After my big interview with Mark “Funky Bunch” for a special episode of Talking Joe (between episodes 103 and 104, December 2020), Mark told me that the podcast was at a crossroads. After two years of hard work, founder Chief Stride was retiring, and Mark was considering a change in format or was a looking for a new co-host. And would I be interested? I’ll go into this more in a week or two in my big A Real American Book! year-in-review post, but the answer turned out to be yes.Continue reading
James A. Payette made an important but limited contribution to G.I. Joe.Continue reading
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.
The Dreadnoks are a biker gang under the leadership of Zartan and informally and occasionally on the payroll of Cobra. It’s one of the wonderfully bizarre team dynamics in the G.I. Joe universe.