Heroic Warriors

He-Man: Most powerful man in the universe! (1982)

He-Man was released with the first wave of action figures in the 1982 Masters of the Universe line. But for a simple, relatively unadorned action figure, He-Man has a complex and storied history. His origins are the subject of much controversy, and frequently discussed lately in the wake of the recent Toy Masters documentary and the Dark Horse Art of He-Man  book. I can’t definitively settle those controversies, but I will attempt to present the key facts as I understand them in the development of the most powerful man in the universe.

From Rudy Obrero’s Castle Graykull box art illustration

Design & Development

The earliest known artwork related to He-Man is a 1979 drawing by Mattel artist Mark Taylor. When Taylor was hired at Mattel, he initially did packaging design for the Barbie line. In his free time he would sketch the kinds of fantasy heroes he had been interested in since he was a child. He was influenced by Tarzan and Prince Valiant comic books, as well as the artwork of Frank Frazetta and the various artists featured in Heavy Metal magazine.

Torak, by Mark Taylor. Image source: The Power and the Honor Foundation

In this 1979 sketch (above), Torak certainly looks the part of He-Man. The facial features, determined expression and blond hair are all very familiar. The leather strap around his chest almost looks like half of what would eventually be He-Man’s distinctive chest harness. There is even a villain in the background who resembles Skeletor.

500x500 Marvel Monday

Update: Emiliano Santalucia of The Power and the Honor Foundation has learned that the character known as Vikor, commonly thought to be an early He-Man concept, was in fact Taylor’s sketch for the aborted Mattel Conan line. In retrospect perhaps it should have been obvious – he looks very much like the classic Conan character, and not much like any version of He-Man:

Mark Taylor’s Vikor (actually Conan), from the Art of He-Man and the Masters of the Universe
Conan doing battle with a giant lizard, by Mark Taylor. Image source: The Power and the Honor Foundation, via The Art of He-Man.

As Taylor tells the story, Mattel was looking for a new boy’s action figure line that could be produced without paying licensing fees to a third party. The company had passed on making Star Wars toys, and of course Star Wars had become enormously successful in the meantime. Mattel’s existing boy’s lines (Clash of the Titans, Battlestar Galactica and Flash Gordon) could not compete with Luke Skywalker and Darth Vader. As part of the initiative to create a new male action figure line, Roger Sweet (a designer at Mattel), used some of Mark Taylor’s drawings to assist in developing a pitch for a new line of action figures. For a presentation to Mattel CEO Ray Wagner, Sweet created three rudimentary action figures, which were really Big Jim figures packed with extra clay muscles. In Roger’s concept, the character could be a generic hero, outfitted with science fiction, barbarian or military costumes, and would have access to science fiction vehicles.

Roger Sweet’s “He-Man Trio”, late 1980

As you can see, a recognizable version of the final He-Man harness is present on the center figure, which has come to be known to fans as Vykron:

Roger has acknowledged in a podcast interview (Masters of the Universe Chronicles) that Mark Taylor designed the harness for his barbarian prototype, including the inclusion of the Templar cross. And if you look closely at the bracers on the center figure, you can see they come from Mark Taylor’s Torak character. The helmet also comes from another Mark Taylor design from the 1970s. This fits with statements by both Mark Taylor and Ted Mayer that Roger’s model was based off of Mark Taylor’s designs. Of the three 1980 prototypes, it was the barbarian-themed figure that was green-lit by Ray Wagner for further development.

