Here’s an item that’s a little different that the art artifacts I usually show: Merrill Hassenfeld’s obituary from The Evening Bulletin, an afternoon edition of the Providence Journal. Hasbro was a family-owned company for three generations, and Merrill represents the middle of that. He had no direct interaction with A Real American Hero and the 1980s iteration of G.I. Joe, but he approved the original, 1963 Joe. Merrill’s son Stephen learned much from his father while climbing the ranks at Hasbro, and Stephen was president of the company (and heavily involved in A Real American Hero’s development) when G.I. Joe was re-introduced in 1983. Authors John Michlig and G. Wayne Miller both paint interesting portraits of Merrill Hassenfeld in their books GI Joe: The Complete Story of America’s Favorite Man of Action and Toy Wars, and if I could be a time-traveling fly on a wall, I might go to Mr. Hassenfeld’s office circa 1970.
Category Archives: G.I. Joe Behind the Scenes
Here’s Kurt Groen’s presentation art (marker over photocopy, not paint) for 1992 Duke in green, brown, and black, as opposed to the beige and red that made it to market.
What other colors might that trash can have been?
While Ron Rudat is best known for designing the G.I. Joe figure line (and a few vehicles) from 1981 to about 1987 (for the ’82 to about-the-’88 lines), what’s less well known is that he continued to contribute after that. Case in point, Star Bridgade Cobra Commander. Remember when Cobra Commander was an astronaut? You don’t? Oh, that’s because you perhaps stopped paying attention to the Real American Hero line before its end in 1994. Well, to catch you up, those final two years had a bunch of favorites (Duke, Roadblock, Destro) in astro-gear. And some aliens. (A topic for another day). Anyhoo, full disclosure, I added the color above. Today’s art is a black and white photocopy. Continue reading
In 1990 Lee Weeks had recently finished at the Joe Kubert School of Cartoon and Graphic Art (now just “The Kubert School”) and was regularly drawing Daredevil for Marvel. Before that job started, fellow alum Andy Kubert had helped get him a cover job on G.I. Joe, and in the middle of that 10-issue cover run, Weeks drew a fill-in issue as regular artist Mark Bright’s time on the series was winding down. Continue reading
As I’ve noted here, when R&D was concepting a G.I. Joe figure, that character would go through quite a process. A multitude of pencil sketches, input from other members of R&D, line reviews for higher ups, and even a rendered, full-color painting, all before sculpting commenced. As fun as it is to see proposed designs of toys that didn’t make it, it’s also fun to peak behind the curtain on favorites that did. Like ’89 Rock & Roll here. Continue reading
Season 3 of G.I. Joe, or as the Shout! Factory DVDs call it, Series 2 Season 1, is a mixed bag. Lots of returning writers, characters, and voice actors, but the show is a different tone. It’s funny, or tries to be, and there’s not much sense of danger. I’m never worried for the Joes. But Russ Heath was on board again drawing model sheets, so that’s a bright spot. Today’s artwork comes from a ridiculous episode called “That’s Entertainment,” where Cobra Commander kidnaps actor/comedian Jackie Love and decides he wants to make movies. Really, the less said, the better. Continue reading
No doubt you’re familiar with the Academy Awards, given to films and film artists, planners, and scientists. Or the Emmys, given for television, or the Grammys and Tonys, for recorded music and Broadway theatre. You’ve maybe heard of the Clios, which we think of as the Oscars of advertising, but that category is more broadly defined on the Clio website as “advertising, design, interactive and communications.” And there are the Effies, for “marketing communications” — given to marketers by the marketing industry.
G.I. Joe won a silver Effie in 1987. Continue reading
While I was glad to see my favorite Joe Marine, the ’86 Leatherneck, get an update in ’93, I wasn’t thrilled by the color scheme. It’s interesting, but it doesn’t say “Marine” to me. But it’s unfair of me to want that since this update isn’t a Marine, or just a Marine, but an Infantry/Training Specialist and Marine Drill Sergeant. And maybe such a person would wear burnt ochre, yellow, and teal. So while the G.I. Joe line was moving back towards realism in the Battle Corps subset in ’93 and ’94, that wasn’t a guarantee that Leatherneck, one of the more realistic-looking figures of the ’80s, was going to stay realistic. To be clear, though, I do like the design, just not the color choices. My first reactions are the words “giraffe” and “banana,” and I’d only want to have that for some fanciful Jungle-Viper.
Which is why I was so struck by this test shot. Continue reading
As much as I love G.I. Joe toys and comics, I was a fan of the animation first. I went to school for animation, and teach it, and the Sunbow/Marvel G.I. Joe (along with Transformers) are my top shows. Vivid color, strong animation, smart writing, superb sound design, stellar music, and top-notch voice acting bring me back to these two series again and again. They’re charming. And their strengths are such that I can blissfully ignore their many flaws, like the ease with which a squad of Joes flies into space in F-14 jets, or return via parachute.
But Flint Dille and Stanley Ralph Ross’ “The Wrong Stuff,” for all its silliness, is one of the series’ best episodes. One day I’ll write a long post about it, but in a word, it’s funny. So let’s celebrate that fun with an original production cel and background of Wild Bill in full astronaut regalia. Click for larger: Continue reading