Artwork

Box Art From A-Z, Part Two: 1983

One of the best things about getting new He-Man toys as a kid was the box art. The toys were of course amazing and fun, but personally I spent almost as much time staring at the boxes as playing with the toys. I remember being pretty heartbroken when my mother made me throw away my Castle Grayskull and Battle Ram boxes. She saw them as clutter, but for me they were almost stories in and of themselves. You could see whole adventures unfolding in a single painted scene.

Unfortunately, good photographs or scans of the original art are not available for every piece. If you happen to have a nicer images than I do (higher resolution, better composition, etc), please do feel free to share, and I’ll make an update! For pictures of the packaging itself, a neutral (white or black) background is preferred. High resolution scans of the artwork, where it appears without logos, would be ideal. Bottom line – if you have better images than I do, please share them!

One final note: I’m defining box art as the front-facing painted artwork that appeared on boxed Masters of the Universe toys. The illustrations on blister card packaging, then, are outside the scope of this series.

Part Two: 1983

Name: Attak Trak
Year: 1983
Artist: Rudy Obrero
Description: He-Man pilots the Attak Trak over rough terrain. Skeletor and Mer-Man are ready to attack, while Man-At-Arms and Teela stand in defense of Castle Grayskull. The artwork below was scanned by me, with box damage repaired by Retroist.

Name: Battle for Eternia
Year: 1983
Artist: William Garland
Description: Panthor swipes his claws at Man-E-Faces, as Man-E-Faces takes aim with his blaster at Skeletor, who is riding atop the savage cat. Twin moons hang in the smokey sky.

Artwork courtesy of Tokyonever

battle-for-eternia-original

Name: Panthor
Year: 1983
Artist: William Garland
Description: Skeletor and Panthor navigate alien terrain. A pterodactyl-like creature swoops in the air and two alien moons set on the smokey horizon. Castle Grayskull stands in the background, shrouded by mists and blowing sand.

panthor-best-quality

Name: Point Dread & Talon Fighter
Year: 1983
Artist: William Garland*
Description: He-Man and Teela sit inside the Talon Fighter’s cockpit, as its jet engines flair. Skeletor, Tri-Klops and Mer-Man race toward Point Dread, which is defended by Man-At-Arms. Twin alien moons hang in the night sky. Castle Grayskull looms in the foggy distance. (*Artist name not confirmed for this particular piece, but the art seems to match the style of the Panthor illustrations.)

point-dread-talon-fighter-logos-removed

Name: Screeech
Year: 1983
Artist: Rudy Obrero
Description: Screeech is depicted both soaring through the smokey skies of Eternia and standing on his perch, which sits on top of a castle turret.

screeech

Name: Skeletor and Panthor
Year: 1983
Artist: William Garland
Description: He-Man clashes swords with Skeletor, who sits astride the savage Panthor. A tiny gargoyle-like creature leaps from harm’s way. Man-At-Arms swings his club at Beast Man in front of the ominous Castle Grayskull.

skeletor-panthor-hi-res

Name: Skeletor and Screeech
Year: 1983
Artist: Rudy Obrero
Description: Skeletor stands at the edge of a lava-filled crevasse with Screeech perched on his arm. Two rodents run away in terror.

skeletor-screeech-largest

Name: Teela and Zoar
Year: 1983
Artist: Unknown
Description: Teela stands atop a rocky mountain peak as Zoar swoops through the skies at sunset. A snowy mountain range is visible in the distance.

teela-zoar-largest

Name: Zoar
Year: 1983
Artist: Rudy Obrero
Description: Zoar swoops through the skies as He-Man and Skeletor do battle on a rocky, volcanic landscape. Castle Grayskull looms in the distance.

zoar-no-logo3

More articles in this series:

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Interviews

Martin Arriola: Guardian of Grayskull

Martin Arriola was a designer on the original Masters of the Universe toyline. He went on to work on the  1989 New Adventures of He-Man reboot, the 2009 adult collector Masters of the Universe Classics toyline, and many other lines for Mattel. He graciously agreed to sit down and talk to me about his work.

Battle Ram: Thanks for agreeing to this interview! So, how did you get into the toy design business?

Martin Arriola: My dad was a carpenter, I always watched him work. He was good at what he did.  I was always drawing – I was terrible at math, and I didn’t like hard work, so I wanted to see if I could make it in the field of commercial art.