Mark Taylor also drew a couple of illustrations in 1981, apparently based on the prototype (in turn based on Mark’s designs). The harness in these drawings was even closer to the final toy design:


Still, Roger Sweet has been claiming for many years that he “originated” He-Man:

“What I always say is, I originated and named He-Man, and originated the general concept of the Masters Of The Universe. I constructed three prototype figures at nine and a half inches, which I first showed at a product conference at Mattel in late 1980. These three prototype figures brought He-Man into existence. They were all of He-Man in different themes and configurations. One had a barbarian theme from the ancient past (low tech), another had a current military enhanced theme (mid tech), and the other one had a futuristic military, a la Star Wars, enhanced theme (high tech), showing that He-Man can go anywhere, and do anything, at any time, in any theme. These figures were nine and a half inches tall, and the figures in the line from 1982-87 were five and a half inches. But I knew if I showed these figures at the height they ended up being, I would have a very poor chance of selling the concept, so I made them very tall, huge, and very impressive.” – Roger Sweet

As far as Roger Sweet’s barbarian prototype goes, the harness appears to be the only element on the sculpture that is unique to the final He-Man’s design. And as we’ve already learned, it was Mark Taylor, not Roger Sweet, who designed the harness. It appears, moreover, that the entire costume was designed by Mark Taylor. Roger appears to have been the sculptor, not the designer (later, finer sculpts were done by Tony Guerrero). Sweet has based his claim to creating He-Man on this prototype, but it’s hard for me to see how Sweet can be given any credit for the visual design of He-Man.

Based on all available evidence, it is my conclusion that Mark Taylor is the principal and primary designer of He-Man, with some ancillary contribution and input from many others at Mattel. In fact, the whole 1982 lineup was almost entirely designed by Mark Taylor, with help from Ted Mayer on the vehicles. The toyline was really Mark’s vision, at least for the first year of its existence.

As far as I can tell, Roger Sweet’s contributions to He-Man (the figure) were primarily as follows: the name itself, and the “power punch” action feature, and the idea to exaggerate the musculature (as Roger often says, he wanted He-Man to make Arnold Schwarzenegger look like a wimp). Roger Sweet’s more significant contributions to the Masters of the Universe toyline seem to have come later, with figures like Tri-Klops, Mekaneck, Webstor, Kobra Khan and others. We have Sweet’s concept drawings for most of those figures, but all the concept artwork for He-Man and other figures released in 1982 comes from Mark Taylor. You can see in the quote by Roger below, he didn’t really like the first wave of the line – indicating he had little say in its design or direction:

“When I first saw the [1982] Masters of the Universe line all together I thought it was somewhat weak because it was low-tech and it was conservative. My concept of MOTU was that it combined everything- low-tech, high-tech, past, present and future. I wanted MOTU to be as expansive as possible and do anything that was appealing. I would love to see a G.I. Joe segment in MOTU. I wouldn’t mind seeing a character like [Child’s Play] Chucky in it.

“In other words, anything could go into it. When I became the manager in charge of creativity for the line in 1983 I worked real hard to change that.” – Roger Sweet

The first year of the Masters of the Universe line

Rudy Obrero, the freelance packaging artist behind the artwork for the earliest MOTU product boxes (Castle Grayskull, Battle Cat, Wind Raider, etc), described his working relationship with Mark Taylor:

I don’t remember the conversations [with Mark Taylor about the MOTU line] but I remember the feeling I got. I left there thinking this guy is really into it. He’s really into this. And that’s why I always thought he created it. It just felt like it was his baby.

Source: Power & Honor Foundation
Image Source: Power and Honor Foundation
Image source: Tomart’s Action Figure Digest. Note that this version has reduced horns on the helmet. It appears to be a degraded wax copy of the original.

This 1981 model (above) by the late Tony Guerrero is closer to the final He-Man design in some ways. The bracers and belt now look very recognizably He-Man, as does the belt/loin cloth. I’m not sure if this was meant to have a harness put over top it or not, but I would assume that it did.. A cast of this sculpture appears in early prototype pictures of Ted Mayer’s Battle Ram vehicle, as well:

Close to final Battle Ram concept by Ted Mayer

Incidentally, a helmet very similar to the one on the above prototype appears on the door to Castle Grayskull:

Image source: Poe Ghostal

The horned helmet stuck with He-Man until very late in his development. It appears in several versions of Mark Taylor’s B-sheet for the character, including an early colorized version dated April 6, 1981, and a later recolored version dated August 3, 1981:

From the Mark Taylor Portfolio, published by Super7/The Power and the Honor Foundation
Colorized version from August 3, 1981. Image source: The Power and the Honor Foundation

This version looks very close to the final production figure. The colors have been made brighter to be more appealing to children. The shield looks close to the final version.

