Name: Sssqueeze Faction: Snake Men Approximate US release date: March 21, 1987
I have no recollection of ever seeing Sssqueeze in stores, but by 1987 I had stopped following what was new in He-Man’s world (back in the day that meant scouting out catalogs and toy aisles rather than forums and social media). My first reaction to seeing him as an adult was that I didn’t think he fit in with He-Man at all. His head reminds me of those hollow plastic Imperial beasts you used to find everywhere. And of course his ultra-long bendy arms are incredibly goofy-looking and gimmicky. He also reminds me of something that might have come out in the Galaxy Warriors toyline.
But, as is often the case, Sssqueeze won me over once I bought an example for myself. Yes, he’s still goofy, but he’s got some interesting and unique design elements going with his costume, and I am a sucker for his bright green, purple and orange color scheme. It’s nice that he doesn’t reuse any parts from previous figures, although he easily could have made use of legs from Rattlor or King Hiss.
Sssqueeze is a part of the Snake Men faction (their logo in on his chest). However, like Tung Lashor, he doesn’t seem to be a snake at all. His head has looks like it was taken from some kind of dinosaur. His long arms are certainly snake-like, but otherwise he seems to be a distant cousin of the Snake Men who decided to join in on their fun.
Sssqueeze’s early working name was Tanglor. The concept art below shows the character with a rather oversized head, and some black paint behind the Snake Men symbol, but otherwise it’s pretty close to the final toy, which was sculpted by Eddy Mosqueda:
“Tanglor” concept art. Image source: The Art of He-ManCross sell artwork courtesy of Axel Giménez. The artwork is faithful to the look of the final toy.
The figure itself had flexible rubber arms with internal metal wires to maintain their position, similar to Gumby toys. The arms could be rotated within the figure’s hard plastic body, or even slid from side to side, giving the character two arms of different lengths. He had the familiar spring loaded waist, but given the weight of his upper body, it moves rather sluggishly.
Sssqueeze in Mattel’s 1987 Dealer Catalog (image via Orange Slime)
The artwork on the back of Sssqueeze’s card was done by the prolific Errol McCarthy, and I believe the artwork on the front was done by Bruce Timm.
Image: LCG Auctions
Image via He-Man.org
McCarthy also illustrated the character for use on a T-shirt and also for the 1987 Style Guide:
According to the Style Guide, Sssqueeze “entangles foes with his powerful constrictor snake arms. Sssqueeze just can’t keep his long arms off any enemy. As soon as a fight starts, he’s in the thick of things, wrapping up the first warrior he gets a grip on.”
There is also a fact file on Sssqueeze in the 1989 UK MOTU Annual:
Image source: He-Man.org
Squeeze plays a fairly major role in two mini comics released in 1987 – Revenge of the Snake Men! and Energy Zoids. In the former he goes by his working name, Tanglor. At the behest of King Hiss, Snake Face, “Tanglor” and Blast Attak launch an assault on the royal palace, nearly succeeding in overthrowing all the heroic warriors there.
Images via the Dark Horse minicomics guide.
In Energy Zoids, Sssqueeze helps Skeletor capture Rotar, but ultimately becomes Rotar’s weapon as he unleashes his attack against Twistoid.
Sssqueeze works for Hordak in issue 8 of the Star Comics Masters of the Universe series, where he faces off against He-Man, who is equipped with his Scubattack accessory (images via He-Man.org).
In the Fall 1988 issues of the US Masters of the Universe Magazine, Skeletor sends Sssqueeze, Blast Attak, Snake Face and Ninjor to capture King Randor, who has been stranded in the desert. He-Man defeats the villains with little difficulty (images via He-Man.org).
The same issue comes with a poster painted by the legendary Earl Norem. In the scene, He-Man faces off against Snake Face and Ninjor, while Clamp Champ takes on Blast Attak. Sssqueeze holds King Randor captive at the top of a cliff.
The Winter 1988 issue features a puzzle made from a tangle of Sssqueeze arms.
Image source: He-Man.org
Issue 7 of the 1988 German Ehapa Verlag comic series came with a poster by Esteban Maroto, featuring Sssqueeze, Snake Face and Blade:
Sssqueeze also appears in William George’s Preternia poster:
Sssqueeze is certainly one of the goofiest characters in the MOTU line, but also one of the most fun to play with. He’s certainly the most poseable, and works great as a desk toy.