Everyone keeps telling you it’s very competitive. But if you never try you never know. I went to trade school for two years. I went to UCLA, then I started attending Art Center College of Design.  I started at Art Center at night, and one of my instructors told me to come full time.

I went from there in 1980 and freelanced for a couple of years. Then I got a call from head hunters. One was from Mattel, offering a job that paid $33,000, which was decent money in the ’80s. Another was a call for startup newspaper. These guys saw some of my illustrations (I graduated as an illustration major). They wanted to hire me as director, for same amount of money Mattel was offering. They were based in Washington DC, and Mattel was in California. In the end I wanted to stay in California, so I went with Mattel. It turned out that paper was USA Today.  I stayed at Mattel for 32 years.

BR: What did you start working on when you were hired at Mattel?

MA: I started on Hot Wheels stuff. They didn’t have toy major designs back then. Seventy percent of their designers came from the Art Center. I didn’t know a label sheet from an overspray, but I could draw. There were no computers at the time, no Photoshop. Mark Taylor was great at markers. I was a marker freak – that’s what got me the job.

Ted Mayer was still there when I was there. I was hired to replace Mark Taylor, at least that’s what I had heard. That was back in 1982.

I remember rendering a bunch of vehicles. I did a bunch of renderings for Hot Wheels. I learned everything there at Mattel.

When I first got there the designers were over-worked, but it was also lax, it was so much more fun. Mark Taylor had just left to go to Playmates… I almost quit under Roger Sweet. I came close to quitting. The credit stealing was awful.

Anyway, there was a big paradigm shift. I know Ted and Taylor were part of visual design. I started as an art director in Visual Design. Shel Plat asked if I wanted to work on products or packaging. I thought products would be more fun. A lot more goes into it, although you have to deal with engineers.

BR: When was this?

MA: I think I started in 1983 on He-Man. One of the first things I worked on was the figure with the rotating drum, Battle Armor He-Man. We did same thing with Skeletor, same feature.

I may have done Screeech and Zoar. I don’t know what came first. I started out picking the colors. Zoar was the Big Jim Eagle, and Battle Cat was also from Big Jim. He-Man’s Battle Cat was already done. I worked on the other cat, Panthor. I picked the colors. There was a lot of refresh back then.

Zoar & Screeech
Panthor & Battle Cat

BR: Who were you working with?

MA: Colin Bailey was one. He could draw anything, this guy was awesome. I said to myself, I gotta draw like him. I watched him do Fisto, Buzz-Off. He did the original Stridor. I think I picked colors on Night Stalker. I got more familiar with the line,  and I started doing a lot more as far as art directing and sculpting.

BR: Was  it a challenge get a good design through engineering?

MA: It’s totally different now. Everything goes to Hong Kong. Design now has a big role, as opposed to what it used to be. In 1982, designers never went to Hong Kong. Engineering was the big division then. They traveled everywhere. It wasn’t vendors, it was captive plants. We did tooling inside, and there were all these divisions in Mattel that no longer exist. Design got bigger and bigger and more powerful.

Prelim, guys like Rogers Sweet would always over-promise to marketing, and sometimes add stuff that was unsafe or not practical.

BR: Oh, like what?

MA: There was Dragon Blaster Skeletor. Prelim design came up with breadboard model. It was unpainted, using old legs and arms and a body sculpted from square styrene blocks. Sweet was touting this one, Smoke and Chains Skeletor, it was called. It had a bellows on its back. You would load the bellows with talcum powder, and there was a pipe going from a cavity to the figure’s right hand. Talcum powder would come out like smoke. The figure was draped with chains, so the working name was Smoke and Chains Skeletor.

Image via Tomart’s Action Figure Digest, issue 202

I was thinking about doing the final design. Around that same time there was a big grain factory in Texas that exploded. It killed a lot of people, so it made big news back then. Everyone smoked back then.

I said, wow, this has powder. I lit a match and squeezed the bellows. A four foot flame came out of Skeletor! Luckily I hadn’t pointed it at anybody. I remember going to the VP of Design, Gene Kilroy. I had Smoke and Chains Skeletor and a lighter. I just happened to come across the greatest TV moment. I lit the thing and a big old flame came out it.

BR: That’s insane!

MA: When safety got a hold of this, obviously it couldn’t be released. We tried diluting the powder with baking soda, but then it didn’t look like smoke anymore.

