGE OR DIE! (July 2003)

by Jukka Issakainen

Issue #71 of ToyFare revealed many fascinating aspects about the reboot 2002 incarnation of He-Man and the Masters of the Universe in an article by Keith Allison. From Zodac’s skin color change to Skeletor’s belt design, Teela’s cobra armor, and more!

The page spread illustration is by Ed Benes with colors by Hi-Fi Color. Curiously the artist chose to illustrate Beast Man seemingly without his fur pelt and blue necklace. The creature that Beast Man rides also seems to be a new creature invented by Benes. Stratos exhibits some color choices making it appear as if he has red gloves and a back canister.

Mr. Benes would years later illustrate some covers for DC Comics on “Masters of the Universe” and “DC Universe VS Masters of the Universe” in 2013.

While the article was published in a July 2003 issue, it’s hard to determine when the artwork may have been commissioned. He-Man is sporting for example his signature templar cross on the armor, which was present in the early figure releases by Mattel in 2002 before they updated for the H-symbol (that fans dubbed at the time as the “asterisk” symbol). He-Man’s hair is also modeled after his 80s classic style.

One thing to note is that the figure marked as “Old He-Man” in the article looks to be the 2000 Commemorative version of He-Man (the face sculpt had a squished appearance). ToyFare would reuse the same photo, only mirror-flipped in issue number 134 too.

The article reveals that for the 2002 reboot, Mattel had plans at first to make Stratos black. But opted to change Zodac (now Zodak) instead. The Mattel concept art can be seen in this video “7 Things You Didn’t Know About Zodak”.

MOTU History

Jack Kirby’s Influence in MOTU: Overblown?

Written by Adam McCombs

Fans have been talking about the influence of Jack Kirby’s Fourth World/New Gods series on Masters of the Universe for years. This narrative seems to have started on the various discussion boards many years ago, inspired by the 1982 series of full-size MOTU comic books produced by DC comics. I’ll talk about some of the proposed areas of influence, and try to provide as much historical context around them as possible.

DC Comics – Zodac

In the DC series, beginning with Fate is the Killer, Zodac is portrayed as “rider of the spaceways.” Like Metron, he travels through space in a flying chair (in this case it’s the throne from Castle Grayskull with a platform added underneath). Like Metron, he is not strictly aligned with either the heroes or the villains. The fact that Zodac and Metron are characterized in similar ways doesn’t mean they’re exactly the same – Metron seems more focused on seeking knowledge, while Zodac is more focused on maintaining the balance between good and evil.

Image source: James Eatock (cleaned up by Jukka Issakainen)

It should be noted that this characterization of Zodac came from DC Comics, not strictly from Mattel (although Mattel Marketing did have conversations with DC Comics prior to the launch of the comic series). Prior to the DC Comics stories, Mattel wanted to position Zodac as a heroic warrior (this was the intention of the designer, Mark Taylor) or as a bounty hunter (an idea that came from Mattel’s marketing department). The bounty hunter thing indicates they still had Star Wars very much in mind – and MOTU was created to compete with Star Wars in the toy aisle.

From author of the DC MOTU series’ perspective, a Jack Kirby influence on Zodac seems to have actually been unintentional, or coincidental. Back in 2010, James Sawyer interviewed Paul Kupperberg, the person who wrote all five comics in the DC series:

James Sawyer: Were you playing homage to any specific genres or stories when fleshing out the He-Man concept? Many fans point to the similarities between Zodac and Metron and naturally assume that the character is loosely based on him.

Paul Kupperberg: None of the above! I don’t remember making the Kirby New Gods connection at the time, although I’m sure I must have seen it had it pointed out to me, but I’m not very big on the whole ‘homage’ thing. You call it ‘homage,’ I call it ‘cheating.’ Kirby already created Metron. If I need Metron, I’ll use Metron, not create a second-generation rip-off that’s not only NOT going to be as good but is going to make people point and see that I don’t have any ideas of my own. Julius Schwartz used to call a certain group of writers he worked with “archaeologists,” because all they ever did was dig up everybody else’s old characters and bits and use them rather than creating something new.

Emphasis added. Read the full interview here.

Other MOTU Minicomics

Larry Houston did the artwork for many of the minicomics that came out in 1984 and 1985. He says that his artwork was inspired by Jack Kirby as well as John Buscema. Of course Larry was not involved in designing any of the figures. I wouldn’t be surprised if many of the other comic artists were also inspired by Jack Kirby.

The Secret Liquid of Life, pencils by Larry Houston. Released in 1984.