A prototype (below) was sculpted based on the 1981 B-Sheet. Most of the elements from the B-sheet are there, with the notable exception of the horned helmet. This version is also missing the bracer on the left wrist and the boot knife. Perhaps the left bracer is missing because its presence on the B-sheet was obscured by the shield.

Closer to final prototype. Image source: He-man.us
Image originally posted by Jordan Hembrough

Mini comic artist Alfredo Alcala probably used both the B-sheet and the above prototype as a reference, because his earliest depictions of He-Man have specific elements from both (notably, the knife in the boot, the two-tone boots, the belt, the occasional lack of a bracer on the left wrist, and the shape of the axe).

Another view of the close to final prototype appears in this photo (courtesy of Ted Mayer) of an early version of the Wind Raider. In this image, the detail on the right forearm bracer is more evident. From this angle, it looks like the harness is a part of the chest sculpt, although it’s difficult to say for sure. It’s also clear that the cross symbol on He-Man’s chest is also more raised than the final toy.

Update: More views of this early prototype have recently surfaced in these promotional images shared by Andy Youssi. These images include He-Man’s prototype axe:

Mark Ellis, who was in charge of marketing for the fledgling MOTU line, explains some of the changes to He-Man’s design:

Preliminary Design did the original figure for the theme test, one of which was the barbarian. After the research came back on the theme, work began on developing the line. Engineering and the art departments took over the development of the characters.  Each character was modified a few times, each time being a little less barbarian and finally to what was produced. In developing the original line, you have to remember that we were introducing it without the benefit of a movie, comic character, or TV show.  It was on its own.  From the Usage Research, kids when they are 5 and 6 want to know if the character is good or bad.  So over time, changes were made to make He Man more clearly good and Skeletor and his cronies made to look quite different from the good guys.  I do remember changing He Man’s hair to be blond because my boss had blond hair.  I had a chart on my office wall to keep track of who was who, and what their special powers were so that everything we did in the commercials and packaging was consistent.

You might have noticed that every version of He-Man we’ve seen so far lacks the iconic power sword. The sword seems to have been an added later as a marketing consideration, according to Ellis:

I will say that at Mattel, we were careful to make sure the sword fit into the characters hand.  An idea was proposed when we were doing the television commercial for the line that involved a split sword.  That is why He Man’s and Skeletor’s swords fit together. We later dropped that idea in the development of the commercials.

I’d also like to note that the upward-curved cross guards on the sword were meant to be open, as in the Alfredo Alcala artwork (below). But it appears that strengthening connectors were added to the cross guards because the plastic used was so flexible. So the ends of the cross guards were often depicted in media as being fused together, especially in the Filmation cartoon – an interesting accident brought about by engineering and safety considerations.

Quick mock-up of the Power Sword with open cross guards

According to designer Mark Taylor, the upward curved cross guards were actually meant to be handles, as you turned the sword like a key to open Castle Grayskull. In his view of the He-Man mythos, He-Man would have inherited one half of the sword from his ancestors, and the Skeletor would have inherited the other half.

It was recently pointed out to me by Dušan Mitrović that there is an early Filmation drawing that features the half sword concept. The split sword idea was dropped before the show went into production.

Image source: James Eatock

This final, hand-painted He-Man prototype (below) brings all the refinements and changes (many driven by market research) into the final iconic look for the most powerful man in the universe:

Notice the unpainted bracers on the forearms – a cost-saving measure. From The Art of He-Man.