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Name: Whiplash Faction: Evil Warriors Approximate US release date: April 28, 1984
Whiplash was part of a series of five animal-themed figures released in the third wave of the Masters of the Universe toyline, which also included Clawful, Buzz-Off, Webstor and Kobra Khan.
I had something of a love affair with the figure as a kid. I distinctly remember the existential agony of having to choose between him and Clawful at the store. Ultimately I went with Clawful, but it could have gone either way. I remember spending a lot of time playing with Whiplash despite that, so I think I was either able to borrow one from a friend or get my own later.
Just about everything I have to say about the development of Whiplash’s design was already said several years ago by James Eatock, in his excellent “Behind the Scenes – The Evolution of Whiplash” video. I’m including James’ video below, but I’ll also go over the details myself.
Whiplash was designed by Colin Bailey in July of 1982. His original concept, shown below, is in many ways quite different from the final toy, but there are points of convergence as well. The character has the same widely-splayed four toed feet and troll-like facial features that the final toy had. However, this concept character, called Lizard Man, had strangely furry calves, yellow legs, prominent spinal ridges, spikey violet bracers, and two prominent horns.
Image source: The Power and the Honor Foundation Catalog
Lizard Man made it into the December 1, 1982 MOTU Bible, and was listed among He-Man’s allies:
LIZARD MAN – moves quietly, quickly and has the agility of his namesake. He climbs perpendicular walls and his tough lizard skin provides protection against most of his enemies. Liz has one drawback — every year he molts and becomes vulnerable to attack and completely useless to anyone.
The Colin Bailey concept was translated into into a simplified design suitable for animation by Filmation’s artists (see above video), but it was never used, and Lizard Man went back to the drawing board at Mattel. In the mean time, Filmation created a new character with the same name for their episode, “She-Demon of Phantos:”
Mattel made some changes to the shape of Lizard Man’s (or at this point, I should say Whiplash – Mattel filed the trademark claim for that name on August 22, 1983) head, legs and tail. You can see this step in the evolution of the character in the minicomic, The Clash of Arms. Whiplash looks much closer to his final design here, except for his color scheme (green, yellow/orange and purple, like the original concept drawing) and the shape and length of his tail:
The final toy would have a much simplified two-tone green color scheme for his skin, with blue boots and loin cloth, and an orange belt. The hand-painted prototype figure, shown below in Mattel’s 1984 dealer catalog, has his final alligator tail design, and sports a purple repaint of the spear that came packed with Castle Grayskull. He reuses arms from Skeletor, as well as the legs and torso from Buzz-Off.
In this German catalog, you can see the prototype again, this time with some paint wear showing his Skeletor arms. He is holding Man-E-Faces’ sword:
Image courtesy of Olmo
The purple spear shows up again on the cover of the Golden coloring book below:
The production toy would come with an orange spear, but otherwise the design remained unchanged compared to the prototype:
Whiplash cross sell art, courtesy of Axel Giménez
Whiplash’s face is somewhat perplexing. He has two large fangs sticking up out of his lower jaw, but he has a third, downward pointing fang that seems to come from the tip of his nose. You can also see that where the concept version had very prominent spikes on the top of his head, the final toy has two short nubs on either side of the crest on his head.
The Whiplash design is somewhat reminiscent of a couple of other lizard themed toys that Mattel released in 1980 – an inflatable lizard monster toy called Krusher, and Lizard Woman from the Flash Gordon series:
Whiplash was sold in several configurations, including, of course, the standard blister card packaging, which has some lovely artwork by Errol McCarthy on the back:
McCarthy also depicted Whiplash in several other contexts:
The last image from the series above was used for a T-Shirt design. The final design (below) was colored, with the purple spear that appeared on the prototype version (images courtesy of Unsung Woodworks):
Whiplash was also sold in two giftsets – in a three-pack with Webstor and Stinkor, and a JCPenny two-pack with Kobra Khan:
Whiplash makes only two appearances, apart from his debut, in the minicomics. He shows up, confusingly, as a member of the Evil Horde, along with Clawful, Jitsu, Leech and Grizzlor, in Mantenna and the Menace of the Evil Horde!
