Interview by Adam McCombs
I sat down with Joshua Sky, author of more than 50 mini comics for the MOTU Origins series, to talk about his writing career. He was kind enough to entertain all of my questions in detail!
Can you talk about your background with Masters of the Universe prior to your professional career? When did your love of MOTU start?
Some of my earliest childhood memories, specifically in relation to toys, began with MOTU. I remember playing with a View-Master with He-Man slides, while watching the show in the background; I must’ve been three or four years old. No older. And at about that same age, one of my very first action figures—perhaps THE first—was Mosquitor. A neighbor showed it off to me, demonstrating its “BLOOD PUMPING” action feature, and I asked if I could borrow it. About a week later, he asked for it back, but I negotiated a loan extension. With a sigh of resignation, he simply told me to keep it. I felt bad, but not bad enough to return it. Now, I just chalk it up to destiny!
Prior to writing for Masters of the Universe, you worked in television—for example, as a writer for Ben 10. Can you talk about your experience in television and how it’s different from writing for comics?
My first big career break came during college when I got an internship at The Daily Show with Jon Stewart—which was truly in its prime and one of the hottest shows on television. I got to spend some time in the writers’ room, and eventually, I landed a literary agent based on some Avengers Animated spec scripts I wrote while working at Marvel.
When I moved to Los Angeles, I really ran the gauntlet. I had a pilot get greenlit, shot, and edited, only for the network to collapse before it could even be considered for series. I worked in the writers’ room for Niko and the Sword of Light, which was unfortunately canceled just as it was hitting its stride and I was about to pen writing assignments. And as you mentioned, freelancing for Ben 10 at Cartoon Network was a blast. I still write for TV—I recently wrote a comedy segment for a pilot, and I’m currently helping with the second season of an indie series in Maui. Of course, I also went out for plenty of staffing roles and took about a million “general” meetings along the way.
Going through all of that really highlighted the massive differences between writing for comics versus TV. Comics are a fraction of the cost to produce, which grants the creative team—writer, artist, editor—an incredible level of control. You can tell a $200 million visual story in just a few pages. In TV, you are always budget-conscious, and there are naturally a lot more cooks in the kitchen. With comics, it’s easier to greenlight yourself and tell stories that are simultaneously sweeping and intimate. TV hiring definitely involves its share of industry politics, but what I feel is most important is being a great collaborator and delivering quality work.
How did you get the gig writing for the Masters of the Universe Origins mini-comics? What was your first issue?
A decision-maker at Mattel had read some work I posted online and enjoyed it. We had actually been acquainted for a good number of years. The previous writer was stepping away for other duties and didn’t have the bandwidth, so they extended an invitation for me to try my hand at it and see how it went.
My first issue was Wave 11, kicking off the “Rise of the Snakemen” action figure line. That initial issue bore the same title. Interestingly enough, it was due the exact week I was getting married. I actually have a picture from the reception where I’m holding the Character Guide and World Compendium, which I lugged all the way to Mexico! On top of that, our wedding officiant asked me what I was writing, and when I told him, he mentioned he knew Michael Halperin (the writer of the original MOTU bible). He introduced us, which kicked off a wonderful relationship. It’s strange, but I’ve had a lot of serendipitous run-ins with MOTU throughout my career. Even now, I randomly live near a number of folks who’ve worked on it in the past and even today.
How do the space limitations of the mini-comics format affect your ability to deliver the story you’ve created in your head?
That’s a great question. I was very lucky in that I was already trained in the art of the short story, which helped tremendously. I read and write a lot of short fiction, and I’ve had plenty of practice producing comic shorts for Heavy Metal Illustrated. In other words, I’ve spent years learning how to tell stories in a highly compressed fashion. But still, I have to be pretty merciless in the editing process.
I really view each mini-comic as a special opportunity that I never want to take for granted. While most minis are only six pages long, so was the very first Batman story in Detective Comics #27 back in 1939—and look what came of that: an entire pantheon! Spider-Man, Conan, The Shadow, Flash Gordon, and Buck Rogers—all of these incredible characters and their legacies started from a single short story. So, I try to approach every single script I write with that same potential in mind.
What canonical sources do you most frequently draw from for the stories you write? How much leeway do you have to make your own choices (for example, pulling from vintage comics vs. Filmation vs. Classics bios vs. the MOTU: Revelation series, etc.)?