So we brainstormed, me and Tony Rhodes. We didn’t do much with water squirting at the time. We had a big brainstorm, and thought, what about squirting water? So we ended up sculpting the dragon on the back of Skeletor, and being able to load that up with water.

Image source: 1985 Mattel Dealer Catalog, scanned by Orange Slime

There was a lot of trial and error stuff like that. We had to change because prelim would promise that this was going to be the feature, and get it for this much. They would always say it was cheaper than it was going to be. They would say it can’t do this and can’t do that. We were always having to make sure it was safe, affordable and that it would actually work.

BR: Do you know who designed Clawful?

MA: Colin Bailey did Clawful, he was one of the first designers to work on the vintage He-Man line. By then Taylor had already left to do Ninja Turtles with Playmates.

BR: What were the figures you primarily worked on?

MA: Just about all of them, to be honest with you.  I did all the Secret Wars figures as well. I actually became a manager of the (He-Man) line, but they didn’t give me the title. I managed the line from Screeech and the drum rotating guy, until the line got dropped. They over shipped the line to make the numbers, and that’s what killed it.

I hired Dave Wolfram and had some temps working for me too. Basically from Screeech until the end. The dinosaurs, I worked on those as well. I hired a couple of guys. I had to approve everything. I’m not taking credit for that, that’s not what I do. From then until New Adventures. I worked on all that stuff too.

New Adventures He-Man concept, by Martin Arriola (image via The Art of He-Man)

It was not like it is now, I retired on my own time, the politics got so bad. I worked on Disney-Pixar cars stuff. I made a billion dollars for that company.

BR: Do you know who designed Stinkor and Moss Man?

MA: Those were refreshes like Scare Glow and Ninjor. I also worked on Land Shark and Laser Bolt, that was kind of a challenge. I worked on Stinkor, Moss Man, and Ninjor.  Clamp Champ, too. If you look at those, its all existing parts. We tried to save as much money as we could. Whenever we could refresh, we’d do a refresh.

BR: Right, like Faker. Did you work on that figure?

MA: I did label sheets for Faker’s chest, it looked like a reel-to-reel tape deck. On [Sy-Klone], I came up with lenticular lens. We reused the idea for Secret Wars. Sometimes you get lucky.

BR: What about Snake Mountain?

MA: Snake Mountain, I wish I had one now. Eddy [Mosqueda] sculpted it*. Eddy was really really fast. The guy who sculpted [Eternia] was really, really slow.

Snake Mountain. Image via Orange Slime

On the boys’ side, [engineering] was all done inside, and you had to go through politics. Now everything goes to vendor. You had to get saddled with people who were not so talented. Like Bionotops. This guy, Hal Faulkner had a bitchin sculpt, but the engineer started smoothing out the mold and getting rid of musculature. Smoothing it all out. My manager said he was fixing it, but it looked like a piggy bank. He also worked on middle tower for Eternia. There was only so much you could do.

Now it’s different. You do a front three-quarters sketch, send it to Hong Kong, and you see a digital output.

BR: Do you know anything about a brown-haired He-Man variant? People seem to think that you could get it in a mail-away offer. What many people recall is that you would send  in three proofs of purchase and you would get a free figure in the mail, but no one seems to know much about it or why it was made in the first place. It looked like this:

Image courtesy of Arkangel

MA: The brown haired variant was either just done or in the works when I got there, but I think you’re right. Has it been referred to as The Wonder Bread mail-in offer? Again, I just got there and was just trying to keep my head above water, keeping up with great talents like Colin Bailey who drew like an angel with so much ease.

BR: Do you know who designed Jitsu?

MA: I watched Colin draw control art turn views of Jitsu as reference for sculpting.

BR: Besides Rudy Obrero and Bill George, there was another person who painted some of the box art. We don’t know his name, but he did the box art for Point Dread & Talon Fighter, Panthor, Skeletor/Panthor Gift Set, Teela/Zoar Gift Set, Night Stalker, and a few others. Any clues there? Here’s an example of his/her art:

MA: Unfortunately I can’t remember that guy’s name, but his stuff was pretty decent as a fill-in when Bill [George] was overbooked. His art was better than the guy who did the dino art, Warren Hile, who I went to Art Center with. He now makes furniture in Pasadena. I looked up his art in the SDCC He-Man book that I designed, which sold out in a day, but no names are listed. I’ll find out because now it’s bugging me, thanks to you.