He also makes an appearance, this time as part of Skeletor’s crew, in Hordak – The Ruthless Leader’s Revenge! While his depiction in the Mantenna comic was relatively toy-accurate, here he borrows the design from The Clash of Arms, albeit with corrected colors:
Whiplash appears in several of the Golden Books stories. One of my favorite is a scene from Secret of the Dragon’s Egg, where Whiplash lies in wait within a cave to ambush Man-At-Arms. Interestingly, the artist (Louis Eduardo Barreto) depicted the scaly villain with spikes around his shoulders:
A more toy-accurate Whiplash plays a minor role in The Magic Mirror, illustrated by Fred Carillo:
Whiplash is again depicted with spikes around his shoulders in Maze of Doom, illustrated by Al McWilliams. It seems likely he used Barreto’s art as a reference for the character.
Whiplash appears in several issues of the UK MOTU comics series. Strangely, in issue 50, he’s depicted as part of the Snake Men and is colored blue:
Filmation’s He-Man cartoon usually depicted Whiplash as one of Skeletor’s more competent Henchmen. Design-wise, the animated version of the character is more or less a simplified version of the action figure, but with Mer-Man-like feet, blue wrist bracers, and no orange belt.
One of my favorite episodes where Whiplash plays a prominent role is “To Save Skeletor”. In the story, Whiplash arrives half-dead at the royal palace, pleading for help from the heroic warriors. As it turns out, Skeletor had summoned an extra-dimensional being named Sh’Gora with the intent of using him to take over Eternia, but the creature had quickly overpowered the evil warriors and was threatening to destroy the planet.
Whiplash makes a couple of appearances in the box art – once in the Fisto and Stridor giftset, and once in the Battle Bones box art:
Whiplash also makes a couple of appearances in posters by William George, from 1984 and 1985 respectively:
Whiplash appears prominently in one of my favorite pieces of MOTU artwork – a poster by Earl Norem that appeared in the inaugural issue of the US release Masters of the Universe Magazine. The poster features He-Man, Stridor, Buzz-Off, Webstor, Clawful and a somewhat Filmation-inspired Whiplash:
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He-Man and the Masters of the Universe Minicomic Collection (released October 21, 2015) is a comprehensive collection of minicomics from 1982 to the early 90s, plus a taste of the 2002 and modern Masters of the Universe Classics mini comics. It’s a concept that I think a lot of He-Man and She-Ra fans had been wishing for for quite some time.
The collection was edited by Daniel Chabon and Ian Tucker, with advisement from Val Staples. The comics themselves were scanned and collected by Leanne Hannah, Rod Hannah, Jon Kallis, Rachel Crockett, and Val Staples.
Many of these comics had been available for some time digitally from sources like He-Man.org and The Good Old Days, but not always scanned in high resolution, and certainly not always in a format that was easy to read. Collecting minicomics for the most part isn’t generally terribly expensive – that is, until you get to rare issues like The Ultimate Battleground or Energy Zoids. And certainly having the comics collected in one book is a more convenient to consume and digest them. Having a comprehensive collection in production order nudged me to read read comics I might have otherwise skipped. And of course the pages are blown up significantly larger than the original printings, with the exception of The Power of Point Dread.
Dark Horse’s Minicomic Collection covers more than just standard release comics. The previously unpublished Return From Terror Island (inked but uncolored) is included along with an introduction by James Eatock. There is also a script for another unpublished comic, Ring of Dreams, with an introduction by Danielle Gelehrter. The general rule for this collection is minicomics that were packed in with toys, or were intended to be packed in with toys.
We also get an introduction to mini comic variants. One of the most fascinating is the early promotional version of He-Man and the Power Sword, which features an early version of the Masters of the Universe logo, as well as references to the toyline’s early working name, “Lords of Power.”
That logo, by the way, has some points in common with the logo used on some French Masters of the Universe minicomics:
The collection is also peppered with with footnotes full of trivia and interesting connections, written by Jukka Issakainen:
Out of curiosity, I asked Jukka how the trivia portion of the book came about. This is what he told me:
Early on, there was no trivia planned. I had touched base with Dark Horse editor Daniel Chabon with some questions about minicomic order and variant differences, and later Val Staples who was coordinating the book contacted me back via Skype on these matters. During a couple of conversations he asked if anything popped into my mind that should be included in the book [comics, booklets, specials], but as they had most things already covered, I mentioned that if the book could include some trivia it would be a cool addition.
