The Comic That Changed Everything – Part Twelve

The 'Nam issue 36 cover detail by Wayne Vansant

Part 1[2] [3] [4][5][6][7][8][9][10][11] – Twelve

In our last episode, Tim and his brother Kevin are interested in Vietnam, and have started reading comic books!

Marvel published a monthly series called The ‘Nam.  I didn’t really know what that was, but I could put two and two together:  The title design was a military stencil font, those three letters looked like the end of the word “Vietnam,” and there were Army guys in green on the covers.  While comic books starring super-heroes were grabbing some attention from Waldenbooks’ two spinner racks at our local mall, we hadn’t made that jump yet.  G.I. Joe was “realistic” in a way Uncanny X-Men (whatever that was!) was not, so if we were going to start reading a second comic book (third, counting our truncated following of Joe’s spin-off book G.I. Joe Special Missions), it needed to be similarly grounded.  I had been flipping through this ‘Nam comic for two months now.  Issue #36 had had a particularly compelling cover:

The 'Nam issue 36 cover by Wayne Vansant

I hadn’t experienced any racism in my life, but I knew what it was.  A friend of the family had been singled out a few times, and in grade school we talked about the Reverend Dr. Martin Luther King, Jr. every January.  There we even had a short play about mean parents not letting their kids befriend kids of other races that we performed each year.  And the nation’s capital was the next city over, so the 1963 March on Washington was referenced on local TV news and in the pages of the Washington Post probably a tad more than in the, say, Los Angeles or Anchorage media.  And as much as racism was a real topic that we talked about in history class, it wasn’t anything anyone talked about in any day-to-day fashion.  There was a heaviness to it, as if it was taboo.  So to see it a) on the cover of a comic book, and b) on the cover of a war comic, was surprising to me, a white suburban 6th grader.  The ‘Nam #36 was on-sale the same month Kevin and I got back from summer camp and bought G.I. Joe #92, our second real issue of that series, so we hadn’t passed the tipping point — we were still only buying a G.I. Joe comic book, not just any comic.  But by the time issue The ‘Nam #38 came out two months later, we had 20 or so comic books, and this cover was most compelling.  (If a little lurid for what was an otherwise tastefully done book.)

The 'Nam issue 38 cover by Mark Texeira

This moment, buying The ‘Nam (in what I believe was the last week of) the first month of 6th grade was the tipping point.  This is where Kevin and I went from enjoying more G.I. Joe stories than we could get from just the TV cartoon to becoming regular and devoted comic book readers; When we started buying a second, regular, monthly comic book series.  (So by a certain definition, it’s The ‘Nam #38 that was “The Comic That Changed Everything,” rather than G.I. Joe #90.)

This title, because of its higher quality paper stock, color separations, and limited distribution, was pricier than G.I. Joe.  It was $1.75 rather than a mere dollar.  But the dam was starting to burst.  Kevin and I just liked comics.  We liked stories, we liked art, we liked reading.  With this purchase it would no longer be confined to G.I. Joe stories, G.I. Joe art, G.I. Joe reading.  So I bought this issue of The ‘Nam, and tried to read it on the way home (but I get lightly car sick if I read, so I gave up after a page or two).  At home I discovered it’s a great comic.

Before I could buy the next one, however, I bought my first graphic novel.  Long before DC had any kind of backlist, back when Marvel had only published about fifteen trade paperback collections of famous runs of comic books and didn’t really know what they were doing (as evidenced by the ISBN number ending up on the spine of Marvel’s 1989 The Power of Iron Man and other cutely poor editorial and design choices), Marvel did have three modestly-priced graphic novels reprinting the first twelve issues of The ‘Nam.

The 'Nam TPB covers by Michael Golden

Next to the two spinner racks of individual comic books, Walden had a larger spinner rack of graphic novels (whatever those were!).  That included the second and third ‘Nam books, and for whatever reason, I found the cover of the third one the more compelling.  After hovering around for a few weeks, I bought it.  Excellent art, tight scripting, compelling characters, and the shocking death of a major character.  Regular readers had known him for nine months.  I’d only known him for twenty pages and yet it was an affecting surprise.  And soon I bought the other graphic novel, and then issue 39, and 40, and somewhere the first volume, and then we were regular readers, meaning we now collected a second comic book monthly besides G.I. Joe.

But to be honest,  besides all this grand talk of pathos, characters, and dramatic tension, my brother and I were still just boys who liked guns.  G.I. Joe and The ‘Nam had those in spades.  So it was only natural that the next comic book title we tried out was replete with fire arms as well.

And what Marvel series in 1989 was all about guns?  Tune in next week to find out!