1987 Masters of the Universe Movie

One clear example of Kirby influence in Masters of the Universe comes by way of the 1987 Masters of the Universe movie. Director Gary Goddard said:

As the director of Masters of the Universe, it was a pleasure to see that someone got it. Your comparison of the film to Kirby’s New Gods was not far off. In fact, the storyline was greatly inspired by the classic Fantastic Four/Doctor Doom epics, The New Gods and a bit of Thor thrown in here and there. I intended the film to be a “motion picture comic book,” though it was a tough proposition to sell to the studio at the time. “Comics are just for kids,” they thought. They would not allow me to hire Jack Kirby who I desperately wanted to be the conceptual artist for the picture…

I grew up with Kirby’s comics (I’ve still got all my Marvels from the first issue of Fantastic Four and Spider-Man through the time Kirby left) and I had great pleasure meeting him when he first moved to California. Since that time I enjoyed the friendship of Jack and Roz and was lucky enough to spend many hours with Jack, hearing how he created this character and that one, why a villain has to be even more powerful than a hero, and on and on. Jack was a great communicator, and listening to him was always an education. You might be interested to know that I tried to dedicate Masters of Universe to Jack Kirby in the closing credits, but the studio took the credit out.

Gary Goddard

So to sum up so far, we can confirm the 1987 Masters of the Universe Movie plot was partially influenced by Kirby’s Fourth World, Fantastic Four and Thor stories. We also can see, potentially at least, some unconscious influence by Kirby’s Fourth World on the character of Zodac as portrayed in the 1982 DC comics, although it’s possible that it’s just coincidental. Also at least some of the artwork in the minicomics had a Jack Kirby influence.

1982 Masters of the Universe Toyline

Over the last couple of years, I’ve noticed a number of videos from former Masters of the Universe Classics Brand Manager Scott Neitlich (whose tenure on the line ran from its beginning in 2008 until 2014). In his YouTube channel, Spector Creative, he’s claimed in several videos that there was a Jack Kirby influence not just on story, but on toy design, including the visual look of Battle Ram, Wind Raider, Beast Man, Skeletor and many others, particularly in the first couple of waves.

Scott’s premise is that Mattel had done some design work in the late 1970s for a potential New Gods toyline. He had found a folder of this material when he was at Mattel, doing some research for the MOTU Classics line. He notes that when designers work on a project that doesn’t go forward, the tendency is to reuse some of that work in future lines. That’s absolutely true, it does happen. For example. Dragon Walker was originally created for a pitch for a new toyline, unrelated to Masters. That line wasn’t greenlit, so Dragon Walker was brought into MOTU. Similarly, an early drawing of a character by Mark Taylor for an unproduced line called Rob-N & the Space Hoods was rebooted as Man-At-Arms in the MOTU line.

Evil Sheriff of Nottingham-type character for the Rob-N & the Space Hoods line pitch from 1980, repurposed as Man-At-Arms with some design changes

However, because that kind of recycling happens in toy companies does not mean that New Gods concepts were recycled into MOTU. In his video, Scott links characters like Mekaneck, Zodac, Man-E-Faces, Man-At-Arms, Mer-Man, Teela, Battle Cat/Panthor, Battle Ram, and others to the New Gods. However, all of the visual parallels are pretty insubstantial – they are frankly parallels you could make between MOTU and any number of science fiction, fantasy and superhero properties. Often they’re just based on having similar colors.

Below are the images that Scott identifies with existing MOTU characters. As you can see, these are not close matches, but instead are based on existing archetypes and color styles that are far more pervasive than just New Gods or MOTU. I would say that at most both properties were drawing on many of the styles and influences that pervaded pop culture from the 1950s to the 1970s, but that’s true of just about every property of this type really through the 1990s.

However, I can say it’s very unlikely that Kirby was an influence on Mark Taylor and Ted Mayer for the MOTU line. Between the two of them, they did 100% of the visual design work for the 1982 line of toys, and some of the 1983 line as well. I have in my archives many hours and thousands of words of interviews with Mark Taylor and Ted Mayer, including my own interviews that I did with them for this blog and also for the Dark Horse Toys of He-Man and the Masters of the Universe. They mentioned a lot of influences, including Frank Frazetta, Prince Valiant, conquistadors and knights, Flash Gordon, Star Wars, muscle cars and World War II military aircraft. Never once did either of them mention a Jack Kirby influence.

Moreover, I recently reached out to Ted Mayer to ask specifically if there was any Jack Kirby influence on MOTU. He had this to say:

I never heard anyone mention the comic series while we were working on He-Man. The only subject that came up was Frank Frazetta, but that was only in the background, his books were out and every designer was looking at them. All this of course was in the visual design area, I cannot speculate if marketing was looking at this, but I doubt it!