The cross sell art (below) is very true to He-Man’s finalized design, and so was likely created sometime after the final prototype:


He-Man was first packaged on the sought-after “8-back” card. Reissued versions featured an amazing scene on the back of the card of He-Man, Teela and Man-At-Arms gazing out over the rolling hills of Eternia, vigilant for any signs of Skeletor. My favorite version is the reissued “12-back” card, because it features that artwork.

Art by Errol McCarthy, from The Art of He-Man

The first He-Man 8-back release figures were made in Taiwan. The version below is the very first release, which you can tell because it has no warranty information listed on the back, no subtitles for the character names, and no batch number (ie G1, G2, G3, and so forth):

He-Man, Mexico “8-back” packaging, 1983, with warranty:

He-Man, Taiwan “12-back” packaging, 1984:

Production Figure

Early versions of the 1982 made in Taiwan loose figure (stamped 1981) have a sculpted belly button, which disappeared from the figure starting in 1983. I believe the earliest versions have somewhat blue-ish gray accessories, while subsequent versions have more of a flat gray color.

The belt color ranged from an orange-salmon color to more of a mustard yellow. His hair color could be subdued or quite bright. I won’t explore production variants in depth in this particular blog post.

One of the things that really captivated me about He-Man as a kid, aside from his powerful appearance and striking but simple design, was his face sculpt. It wasn’t a handsome face. He had very strong cheekbones and muscular jaws. Depending on the angle, his expression could go from a grimace to a smile. It’s really a remarkable face, and a testament to the great skill of Tony Guerrero.

He-Man in Action

Some photos and a short video of He-Man in action, contributed by Øyvind Meisfjord:


He-Man and his early compatriots were an instant success. Even before the debut of the Filmation cartoon, the Masters of the Universe line sold five million figures in its first 10 months:

Trade magazine advertisement, reusing a pose by artist Alfred Alcala in the mini comic, King of Castle Grayskull. Image via www.motucfigures.com

Some additional trade ads featuring He-Man, via MOTUC Figures:

Gift Sets

He-Man, as a toy, was sold in a number of configurations, apart from the single-carded figure. I won’t get into He-Man variants (ie, Battle Armor He-Man, Thunder Punch He-Man, etc) for now. But the standard release He-Man was available in the following gift sets:

  • He-Man/Battle Cat
  • He-Man/Wind Raider
  • He-Man/Jet Sled
  • He-Man/Skeletor
  • He-Man/Teela
  • He-Man/Teela/Ram Man

You can explore what these items looked like at the excellent Grayskull Museum site.

An interesting side note. In early materials He-Man is referred to as “Strongest man in the universe” rather than “Most powerful man in the universe.”


He-Man appeared in most of the box art produced for the MOTU line. My favorite depictions of He-Man in box art tend to be the Rudy Obrero pieces. I’m also quite fond of William George’s depictions, but I’ll get into his artwork in another post when I discuss Battle Armor He-Man:

Origin Story

He-Man’s origin story changed dramatically over the first few years of his existence. In the Alcala/Glut mini comics, he was a jungle warrior who had been gifted by the Sorceress/Goddess with some powerful weapons and artifacts. His harness acted as a force field and amplified his strength. He-Man was strong but he couldn’t move mountains. He could be overpowered by enemies like Beast Man or Mer-Man, if he wasn’t careful. He-Man was always He-Man in this continuity – there was no Prince Adam.

In the earliest Golden Books stories, He-Man again lacks an alter ego. He is simply He-Man, tireless protector of Castle Grayskull:

In the 1982 DC Comics series, the alter ego of Prince Adam was introduced for the first time. This Adam (dressed in a blue vest) could only transform into He-Man by entering the “Cavern of Power”.

By the time the Filmation cartoon debuted in 1983, Prince Adam was sole keeper of the power sword (in other canon it was often hidden in obscure places or guarded by the Sorceress), and he used it to summon the power of Castle Grayskull and transform into He-Man. He was warrior with immense, almost limitless strength, but he had an aversion to violence except as a last resort.