Generally speaking, I’m open to pulling from absolutely anything canonical, so long as it makes sense and serves the story. Just as importantly, it has to serve the specific world of the mini-comics. For example, if I’m assigned a specific character, I try to watch every episode and read every piece of material that character has ever appeared in—whether it’s the vintage minis, the Filmation series, 200X, the newspaper strips, or even the German and UK comics.
In terms of leeway, I do have creative freedom, but there is editorial oversight. Everyone involved does their absolute best to service the story while staying true to MOTU canon. If anything, my ultimate goal is to emotionally move the reader so that they truly care about the material. I want to take them on an adventure that matters—one that makes them want to hold onto that mini-comic for life.
When you look back at some of the vintage mini-comics, what issues are some of your favorites?
Of course, I love the initial four that Don Glut and Alfredo Alcala produced But there are many others, so it’s hard to choose. A few that immediately come to mind are “King of the Snakemen,” “The Warrior Machine!” and “The Fastest Draw in the Universe.”
These aren’t minis, but I also quite enjoy the UK comics, which are often overlooked, and I’ve been meaning to do a deep dive into the German audio plays and comic stories from the ’80s, which are beautifully illustrated.
What character that you’ve written about in the comics do you relate to the most?
I would like to think He-Man. Sure, I could do a little more weightlifting and blond hair dyeing, but I deeply admire his moral compass and sense of humor. Then again, maybe it’s Orko I relate to the most. Writing is its own sort of spellcraft, for better or worse…
What kind of direction do you give the artist assigned to illustrate your stories? Are they pretty free to interpret it their own way?
In my mind, comic creation is akin to jazz. Alongside telling a compelling story, I strive for absolute clarity in my scripts. The artist is free to interpret the action, but there are established “corridors” of what a MOTU story should look and feel like in terms of visual traditions and motifs. Reilly Brown and I have a great rapport, and I feel his translations of the scripts are incredibly natural because his visual storytelling instincts are excellent.
If you could work with any of the artists who illustrated the vintage mini-comics, which would you choose and why?
This is a tough one! Alfredo Alcala immediately comes to mind. So does Larry Houston. I actually tried to bring Larry aboard for the Geldor Origins mini-comic, “Plague of the Immortal.” He worked on the vintage mini “The Secret Liquid of Life” (another personal favorite), so it would have been incredible to bridge the generations like that. But unfortunately, schedules and timing didn’t align. Who knows, maybe we will still get to collaborate one of these days. At least we’ve done a few convention panels together.
If you were to write a Masters of the Universe graphic novel, what kind of story would you create? What art style would you look for?
Story-wise, I have a ton of ideas. It would be amazing to tell a four-issue mini-series about one of the previous wielders of the Power Sword—a forgotten hero who had to make a massive sacrifice that ultimately set up He-Man’s current era. Another concept I’ve toyed with is a King He-Man story, exploring a later era where an older Adam is king and must make a difficult decision affecting the fate of Grayskull and Eternia. It would also be incredibly fun to do a Powers of Grayskull epic, pulling out all the stops. Gosh, what else – I’ve fantasized about doing a treasury sized edition of an original story done in the style of the initial four minis. That would be epic. And, I know not everyone loves the New Adventures of He-Man, but I would be over the moon (of Nordor) to at least write a one-shot. Finally, I’ve also thought of simpler ideas, like an epic retelling of the first time Adam seizes the Power Sword.
For the art, I’d want a style that captures the dark mystique of the original box art and oil-painted packaging that drew us all into Eternia in the first place. Then again, maybe I could just convince Reilly to do it!
Looking back at the mini-comics you’ve written, what are the top three that you’re most proud of, and why?
Talk about hard-hitting questions! It’s tough to pick just three—they’re all my children, after all. But I really enjoy “Terror of the Technomancer” for its moral lesson about choosing admiration over jealousy when seeing someone else’s success. “The Bones Beneath” is a tragic, heartfelt tale about a father and his daughter that I felt turned out beautifully. And “Courtship” offered some real-world wisdom about what makes a great relationship and how to maintain it. Still, there is a special place in my heart for every single one of them. I’ve penned more than 50 so far.
Can you talk about your work writing for Heavy Metal? How about the other projects you’ve worked on in your professional career?