Scattered in between the many dozens of mini comic stories the collection is filled with quite a number of interviews (conducted by Danielle Gelehrter) with fourteen mini comic artists and writers, vintage and modern. They include:
Mark Texeira
Gary Cohn,
Michael Halperin
Larry Houston
Christy Marx
Stan Sakai
Lee Nordling
Steven Grant
Jim Mitchell
Errol McCarthy
Val Staples
Tim Seeley
Daniel Chabon
Scott Neitlich
All of this is icing on the cake for anyone who cares to delve into the history of the Masters of the Universe and Princess of Power minicomics. If not, then the comics themselves are worth the price of admission and then some
The large bulk of the book is made of up of the original 51 Masters of the Universe minicomics, which were packed in with figures and other toys from 1982 to 1987. Because the comics span six years and were produced by dozens of different artists and writers, there are some quite dramatic tonal shifts throughout the series.
The series begins with the stark jungle-barbarian post-apocalyptic wastelands of the Alfredo Alcala and Don Glut stories, which are the only comics in the series that don’t have speech bubbles. In fact, Mattel called them “adventure books” rather than comics or minicomics.
This advertisement appeared in the original He-Man and the Power Sword “adventure book”. However, the Dark Horse collection omits all of the original ads.
That distinctive style gives way to Mark Texeira and Gary Cohn’s faster-paced bronze age style adventure tales. I’m a big fan of the artwork and storytelling, but I find some of the color choices a bit perplexing sometimes, with emphasis on orangey-browns and vivid magenta throughout.
Following the Texeira/Cohn comics, Alfredo Alcala returns to illustrate another series of stories (this time with traditional word bubbles). The writer for the next run of Alcala-illustrated comics was most often Michael Halperin, who wrote the original Masters of the Universe Bible. The MOTU Bible contained the “proto-Filmation” canon – that is to say, elements that would influence the development of the Filmation cartoon, but were not identical to the world Filmation created. Some examples – Prince Adam exists, but is a more serious character and has a different costume. King Randor is also depicted as a much older man.
The tone remained somewhat serious throughout the second run of Alcala comics (perhaps with the exception of The Obelisk, written by Karen Sargentich). Some of the post-Alcala comics, illustrated by Larry Houston, were downright brutal:
From The Clash of Arms
After a few chaotic and frankly bizarre comics midway through the series (the mini comics for Leech and Mantenna spring to mind), the comics seem to settle into a predictable but solid rhythm and style, particularly when Bruce Timm was at the illustrator desk. The Filmation influence is present through most of the series, but the mini comics are often just a shade darker, with some actual action and violence (but almost never any real consequences).
The Dark Horse collection includes all eleven original Princess of Power minicomics, all of which were new to me. The first of POP comics, The Story of She-Ra, features a brief appearance by Hordak, but otherwise Catra is the main villain, and no other male members of the Evil Horde appear in the series.
These are tightly contained stories that for the most part focus on Princess of Power-branded characters. It’s an interesting alternative universe to the Filmation She-Ra series, which not only featured an almost complete line-up of Evil Horde villains, but regularly featured guest characters from He-Man’s world as well.
The Dark Horse collection also features all four original New Adventures of He-Man mini-comics (the short-lived sci-fi reboot that immediately followed the original line), a selection of two comics from the 2002 series, and three mini-comics from the modern Masters of the Universe Classics series.
The New Adventure (illustrated by Errol McCarthy, who was responsible for much of the post-1982 cardback art on the original He-Man figures) is a fun story, because in it Skeletor witnesses first-hand Prince Adam’s transformation into He-Man. Perhaps more could have been done with Skeletor’s reaction to this revelation, but all the built-up subtext almost tells that story for you:
The collection features the one 2002 minicomic that fans were already familiar with, plus another featuring Smash Blade He-Man and Spin Blade Skeletor that was never released. The comics were written by Val Staples and Robert Kirkman, with artwork and colors by Emiliano Santalucia, Enza Fontana, Marko Failla, Neal Adams,Kevin Sharpe, Brian Buccellato, Steve Cobb, and Val Staples.
Finally, we get a taste of three minicomics from the 2009 Masters of the Universe Classics series. All three were written by Scott Neitlich and Tim Seeley (the first in the series was based on the vintage Powers of Grayskull mini comic written by Phil White and penciled by Larry Houston) and illustrated by Wellington Alves and Michael Atiyeh.
Dark Horse’s Minicomic Collection satisfies a need that had gone unmet for a long time among He-Man and She-Ra fans, but it also whets our appetite for more books along these same lines. Personally I’d love to see another collection comprised of full-sized MOTU comics and magazines from the 1980s to present day, not to mention a collection of the classic Golden Books adventures.