In the Filmation cartoon, He-Man’s design was noticeably softened. He lost the rectangular elements on his harness and the detail on his bracers and belt. But in the Filmation-produced commercial, He-Man retained the details of the vintage toy:

He-Man as he appeared in the Filmation cartoon
He-Man from the animated commercial. Image source: The Art of He-Man


As the protagonist of the MOTU line, He-Man was of course featured prominently in almost all marketing materials for the line, including catalog images and television commercials:


He-Man captured the imagination of a generation of children, from 1982 until the demise of the Masters of the Universe line in 1988. He was a bit of a contradiction, though. He tapped into the primordial barbarian fantasy worlds that were so popular during the 70s and early 80s (Conan the Barbarian, The Beastmaster, etc), but he also had a heart and was a good role model for children. And despite the fact that he wore furry shorts and rode a giant tiger, he would also pilot fantasy vehicles and fight opponents armed with laser canons.

Equal parts Conan, Trazan, Luke Skywalker, Flash Gordon and Prince Valiant, He-Man was derivative of dozens of disparate but iconic characters. But He-Man also transcended those influences and became something much more. Would it be at all plausible to say that He-Man represents some kind of unconscious primordial image – a Jungian archetype? Maybe that’s taking things a bit too far. But then again, maybe not.

As Mark Taylor recently said:

Joseph Campbell is one of my heroes. Joseph Campbell’s concepts about myths and legends and icons are ingrained in all artists’ mentality. If you’re going to tell a story, you need to understand Joseph Campbell.

As an artist it’s always been integral to me to tell the story. Even if I’m doing something that you wouldn’t think has a story to it, like a painting, I have to feel that I’m telling a story.

I think I got this [idea of what a hero is] by looking at Greek literature and Tarzan and Prince Valiant. I would read it with my dad, which was really important, and I wanted to be the next hero. And at the same time I was kind of fascinated with the idea of Cro-Magnons and Vikings. They would just go into battle with almost no armor on. They went into battle, and so did the Greeks and so did all the heroes. A hero doesn’t need a lot of armor. To me the hero is the guy that is willing to go out there and just do it no matter what. His job is to prevail.

Illustration by Earl Norem
Illustration by Earl Norem

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15 thoughts on “He-Man: Most powerful man in the universe! (1982)

  1. I know all this stuff but wasn’t aware Taylor did the harness…which does change things a bit and I would agree with your conclusion. This is a good read for folks not the know about such things.

    1. Thanks Eamon! Yes, I think Mark Taylor doing the harness really clinches it. Not to say that he didn’t make changes based on input from marketing and others (changing the hair color, removing the helmet, etc). But I think it’s safe to say that He-Man is mostly Mark Taylor’s creation.

      By the way, my comments about He-Man being an archetype were inspired by some of your comments from old RGD episodes. I think you were on to something there. There is definitely something very primal about He-Man.

      1. Thanks glad you liked the podcast. Yes I think Mark deserves most but not all of the credit for creating He-Man. I have to read the rest of your blog yet about Skeletor which i will do next. 🙂

  2. Thanks! Hope you like it. I’m sure 99% of my posts will contain information you’ve already heard, but I at least try to include some nice photos and some analysis of the figures and their history.

    I’ve mentioned this before on the Sideshow forum, but I just want to say again how awesome your artwork was for that PCS He-Man/Battle Cat set. As someone who really loves the early MOTU box art, your piece hit all the right notes.