BR: What about Tony Guerrero? Do you remember him?

MA: Tony Sculpted THE He-Man. He had a twin brother, Ben. He was on the engineering side and Tony was a sculptor. One of guards once asked Tony for a property pass and offended him. He said, “Do you know who I am, I sculpted He-Man!”

Tony Guerrero’s He-Man prototype. Image source: The Art of He-Man/The Power and the Honor Foundation

Tony didn’t do a lot of the later stuff. I don’t know if he got let go. I can’t tell you how many purgings I survived there. They didn’t care how good you were, or what you contributed. It was how much money you made. They would bring a new guy in that they could pay less and force you out.

Tony and Colin left shortly after I got there. Colin was there for a couple of years.

Bill George did the best art. He was at Power Con, the very first one. Bill’s paintings were the best. He did the best He-Man ever.

Road Ripper, by William George

BR: By 1986, there seemed to be a lot more stylistic diversity in the line. Can you talk about that?

MA: Extendar was designed by John Hollis, he was a temp who reported to me. He did Extendar, and he also did Rattlor and Turbodactyl. Each one has own style. Pat Dunn worked on Mosquitor. They way they turned out depended on they designer’s style and the action feature and play feature. The hardest one I worked on was Sorceress. Her wings popped out on back pack. Roger Sweet promised all those things. It’s hard to pack a mechanism on a thin-looking body. There was no other way I could do it except to put hump on her back.

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

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


Ed Watts was the best and he actually did some preliminary designing and B-sheets on many of the vintage Masters toys, including Land Shark, the dinos, and Skeletor’s Dragon Fly [Fright Fighter], just to name a few. He actually had talent and thus recognized others who had talent, and was not insecure or jealous of others, so that’s why we got along. He was my manager when I designed/developed all the Bug’s Life line. Unfortunately he died of brain cancer way too young.

BR: What else did you work on in your time at Mattel?

MA: Everything that failed, I didn’t do, like that 2002 series… I was already off the line at that time. I worked on Harry Potter. I remember it was the Four Horsemen that were sculpting it. They were going old school, with clay molds and final waxes. Those guys are awesome. We were going to do Spawn at that time, and then anime stuff came up. I think I was working on Killer Tomatoes and Hook when we left the old building. Anyway, the Four Horsemen went in and did a really great sculpt of He-Man and Skeletor, almost two feet high. But at that time anime was coming in. So when they approached the Four Horsemen they had them sculpt them anime style as well. On that version, He-Man’s neck is coming out of his chest. Mattel did a focus test (which I hate), and the kids picked the anime style.

Then I got put back on He-Man, and started working with the Horsemen on [Masters of the Universe Classics], with no features. So there was this weird roundabout way I came back and worked on He-Man with the Horsemen, which they then gave to Terry Higuchi, because I was pulled to work on Remi from Ratatouille. Terri did a great job.

Masters of the Universe Classics

BR: What figure or other toy are you most proud of in your time at Mattel?

MA: I did so many entire lines there in 32 years. It would seem like bragging if I listed them all, which were approximately 15 to 20. Several never made it to retail. In hindsight I guess my favorites were the vintage MOTU line; resurrecting the then-dead Disney-Pixar Cars Line and generating a billion dollars for the five years I had it before my jealous VP stole it from me; and the Disney-Pixar Ratatouille line, which I designed/developed single-handily with my Hong Kong counterparts.

I’m especially proud that all those toys I designed/brought to retail made kids happy and filled their lives with joy & imaginative play. I’m happily retired now, focusing on painting full time. You can check out my original art on my website, www.martinarriola.com.

To hear more from Martin, check out these Power Con panels:

Several pieces of cross sell art used in this article are courtesy of Axel Giménez.

*Note: Eric L. recently contacted Eddy Mosqueda, and confirmed that Eddy did not actually sculpt Snake Mountain.

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Evil Beasts

Night Stalker: Evil Armored Battle Steed! (1985)

night-stalker-blog-graphic

I remember getting Night Stalker as a birthday surprise in the fall of 1985. I believe I got him along with Battle Bones. I hadn’t heard anything about either toy, but I was pretty impressed with both of them. Of course as long as I got He-Man toys, I was happy. I was an easy kid to shop for.