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The Art of He-Man and the Masters of the Universe (published by Dark Horse, April 28, 2015) is a celebration of He-Man from his earliest known concept drawings in 1979 to his latest 2015 evolution in modern comics and toys (images below courtesy of Jukka Issakainen).
Limited Edition printing of The Art of He-Man, with Castle Grayskull slipcover and exclusive artwork by Gerald Parel.
The focus of the book is primarily on artwork, although there is some time spent on toys. In many ways the Dark Horse book seems to take some cues from Mattel’s 2009 book, The Art of Masters of the Universe (a San Diego Comic Con exclusive). The 2009 book took a broad approach to the subject, starting with early concept artwork and moving on to cross sell artwork, box art, mini comics, the New Adventures of He-Man line, the 2002 He-Man line, the ongoing Masters of the Universe Classics adult collector line, and finishing up with some modern concept art for a potential rebooted line. The Dark Horse book follows the same general outline, but radically expands it with more than five times as much content.
The Art of He-Man was written by Tim and Steve Seeley and edited by Daniel Chabon and Ian Tucker, with contributions by Emiliano Santalucia, Joshua Van Pelt, James Eatock, Danielle Gelehrter, Val Staples, and others. Drawing on a wide variety of sources, from current and former insiders at Mattel to external collectors and experts, The Art of He-Man is able to delve deeper into the subject than the 2009 Mattel SDCC book, and expands the territory into areas like the 1983 Filmation cartoon and the 1987 live-action film.
By comparison, The Power and the Honor Foundation’s 2011 Catalog Volume One went into far greater depth on the subject of toy design, but stayed away from topics like packaging design, mini comics, and Filmation. Some of the artwork from both The Power and the Honor Foundation Catalog and the 2009 Mattel book made it into The Art of He-Man, but by no means all of it.
Early on, The Art of He-Man was slated to be much shorter, capping out at 168 pages by the beginning of chapter 10 (thanks to Jukka Issakainen for the image and the reminder):
After I believe some extensive contributions from The Power and the Honor Foundation and others, the page count was radically increased to about 320 pages total:
The Art of He-Man starts things off with some tantalizing internal memos, most of them directly or indirectly related to the creation of He-Man. One notable exception is the December 24, 1981 memo from Mark Ellis looking into the creation of a generic male action figure line for use in licensed properties. The He-Man line had already been largely created by then, and the memo seems to favor a smaller scale line of figures.
If you’re familiar with my blog, it might not surprise you that the first chapter of The Art of He-Man is my favorite, as it covers early concept designs by Mark Taylor, Ted Mayer and Colin Bailey, as well as the first He-Man prototype sculpted by Tony Guerrero. We also get to see a number of other concept drawings by Roger Sweet, Ed Watts, Mark Jones, James McElroy, David Wolfram and others. Quite a lot of the artwork in the sample below was contributed by The Power and the Honor Foundation:
About 40 pages in, the book switches gears to packaging artwork, including figure and vehicle cross sell artwork, some of it blown up gloriously large. It’s here where I get a little frustrated at the limitations of printed media, as many of these images are heavily cropped.
At about 50 pages in, the book changes focus to concept artwork for unproduced toys like He-Ro, Turbosaurus, Rotary Man, Rhino Man, Torton, and others. Some of my favorites here are the Ed Watts concepts, which were also contributed by The Power and the Honor Foundation. Watts created some really imaginative vehicle and vehicle/creature designs in full color illustrations with background scenery included.
Turbosaurus, by Ed Watts. An early incarnation of Gigantisaur. Originally via The Power and the Honor Foundation.
About 60 pages in the book begins to explore some of the painted packaging artwork that appeared on product boxes and cardbacks. We’re treated to a gorgeous, two-page spread of Rudy Obrero’s iconic Castle Grayskull illustration. We also see a great deal of artwork by prolific MOTU artists Errol McCarthy and William George. There is also the packaging illustration for Tyrantosaurus Rex artwork by Warren Hile, who painted several packaging illustrations near the tail end of the line.
At around the 70 page mark, the book changes focus to the vintage mini comics. I would say that this section had been rendered mostly redundant by the Dark Horse He-Man and the Masters of the Universe Mini Comic Collection (more on that in a separate article), but this section does feature some lovely blown up pages, as well as an interview with writer Steven Grant and illustrator Larry Houston.