  3. Love this blog 😉
    I don’t fully share your view on the Talyor Vs Sweet debate.

    Having read Roger Sweet’s book, with all the evidence documents supplied, plus numerous interviews with others at Mattle, here’s my take…

    Roger Sweet came up with He-man’s super-massive musculature, he said he wanted to “make Arnold Schwarzenegger look like a wimp”. He also conceived of the “battle ready” stance, at a time when most other actions figures had passive, upright stances and straight arms at their sides. He also came up with the name “He-man” and the punch action. Mark Taylor style the first run of Masters and gave it that compelling style. His early work on Torak is not really compelling proof of the first ever design for He-man. Torak has an athletic, but not He-man like build and is set in a conventional Frazetta barbarian setting, no boiler-plate technology or “Flash Gordon” style ray-guns. After Taylor styled the first series of Masters, Roger took over design of the whole range and came up with all the wonderful novelties that kept Masters on the shelves for years, such as the Dragon Walker, Roton, Spydor, Bashasaurus (which was a lot better before the safety committee reduced it’s power!), and the wonderful Eternia Playset. I do feel however, that Roger’s original concept for He-man was likely just another generic Big Jim range, who would be dressed up in different costumes and themes. It was the Mattel marketing department and Taylor’s designs that created the compelling world and story arc of Eternia.

    I have to say my sympathies lie more with Roger Sweet as I see him as the underdog here. Unlike others at Mattel who went on to great careers in the toy industry, Roger couldn’t get another job after leaving Mattel, which is unbelievable given his amazing portfolio of successful toys (all proven and documented). It is clear he had become unpopular in what was, at the time, a highly competitive, corporate culture. He claims to have heard from a recruitment consultant that “someone in the industry” was going around bad-mouthing him, saying he had nothing to do with he-man’s creation and he was a liar. I think it’s a shame that a talented designer lost his career, perhaps due to someone’s inflated ego.

    In the end, Masters was a joint effort of all the creative people at Mattel. I admire both Roger and Mark’s work, and it’s a shame these guys can’t share and enjoy the acclaim.

    1. Hi Graham,

      Thanks for your thoughtful response! I actually agree with a lot of what you write. It seems to me Roger Sweet made many general contributions to the the overall look of the figures to begin with, and more specific contributions once he started running the line in 1983 (affecting the 1984 figures).

      The attributes like super-massive musculature, crouched stance, power punch etc are all great contributions, but none of those are specific to He-Man as a specific character. Man-At-Arms has the exact same proportions and action feature. I agree that Torak alone isn’t He-Man. Just the first step in the gradual evolution. What makes me think that Mark Taylor is the creator of the He-Man character is that all the elements that are unique to He-Man were designed by Mark Taylor, with some input of course from marketing (ie removing the helmet, adding a sword). Roger Sweet contributed ideas for toy attributes that were more general to all the male figures.

      That’s why I say that Roger Sweet is one of the fathers of the MOTU toy line, because his ideas affected the whole line. But Roger Sweet was the creator of Mekaneck in way that he was not for He-Man. That’s because he actually designed Mekaneck’s specific look.

      It’s kind of funny, I listened to lengthy Roger Sweet interview. I didn’t come away doubting the truth of anything he said about his work, but I also I didn’t come away thinking he had created He-Man. But I think he thinks of creating a character differently than I do. I think he thinks that big muscles plus the action feature and the name means he created the character. But I approach the “credit” the same way I approach songwriting credit. Someone who says, “you should add more bass, and a drum solo” doesn’t get songwriting credit, even if it was a good idea and made the song better. The person who writes those specific parts gets the credit. The person contributing general ideas is usually thanked in the album notes, but doesn’t get songwriting credits.

      I appreciate both Roger and Mark’s work. Whatever their differences, I’m glad that they both contributed. But of course I am a particular admirer of Mark Taylor’s design work, which I think was absolutely brilliant. Same goes for Ted Mayer.

      I wasn’t a fly on the wall at Mattel in 1981, so I can only form my opinions based on these interviews and the surviving artwork and prototypes. I understand that people will see the same evidence and come to different conclusions, which is totally legitimate.