Part 1[2] [3] [4][5][6][7][8][9][10][11] – Twelve

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Bazooka original dossier by Larry Hama

G.I. Joe Bazooka 1985 dossier Larry Hama teaseYou’ve probably seen this:

G.I. Joe Bazooka 1985 cardback dossier by Larry Hama It’s Bazooka’s 1985 toy cardback dossier, or “command file,” to use the official term.  Many fans know Larry Hama wrote these, so in addition to the monthly adventures from Marvel Comics, Hama was also influencing the Hasbro toys.  But before computers and the internet and .doc files and e-mail attachments, Hama’s originals would have been typewritten and faxed from New York to Pawtucket.  So you may not have seen this:

G.I. Joe Bazooka 1985 cardback original dossier by Larry Hama

You can even see the correction fluid.  (Certain typewriters had a second ribbon in white for fixing typos, many did not.)  This dossier is particularly interesting for Hama’s comment on outdated gear, and has his customary codename suggestions for Hasbro Legal to check.

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The Comic That Changed Everything – Part Eleven

G.I. Joe issue 94 panel Snake-Eyes Vietnam flashback by Bright and Emberlin

Part 1[2] [3] [4][5][6][7][8][9][10] – Eleven

In our last episode, Tim and his brother Kevin bought G.I. Joe issue #94!

Part one of the NINJA COMMANDO’s spotlight reveals more about Snake-Eyes’ origin, and how he first crossed paths with the Baroness, and why she holds a grudge.  (Played out in general that she’s on the Cobra side and he’s a Joe, and specifically that she goes after him in Switzerland while he’s anesthetized.)  The flashback is Saigon, 1968.  And Vietnam was of interest for me.  Why?

My father subscribed to several military magazines, and those sat on our coffee table next to hardcover books on jets, and near novels and histories like God is My Co-Pilot, Thirty Seconds Over Tokyo, and Time Life’s WWII set.  And while Dad was more interested in The Second World War than Vietnam, the latter was still fresh on the minds of many Americans.  Saigon fell just two months after my brother was born.  The Vietnam Veteran’s Memorial, “The Wall,” was dedicated the same year Real American Hero debuted.  And President Reagan’s rebuilding of the Armed Forces was still palpable.  Mom worked for Senator Dodd.  Dad worked for NASA.  Neither of those related to Vietnam, the place or the war, but as an “inside the Beltway” family the TV news was on every night for two hours, so though we didn’t have anyone in the family serving in the military, we were aware of it.

The Vietnam War, or I guess The Vietnam Conflict, since America still doesn’t technically consider it a war (if my 12th grade history serves me), was recent.  Americans were coming to terms with it.  College classes were now being taught on it.  Stone’s Platoon and Kubrick’s Full Metal Jacket were earning box office dollars and winning accolades.  At the same time, CBS was running a great TV series called Tour of Duty.  This show only lasted for three years, and had the unfortunate timeslot of Saturdays at 10pm.  (Not quite the kiss of death that it would be now, but still not great.)  (This meant I would watch “The Golden Girls” with my mom at 8, Tour of Duty at 10 with my brother and father, and PBS’s broadcast of the BBC Robin Hood at 11.  [Yes, I watched The Golden Girls because it was a well-written, well-acted, funny show.]

Tour of Duty was an hour long drama about the regular soldiers of Company B serving in Vietnam.  Season 1 was filmed in Hawaii, so it looked great, and benefited from writing that portrayed the ups and downs, and the shades of grey the average Army grunt experienced in country.  That this show came along when G.I. Joe was in full bloom, combined with my brother and father’s interest in war history and military armament, was a coincidence.  But it only enhanced our appreciation of the military themes in G.I. Joe.

The show lasted three years, and was about as gritty as the accepted standards of the time.  It was violent, but not overly so, and the violence was tastefully done.  This was before TV ratings, back when a “Parental Discretion is Advised” disclaimer was rare, and a big deal.  (The show didn’t have it.  ABC’s 1989 broadcast of Robocop did, for comparison.  And that was quite edited from the theatrical cut.)  More importantly, Tour of Duty dealt with racism, ethnic divisions, moral ambiguity and the fog of war, and the hopelessness of the day-in, day-out slog.  It, like G.I. Joe, was told from the grunt’s point of view.  There were no cutaways to the White House, the Pentagon, or the Paris Peace Talks.

So with all this swirling around in the cultural ether — TV shows and movies and government — it was quite exciting when Marvel’s G.I. Joe veered into Vietnam via flashback.

Moreso, those three months of checking the spinner racks at the Montgomery Mall Waldenbooks, where we went from G.I. Joe issues 90 to 92, and then to 94, offered something even more focused:  An entire comic book series about Vietnam.

What was it called?  Tune in next week to find out!

Part 1[2] [3] [4][5][6][7][8][9][10] – Eleven

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Toxo-Viper v2 presentation sketch and comp

Detail of Kurt Groen 1991 Toxo-Viper v2 color comp

In 1986 Hasbro revised the generic Cobra Soldier, the anonymous man in a dark blue cloth uniform, as the Cobra Viper.  The basic Viper is far from basic.  He has knee-high books, a beefy backpack, body armor, a bigger machine gun, and a silvery face mask that resembles Cobra Commander’s.  In every way the Viper is more aggressive and cooler than the 1982 Cobra Soldier.  A brilliant idea that followed a year later was to use the name “Viper” as a base, and connect it to a variety of prefixes that denote specific types of Cobra troopers — Strato-Vipers are pilots, Frag-Vipers are grenade-lobbing specialists, Astro-Vipers are, um, astronauts.  And on.