Speaking of interviews, The Art of He-Man is peppered with them. Interviewed subjects include:
David Wolfram
Dolph Lundgren
Earl Norem
Eric Treadaway
Erika Scheimer
Gabriel de la Torre
Gary Goddard
Joe Ferencz
Larry Houston
Paul Dini
The Power and the Honor Foundation
Rob David
Scott Neitlich
Steven Grant
Val Staples
William Stout
At the 85-page mark, the book switches focus to the subject of the Filmation He-Man series. It includes some lovely drawings from the early Filmation animated toy commercial, and development artwork and story boards for the actual series. One of my favorites is a page showing numerous early designs for Hordak. There is also included a replica animation cel and three printed backgrounds, so you can get a tangible lesson in the magic of traditional hand-drawn animation.
At 120 pages in, we turn to the subject of artwork from magazines, story books and posters. That means we’re treated to a number of large size images of artwork by the late, great Earl Norem, not to mention the fantastic William George.
Artwork by Earl Norem
Some 150 pages into the book, there is a smattering of miscellaneous subject matter, from the vintage DC comics, newspaper comic strips, Golden Books, coloring books, as well as some style guide and licensing artwork by Errol McCarthy.
At 175 pages, the book takes a very in-depth look at the 1987 Masters of the Universe motion picture, a topic not covered in the 2009 Mattel art book. This section is thick with interviews, draft scripts, and concept artwork by William Stout, Claudio Mazzoli and Ralph McQuarrie.
Ralph McQuarrie’s Man-At-Arms
The subject turns to the New Adventures of He-Man some 200 pages into the book. We get to take a peek at early attempts to relaunch He-Man as a G.I. Joe-like military hero, before designers eventually moved toward a science fiction look for the most powerful man in the universe.
New Adventures of He-Man concept, by Martin Arriola
At 219 pages we finally move on to the 21st century, with a look at the 2002 reboot of Masters of the Universe. I remember at the time I did encounter the Commemorative reissues of the vintage toys (I bought one of the five-packs immediately when I saw it at Toys ‘R’ Us), but I somehow missed the entire 2002 relaunch.
We get some great concept drawings from the Four Horsemen, including depictions of many new characters who never made it into the toyline or the cartoon series. This section also covers the Mike Young Productions cartoon, with some lovely background art, as well as an extensive look at artwork from the MVCreations comic book series. I do like the Four Horsemen’s original concept He-Man, but I’m not as fond of the anime look and oversized weapons that are peppered throughout the 2002 line. On the other hand, I absolutely adore the line’s vision for characters like Stinkor, Leech, Mer-Man and Webstor. I also find the stories in the 2002 cartoon series more compelling than the original Filmation series, although I prefer the look of the original cartoon.
Concept 2002 He-Man, by Four Horsemen Studios. Image via The Art of He-Man.
At about 250 pages in, we turn to the 2008 adult collector series, Masters of the Universe Classics. We to see some of the artwork that Rudy Obrero produced for the toyline (including his maps of Eternia and Etheria), as well as prototypes from Four Horsemen Studios. There are also maps, concept art, packaging artwork by Nate Baertsch and Axel Giménez. Tucked away in this section is also the original 1981 Wind Raider box art, which was used as a basis for the Masters of the Universe Classics version of the toy.
Classics “Alcala” style Skeletor and prototype Demo Man
The last 20 pages or so are a hodgepodge of subjects, from mobile games to social media, modern DC MOTU comics and far-out, exploratory artwork.
The Art of He-Man and the Masters of the Universe is practically mandatory reading for any serious He-Man fan, but I there’s I think it’s broad enough to appeal even to non-collectors who merely remember He-Man with fondness.
Several sections of the book have since been expanded into separate Dark Horse books, or else are in the works:
He-Man and the Masters of the Universe Mini Comic Collection
He-Man and She-Ra – A Complete Guide to the Classic Animated Adventures
He-Man and the Masters of the Universe – The Newspaper Comic Strips (Available February 14, 2017)
He-Man and the Masters of the Universe – A Character Guide and World Compendium (May 16, 2017)
I hope that at some point we’ll see the subjects of vintage toy concept artwork and packaging artwork get the same treatment. The two topics could easily fill a couple of large volumes, and would be, in my opinion, required reading.
Modulok illustration for Masters of the Universe Classics, by Axel Giménez
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