      Thanks again for your comments 🙂

  4. I read Sweet’s book when it first came out and listened to his interview. I, too, give credit to Mattel, Sweet, Taylor, Watts, and Mayer. But I also agree that Sweet is more sympathetic in this case, and never received his just due from Mattel or even the He-man.org community.

    I feel the book “Art of He-Man and the Masters of the Universe” had more access to Mark Taylor, and made the case for Taylor by showing all the sketches as evidence that he had the genesis of the idea. Also, Josh Van Pelt of The Power and Honor has been on the record downplaying Sweet’s role.

    Mattel itself had tried to discredit Sweet when his book was published, even with his documentation. They never sued him for lying, so that speaks volumes. Mattel had also denied He-Man was based on Conan for years.

    Sweet is bitter because he was blacklisted and Mattel employees were putting the word out on the street that he did not create He-Man. If we were in his position, and He-Man made billions, it would be natural to focus on that meeting were we showed the three prototypes. As you said, without him, there is no He-Man as we know it. Taylor’s sketches may SEEM to look like He-Man, but mostly with the benefit of 20/20 hindsight; they don’t look like the actual action figure, they look like generic fantasy heroes based on the sword and sorcery genre. Sweet added the sci-fi tech. The earlier sketch looks like the 200x He-Man cartoon and the viking looks like Conan.

    The “Skeletor cameo” is not evidence either since he was originally Demo-Man who looks nothing like him, and both Conan and Kull fought Thulsa Doom, who obviously was the basis for Skeletor.

    1. Well, I think Sweet’s contributions at the beginning are more general. IE, making all the male figures have extremely large muscles, or the power punch action feature. But there is nothing specific to the final He-Man figure that was designed by Roger Sweet, that I have been able to determine. The harness was Mark Taylor, the weapons were Mark Taylor, the face looks pretty much like the original Mark Taylor Torak drawing.

      I agree though that Sweet added a lot of important things to the line as a whole. Sci-fi was an important part of making MOTU something unique and not just another barbarian fantasy franchise.

      1. This was a great read! I have always been sympathetic to Roger Sweet. He did help shape the line, and he did come up with the name He-Man. However, just coming up with the name of a character is not enough to claim that you created the character. In this case, I think it is obvious that Roger was on some level inspired by Mark Taylor’s designs.

        Roger is certainly one of the fathers of Masters of the Universe, and even though he and his former colleagues at Mattel see things differently, I think it is important not to be dismissive of his work.

  5. Great blog, Battleram. I’m a life-long and hardcore MOTU fan (though my main love lies in the early “Barbarian” mythos; the Filmation series has it’s own place in my heart, not so keen on some of the latter directions the line went in, even pre-NA) and found this blog by chance, and love it – reading such in-depth notes on each figure, creature and vehicle. I’ll gradually try to post my own thoughts on each one as you do them.

    …Ah, He-Man. Where it all began for so many of us. I remember I’d just started school in 1983, and my best friend had this new muscular toy called ‘He-Man’. I was blown away by it – it’s vibrant colours, it’s tactile feel, it’s chunkiness, and it’s power-punch feature. I didn’t know anything more than ‘he’s called He-Man’ but that was enough to hook me in – for life, it turned out. A few weeks later, when out shopping with my mother, I was treated to my own He-Man figure (I can remember the price well, £2.99 here in he U.K.). It’s interesting in that my parents always tried to push me towards puzzles and gentle or educational toys, toy cars at most, but for whatever reason, He-Man was deemed okay. I remember being overwhelmed at owning this figure, as well as all the bits he came with – armor harness, sword, ax, shield, and comic book.
    I remember if being a warm sunny day, and that afternoon excitedly taking my new man to my grandparents, who lived just a couple of streets away at the time, and showing them and telling them about it. I have such vivid memories of sitting on the garden bench and my late grandfather reading the mini-comic with me – mine (I deducted years later when one of the first things I ever looked up on the internet was MOTI) was a second wave re-issue that came packed with “The Magic Stealer!” For this memory plus the fact it has an awesome cover, “The Magic Stealer!” generally ranks as my own personal favourite mini-comic (though a few others from the second wave come close). Furthermore I loved the hybrid space-aged-medieval setting of these comics, and this (with the first wave barbarian tales) has always been my favourite “version” of the mythos, that I long for a future reboot to one day return to.