For Heavy Metal, I’ve handled editing, article writing, interviews, and scripting short stories and comics. I’ve been with the magazine for over five years now, and it’s been a fantastic experience. In fact, a feature article I wrote about the modern renaissance in the dark fantasy action figure space is about to go to print.
As for my other projects, I have a good number of things cooking right now. I’ve been working with another comic publisher [Battle Quest Comics] on an original starfighter epic that captures the high-octane speed of shoot-’em-up video games like R-Type, Life Force and Galaga. I’m also working on a documentary about the history of milk caps and Pogs; the game was actually popularized on Maui, where I grew up. Additionally, Tales of the Bizarre is publishing a space marine comic short I wrote.
One of my absolute proudest projects is my upcoming prose short story collection, which features science fiction, fantasy, and horror tales. It’s the most definitive collection of my fiction to date. The publisher, Forbidden Futures, did an incredible job putting it together and helping secure the rights to stories I’ve sold. The legendary Mike Dubisch did killer interior illustrations for each tale alongside a jaw-dropping cover.
This collection will be of particular interest to MOTU fans because I wrote an introduction titled ”From Maui to Eternia,” which intimately traces my personal journey from growing up on an island to breaking into writing for He-Man. The collection is titled Nervous System. Pre-orders just opened [LINKED HERE], and we’re doing a soft launch at San Diego Comic-Con, so definitely check it out!
Besides your work writing the mini-comics, what keeps you engaged with Masters of the Universe?
Working on MOTU Origins has been fascinating because I was actively collecting the line before I ever knew I’d be writing it. But so many things keep me anchored to the brand. I’m a fellow collector through and through, and I love hunting for both vintage and modern toys, as well as collecting comics.
I’ve had the opportunity to attend Grayskull Con in Germany, which was wonderful, and MOTUNIVERSE, which was absolutely epic. Hopefully, next year I’ll be able to hit MOTU Fest (you hear that, Val?!). I’ve also been blessed to develop close friendships with various creators, past and present. It’s kind of insane really. I run into Ted Biaselli, Tim Sheridan, Tim Seely, Larry Houston and Don Glutt (randomly) all the time. I’ve also been actively helping Michael Halperin’s family archive his historic materials for posterity.
Most importantly, it’s the community that keeps me engaged. Whether it’s jumping onto live streams, doing interviews like this one, or hanging out at toy shows, I just love our tribe. It’s a community full of imaginative optimists, and that is something truly special.
Thank you to the following individuals who are current Patreon supporters or Facebook subscribers!
- Adalberto V. (Facebook)
- Adam A. (Patreon)
- Allen B. (Facebook)
- Allison T. (Patreon)
- Andy Y. (Facebook)
- Antoine B. (Facebook)
- Asad (Patreon)
- badtaste® (Patreon)
- Barbarossa (Facebook)
- Ben M. (Patreon)
- Chris C. (Patreon & Facebook)
- Chupakaibra (Patreon)
- Cory from Make Shape Create (Patreon)
- Dane R. (Patreon)
- Eric H. (Patreon)
- Erik B. (Patreon)
- Garry H. (Patreon)
- Gianluca V. (Patreon)
- Gristlebeard M. (Patreon)
- J Man (Patreon)
- JackieX (Patreon)
- Jacob S. (Patreon)
- Jacob T. (Patreon)
- James C. (Patreon)
- James G. (Facebook)
- James Z. (Facebook)
- João S. (Patreon)
- Johnny L. (Facebook)
- Jon E. (Patreon)
- Juan P.V. (Patreon)
- Kris K. (Facebook)
- Lyca (Patreon)
- Max I. (Patreon)
- Michael M. (Patreon)
- Mike G. (Patreon)
- MotuOriginsCork (Patreon)
- Nate B. (Patreon)
- Neil R. (Facebook)
- Ove K. (Patreon)
- Øyvind M. (Patreon & Facebook)
- Patrick F. (Patreon)
- Philip O. (Patreon)
- Robert B. (Patreon)
- Rich S. (Patreon)
- Scott B. (Facebook)
- Stephen B. (Facebook)
- Steven K. (Patreon)
- Tate W. (Patreon)
- Todd G. (Facebook)
- tupalev (Patreon)
Want to support the blog? Consider becoming a Patreon supporter or Facebook subscriber. You’ll also gain access to exclusive content and early access to posts on the blog. Thank you!
