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