    It’s always amazed me too, at not only the flexibility of the line and how so many characters can be interpreted through preference, but also how creative children could be at play. One day when some friends were playing with our He-Man figure around a school sandpit, one friend, Stephen, had a armor-less He-Man. “Who’s that?” I for some reason asked him. “It’s He-Man’s brother, Gripper!” Stephen replied. For some reason, Gripper always stuck in my head, and I instantly imaged him as a member of He-Man’s jungle tribe (these were still pre-Prince Adam days)…

    Anyway, that was me set for life. I always looks after all of my toys, but He-Man got a heck of a lot of playwear. I never replaced any of my figures (nor had much need to as I did take care of them well), but He-Man was the only one that I ever did replace during the original line’s run. It was quite late on, and by that, original He-Man’s right arm would often come off from wear, the back of his armor was held done up with a rubber band, and his rubber head was coming away; my grandmother brought he a stray (boxed) He-Man that showed up at a local charity sale one Saturday morning. With a new He-Man not so beaten up to helm my battled, my original wasn’t left without a duty. From that day on, he became Gripper, and has been ever since!

    Fun fact: My new replacement He-Man (can’t remember what mini-comic he was packed with), was Malaysian-produced, and as such had the fairly rare added “side handle” to the a. Now whilst I used to take care of my figures, I wanted this to be exactly like my original figure… so I pulled this additional handle off, not realising how vaguely sought after it would be!

    I’ve always felt one of the best things about vintage He-Man, was his face sculpt, which was awesome. It captured so much, determine and battle-ready, but not vicious. It also has different ‘looks’ from different angles.

    As is known, the colours can be found to vary a bit on different versions, especially the hair and belt. The boots do too, though seldom as red as they’d often be shown to be in various illustrations. Some of the darker browns some examples can be found with I’ve always felt to be a bit drab.
    Oh, and while exactly “who created He-Man” will likely never be fully determined, I personally am generally in the Mark Taylor camp. His early sketches and designs clearly have the basic elements of a very basic He-Man character. I believe it to be Roger Sweet who rounded things out into an actual toyline, but for the pivotal lead that had everything build around it, I believe Taylor’s rough sketches to be the initial seeds.

    Well that’s my memories on He-Man (I’ll try not to make all of my response posts so long!). I’m sat here with He-Man and Battle Cat on my t-shirt (I only occasionally dare wear it, tho I did do get people stopping me in the street asking where I got it), and by coincidence, this very week, my original original He-Man and Skeletor came out of storage. I write and run our local pub quiz, and this week I made it a “toys & games special”, inviting people to bring along their own favourite childhood toys. Naturally, He-Man and Skeletor, complete with cats, had to make an appearance (complete with a leg repair on Skeletor, due to the rubber band having by now disintergrating). Future posts not so long hopefully, else I might as well start my own blog!! 😀

  6. I’m super late to the conversation, but being a comic book guy, it’s clear that Roger Sweet and Mark Taylor are co-creators of He-Man — one singular person doesn’t have to receive all the credit.

    Jerry Siegel came up with the origin, powers, etc. of Superman, but Joe Shuster threw in a few and created the iconic costume that visually separated Superman from every other adventurer of the time. Ergo, the credit always reads, “Superman created by Jerry Siegel & Joe Shuster”.

    Why can’t the credit read, “He-Man created by Roger Sweet & Mark Taylor”?

  7. In Italy he man continued to be called the strongest man in the universe “L’uomo più forte dell’universo” in commercials until at least 1985!

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