Jake Rossen interviewed me and I provided all the images for this mental_floss article about Sylvester Stallone’s Rocky Balboa “joining” the G.I. Joe team. This summer I had jury duty, but this fall I was finally an expert witness! Read it here.
Last weekend was the annual official G.I. Joe Collector’s Convention in Loveland, Colorado.
Oh, first off, that isn’t Sgt. Slaughter. That’s Erik Neal cosplaying as Sgt. Slaughter. I’ve never met the real Sarge. If I did, you’d probably read about it here.
Secondly: This is long, but it’s mostly photos, and the text chunks are in tiny, digestible paragraphs.
Once again, apologies for such infrequent blogging. School, store — you’re familiar by now, plus a new one: jury duty.
Today’s blog post comes from more than twenty years ago, part of page 34 of The Patriot Ledger, a newspaper based in Quincy, Massachusetts. News outlets in New England perhaps paid a little extra attention to Hasbro in the 1980s, since it was headquartered in Rhode Island. This article by Alice Greene paints a picture of Christmas wishes in late 1984.
It felt good, a year ago, to put into words all that went into writing this G.I. Joe book, so I’m doing it again. Many things repeat from last year, and a few things are new. And there is — good news — some progress.
Mike Zeck needs no introduction. Here’s a short one anyway. He’s best known for four things: a three-year run on “Captain America,” the 1986 “Punisher” miniseries that made Frank Castle into a real character and not a Spider-Man foil; and 40 or so unbelievable G.I. Joe covers. His career in comics is bigger than that, but you only asked for a short introduction.
I got into G.I. Joe in its 3rd year, so while I hadn’t missed the VAMP (or the VAMP 2) at retail, other “basic” vehicles were vying for my attention and dollars — the Snow Cat, the A.W.E. Striker. But the VAMP is such a visible part of the first ten episodes of the animated show that I always wanted one. And even though my family wasn’t connected to military culture I knew from magazines and history that the iconic military Jeep was, well, iconic. So I always wanted G.I. Joe’s Jeep to be a part of my toy play. (Our agents of Cobra had their Stingers — the VAMP repainted in black — and I did finally get a bright yellow VAMP in the form of the Tiger Sting, but not until G.I. Joe’s 8th year. Don’t feel bad for me, though, my Joes did well with the Snow Cat and A.W.E. Striker.)
“Where the Reptiles Roam,” a 1985 Sunbow/Marvel episode of G.I. Joe, is great. And silly. Which is the best thing I can say about the 1980s Sunbow/Marvel show. Teleplays balance action and a bit of drama, while characters chew scenery and veer into charming archtype. I love everything about this show. In this episode, written by Gerry Conway and Carla Conway, four Joes infiltrate a Texas dude ranch where Cobra has harnessed a space laser to destroy American cities. You remember three sentences ago when I said this show was charming, right?
(Today’s blog post is about art, not writing, but I want to toss out that although in comics Gerry Conway is best known for killing Gwen Stacy, he has a big career writing for live-action TV, and is writing some Spider–titles again.)
To repeat from an earlier blog post, animation background keys don’t appear in animation, but provide master shots for the BG artists to draw and paint specific angles within a location. Let’s do this one backwards. The last time we looked at a background key from G.I. Joe, we examined the actual painting first, and then screencaps from that scene second. But here are the screencaps. Click to embiggen, and follow along. Wild Bill leads the square dance. Pan past him from the stage and the shifty old folks, cut to our three undercover heroes. Over the shoulder from them, they see the shifty old folks leave. Cut back to a three-shot as Alpine suggests they follow. This whole thing is 20 seconds.
This scene involves seven shots. One is reused, so this scene only involves six BG paintings. All of those BGs are drawn and painted to match shots from the storyboards. And the BG key is the master shot for it all. I can’t prove this is the only key for this scene, but it’s a safe assumption. This painting is unsigned, so I don’t know who drew it and who painted it. Sadly, G.I. Joe Season 1 end credits don’t list BG artists, so we may never know. There is crossover from the talent that worked on the TV show also working on the animated movie, so perhaps of the 14 people in the BG department who are credited in the animated movie, one did this. But sorry, I don’t know. Again — one fancy painting to envision a setting for 20 seconds of a 22-minute show. That’s a lot of work!
Interesting to note how the space changes. The key makes the room feel shallow and yet horizontal. That’s what a landscape composition might do for you. But the animated scene fills this space with people, and makes the room feel quite deep. The steepness of the stairs also changes. I’ll chalk that up to a many hands working on a rush job. That’s exactly the kind of inconsistency you don’t see on a big budget feature film like, say, the 1989 Little Mermaid, (animated in America and over several years) but you do see on an ’80s TV show animated in one or two countries over several months. Additionally, the stone hearth is unseen in the animation. It might have been simplified out of the scene, or it might be in that fourth shot above, obstructed by Alpine on the right.
Whatever the case, I’m sure glad the Joes stop that space laser.