Night Stalker, along with Faker, Screeech, Stinkor, Moss Man and Panthor, come from the “cheap repaint” school of Masters of the Universe toy design. Night Stalker was a recast version of Stridor (who had been released the year before), in gold, purple and black. The US release did not include a recolored version of Stridor’s head armor piece, but Brazilian, Venezuelan, and French versions did. His sticker designs were quite different from Stridor’s.

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From the 1985 Mattel Dealer Catalog. Images via Orange Slime.
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Like Stridor, Night Stalker had a surprising lack of articulation. The design of his legs would lead you to believe that they were movable, but in fact they were not. The only moving parts on both horses were the tail, the rear gun, and the front guns. I was a little surprised by this fact when I first opened him up, but given the lack of articulation on Battle Cat, I made my peace with it pretty quickly.

Unlike an organic horse, Night Stalker was outfitted with a cockpit. The rider would sit in a seat with his legs inside the mechanical steed’s body. He could control the horse via a control panel rather than reins:

control-panel
Night Stalker’s control panel.

Night Stalker was sold individually and in a gift set with Jitsu. I’ve always liked the fact that Night Stalker had a rider associated with him besides Skeletor. I feel like it adds a bit of depth to both Jitsu and Night Stalker. You can imagine the two of them having independent adventures far away from Skeletor’s watchful eye.

The artwork on the individually packaged Night Stalker was done by an unknown artist, who I believe also did the artwork for Panthor, Stridor, Point Dread and others. The artwork for the two-pack was done by the great William George:

night-stalker-artwork-best
Image source: Hake’s Americana
Image courtesy of Tokoynever

To date I haven’t identified any colored cross sell art for Night Stalker. Some red line art appears on the back of the Fright Zone box, and I also located some black and white line art created for advertising copy, featuring Jitsu as the rider:

night-stalker-cross-sell
night-stalker-line-art

Night Stalker didn’t show up in the mini comics, but he did make a few appearances in the UK Masters of the Universe comic book series (images via He-Man.org):

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Note that He-Man is actually riding Stridor, who has been inadvertently colored in Night Stalker’s colors.
00-cover

In Issue 3 of the series, Tri-Klops rides a living horse that seems to resemble Night Stalker, although it may be a coincidence (hat tip to James Eatock, who made that observation 10 years ago on his blog).

Night Stalker also makes a couple of appearances in the German audio plays (hat tip to Tetsuo S.):

das-damon
Image source: He-Man.org
das-zauberschwert
Image source: He-Man.org

Night Stalker also appears quite frequently in the German Ehapa Verlag comic series:

Germany - Ehapa Verlag 1988 01
Image source: He-Man.org

According to James Eatock’s excellent He-Man and She-Ra guide, Night Stalker was intended to appear the Filmation He-Man series under the name “Knight Mare”,  but for some reason never found his way into an episode. I would guess that that that name Knight Mare was Night Stalker’s initial working name at Mattel. The robotic horse was also called Knight Mare in the old German toy magazines and audio plays (hat tip to Klemens F. and Kevin D.).

he-man-and-she-ra-a-complete-guide-to-the-classic-animated-adventures-night-mare
Image source: He-Man and She-Ra, A complete Guide to the Classic Animated Adventures, by James Eatock and Alex Hawkey

Night Stalker seems to be less popular than his heroic brother Stridor, but personally I prefer the evil horse. I’m sure part of that is driven by nostalgia (I never owned Stridor as a kid), but I also think his color scheme is just more striking.

From the 1985 German MOTU magazine. Image via He-Man.org.

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Commercials, Videos

Top Toys Commercials

Masters of the Universe toys were produced under license by various international toy manufacturers in the 1980s. One of those manufacturers was Top Toys, based out of Argentina.

In addition to manufacturing Masters of the Universe toys (including the famous “Kamo Khan”), Top Toys produced some high quality television commercials for the MOTU product line. Here are the five that have surfaced so far, which heavily feature He-Man, Mer-Man, Skeletor, Zoar, Battle Ram, Panthor, Man-E-Faces, Clawful, Spikor, Sy-Klone, Land Shark, Battle Bones, Snout Spout and others.

Special thanks to Andy W. for pointing out the “Top Toys He-Man Offer” video to me, and to “Anonymous” (in the comments below) for sharing the last two videos.

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