And here’s Ron Rudat’s pencil final for the character. This would get turned into painted presentation art, then a sculpt input drawing (aka a “turnaround”), and then a wax sculpture.
The day I bought this toy my brother and I then went to our local video store, which was called Video Cassette Rentals. We must have just been to Lowen’s, an extraordinary mom and pop toy shop and just a few blocks over. I was so struck by that cookie reference that I read it aloud to my brother, us sitting there in the back seat. Kevin probably thought that Psyche-Out’s neon green jacket and wacky satellite dishes made for an unrealistic and unappealing Joe, but A) I thought they were cool and always gravitated more towards the sci-fi in Joe, and B) I think I also identified with clean shaven blondes on the G.I. Joe team since I looked like them. But this was the first time I had an inkling that the back-of-package dossiers were unusually written.
But returning to Rudat’s wonderful design and drawing (that’s two different skills! Design being one and drawing being another), I’m impressed by those six solar cells on his arms. It makes sense that his gear wouldn’t just be battery powered. (Insert joke here about Night Force Psyche-Out’s ineffectiveness.) I like that Rudat is thinking through what such a soldier would need in the field, and yet if I didn’t know what these do-dads did, they offered just enough of an impression to be an addition to this costume without being confusing or distracting. Also great in this art is Rudat’s handling of Psyche-Out’s quilted jacket.
In the development process at Hasbro, every G.I. Joe figure that made it to retail (and some that didn’t!) got a fancy drawing or painting whereby the higher-ups could see the character as a bold, dramatic illustration. This wasn’t the package art that we all saw on toy store shelves, but rather, internal only to Hasbro. A pencil turnaround of the figure from front, side, and rear views didn’t offer enough punch, nor did a sculpt or a casting. George Woodbridge, better known for military history books and Mad Magazine, was one of the eight or so artists who created these. (He also delineated most of the 1988 turnarounds.)
In the numbered 30s, the monthly G.I. Joe comic was a scheduling challenge. The series was about to get a new regular artist, certain issues needed to advertise key toys based on the scheduling of particular TV commercials that hyped the comic, and of course, every issue needed to be approved by folks at Hasbro. Issues #35 and #36 had six artists between them, one of whom was Mark D. Bright.
Marty Pasko was a writer known to many different audiences. He wrote across the DC line, notably Superman. In live-action television, he contributed to The Twilight Zone revival and Simon & Simon. In animation, he’s an Emmy winner best known as a story editor on Batman: The Animated Series. To G.I. Joe fans, Marty Pasko of course wrote three episodes and co-wrote a fourth, which aired in 1985 and 1986.