Ted Mayer

Note that Ted Mayer worked with both Mark Taylor (who lead visual design on MOTU for its first year) AND Roger Sweet (who lead the design team for MOTU in its second year and for most of its remaining run), and he was in a unique position to know if New Gods had had any influence on the line. If he never heard of it having been an influence, it’s very unlikely that it ever was. Mark’s primary work on action figure lines prior to MOTU was mostly on packaging, including for Tarzan and I believe Clash of the Titans and Flash Gordon. Around 1980 he was pulled into creating concept art for various toylines, including Rob’N and the Space Hoods, Miniworld, Masters of the Universe, Giants, Conan (summer 1981) and Kid Gallant. Of those, only MOTU went forward.

In a video about the Grayskull Space Suit, in the comments, Scott also claims that the cardboard space suit inside the original Castle Grayskull was another Kirby design. In response to a fan theory that the space suit was Queen Marlena’s suit that she brought with her from earth, Scott says: “Yeah but it doesn’t really look very ‘earth’, likely because Kirby designed it.”

This is even more far-fetched. The space suit was illustrated by Rebecca Salari Taylor, Mark Taylor’s wife. She worked as a freelance illustrator for Mattel, and was never involved in male action figures until Mark was leading the visual design for the MOTU line. Primarily she worked on Barbie and preschool properties, focusing on fashion design. She said that the labels and cardboard pieces for the castle were based on futuristic icons and previous artwork by Mark to help make MOTU something more than just a Conan or Tarzan-type property. She never worked on any Jack Kirby line.

Castle Grayskull space suit carboard cutout, illustrated by Rebecca Salari Taylor

Here is a quick rundown of a few things I can confirm (from direct statements from the creators) influenced some of the toys Scott mentioned in his videos:

  • Mer-Man:  Bernie Wrightson’s Swamp Thing
  • Battle Ram: muscle cars, Star Wars, gothic architecture
  • Wind Raider: Viking ships (1st version), vintage military aircraft (final version)
  • Zodac: Flash Gordon
  • Man-E-Faces: Aztec warriors (visual design), and recycling an action feature from Big Jim
  • Teela: inspired by Mark’s wife Rebecca as well as this costume
  • Man-At-Arms: conquistadores and gladiators
  • Beast Man: Chewbacca, existing Big Jim gorilla tooling
  • Skeletor: Dia De Los Muertos art, the corpse of Elmer McCurdy at Pike Amusement Park
  • Battle Cat: just a creative way of reusing an existing tool (driven by budget and convenience, not by Jack Kirby). Armor inspired by Mark Taylor’s own childhood drawings and redesigned for Battle Cat.

We know Masters of the Universe had a number of visual designers. I thought I’d put together a rough, incomplete timeline of which visual designers ultimately designed the various toys that were released each year. Note that Roger Sweet took the lead in pitching the line to Mattel in 1980, so he did have some influence on the 1982 line, in terms of action feature and the stance of the figures. However, he didn’t come up with the visual design for He-Man, but rather based his barbarian prototype on Mark’s illustrations. When Roger took over the line after Mark Taylor left Mattel, he would often come up with a very basic figure or action feature idea, just a few words on a page (what he calls a “seed idea”), and leave the visual design to members of his team. However, he also designed some figures himself, including Tri-Klops, Mekaneck, Spikor, Two Bad and Sy-Klone.

Visual Design Teams

1982 Series: Mark Taylor, Ted Mayer
1983 Series: Mark Taylor, Ted Mayer, Roger Sweet, Martin Arriola, Colin Bailey
1984 Series: Ted Mayer, Colin Bailey, Roger Sweet, Martin Arriola, Ed Watts
1985 Series: Ted Mayer, Roger Sweet, Martin Arriola, Ed Watts
1986 Series: Ted Mayer, Roger Sweet, Martin Arriola, Ed Watts, John Hollis, Mike Barbato, Mike McKittrick
1987 Series: David Wolfram, Martin Arriola, Mark Jones, Alan Tyler, Ted Mayer, Richard Lepik, Patt Dunn
1988 Series: David Wolfram, Martin Arriola, Alan Tyler

So, as you can see, it’s not just a case of “some Mattel designers worked on a Jack Kirby toyline.” To even begin to make some kind of case for a Kirby influence, we’d need to know who those designers were, just to start. But even that wouldn’t definitively make the case without more positive evidence.

I will say that I also have an extensive archive of Roger Sweet interviews, and he never mentioned a Jack Kirby influence either. I know Martin Arriola came on in 1982 just after Mark Taylor left, so of course he didn’t work on the late-70s Kirby line. David Wolfram didn’t start at Mattel until He-Man had already been going for years.

There’s just no evidence that any aspect of the MOTU toyline was influenced by New Gods. If there was some kind of influence, it would have to be relatively minor. As always, I’m open to any additional evidence that may surface!

Update: one more interesting thing to add: Jack Kirby did do some packaging illustrations for the 1970s Big Jim line. Maybe Scott saw that in the archives and built his hypothesis from there:

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