1988 saw a strange debut:  Toxo-Viper.  (Click that link for a photo in a new window.)  The garish color scheme and alien-looking helmet were seemingly not a good fit for G.I. Joe, but the concept, a soldier suited for hostile environments (fuel spills, chemical weapons) was sound.  And the Toxo-Viper had a counterpart on G.I. Joe, the 1985 figure Airtight.  In 1991, with environmental awareness on the rise, Hasbro introduced an entire sub-line of toxic waste spreaders and fighters, the extra garish Eco-Warriors.  Toxo-Viper got a redesign:

Kurt Groen 1991 Toxo-Viper v2 pencil artKurt Groen 1991 Toxo-Viper v2 color sketch

The above pencil art and marker art are by figure designer Kurt Groen.  Here’s a detail, color added in marker to a photocopy of the pencil art:

Kurt Groen 1991 Toxo-Viper v2 color sketch detail

The next step would have been a larger, slightly more polished marker drawing.

I’ve always found the Toxo-Viper version 2 to be oddly restrained compared to version 1.  Waist-down it’s underdetailed and undersculpted, and the helmet is much less interesting, (although at least it doesn’t look like an alien).  I suppose time and money were diverted to version 2’s water-shooting canon and color-change feature.  I’ve never owned this figure, so I don’t have one to photograph, but here’s a picture at yojoe.

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The Comic That Changed Everything – Part Ten

Detail of Andy Kubert's cover to "G.I. Joe Special Missions" issue 28

Part 1[2] [3] [4][5][6][7][8][9] – Ten

In our last episode, Tim and his brother Kevin bought G.I. Joe issue #94! 

Before I get too far into the Snake-Eyes Trilogy, I want to take a step back one month and sideways.  Marvel’s G.I. Joe had a spin-off, G.I. Joe Special Missions.  And Kevin and I showed up just in time to catch the final issue.

By 1986, writing G.I. Joe offered a certain challenge for scribe Larry Hama.  Every year, Hasbro delivered to him 20 new characters, but the monthly series already had plenty.  (Not to mention the vehicles, which may have lacked dialogue, but still netted starring roles, like all the attention paid to the Skystriker and Rattler jets in issue #34, “Shake Down!”)  Marvel had already solved the problem of having too many X-Men characters by starting a second X-Men title in 1982, the monthly New Mutants.  I don’t know whose idea it was – someone in Marvel Editorial, Marvel Sales, someone at Hasbro, kids writing in letters, Hama himself, or some combination, but G.I. Joe and Marvel’s coffers could use a similar expansion.

The double-sized G.I. Joe issue #50 featured a back-up tale of five Joes stopping a jetliner hostage situation, and two months later, G.I. Joe Special Missions debuted as its own bi-monthly series.  (It went monthly in ’88.)  Special Missions spotlighted Joes that didn’t appear in the regular series, and was all self-contained, single-issue stories.  Cobra appeared, but the serial drama of G.I. Joe was side-stepped in favor of discrete 22-page narratives of overseas missions, backstabbing, and another hostage situation or two.

And this is a striking book.  Artist Herb Trimpe drew almost every issue, and for its tightly written narratives, fast pacing, and crafty twists, it’s actually my desert island comic.  While I’ve gone on at length about the merits of G.I. Joe, if I could only take one run of comic books with me on a permanent tropical exile, it would be the 28 issues of G.I. Joe Special Missions.  While I love what Hama can do with a cliffhanger, and weaving threads together and apart over time, he’s at his best with finite sagas.  (Going back to G.I. Joe #34, for example:  It’s a self-contained story starring only 4 people and two jets, yet it doesn’t feel confined by 22-pages.  It’s about fighting to live, honor, and the larger canvas of conflict reduced to a tiny scale, all told as a light adventure tale.  Imagine 27 more comics like that and you have G.I. Joe Special Missions.)

In August of 1990, my father, mother, brother and I were headed to New York from Maryland to visit my paternal grandmother.  (According to my calendar, this was right around when we went to the beach and found issue #93, although the two memories don’t “feel” chronologically close.)  Near the Bethesda subway stop, our local Jerry’s Subs and Pizza, and one of the city’s three major intersections sat a Crown Books and a Dart Drug.  I don’t know if the bookstore carried comics — I’d guess no – but it turns out that the drugstore did.  Near the cashiers was a low, light grey rack of magazines, puzzle books, and possibly other comics.

Please remember at this point, Kevin and I only collect G.I. Joe.  We haven’t yet moved on to other comic book series.  (That’s one month away, and the topic for next week’s blog post.)  While we’re not quite leery of other series, G.I. Joe makes sense, and our money is committed to action figures, LEGO, and the occasional radio controlled dune buggy.  But if there’s a comic book that reads “G.I. JOE SOMETHING SOMETHING” on it, that’s not a big stretch.

There on that low, light grey rack was G.I. Joe Special Missions issue #28.  Big, yellow block letters.  White background.  And tantalizingly, several vehicles we hadn’t yet seen in that one comic book we did read:  The Cobra Stiletto, the Cobra Condor Z25, the G.I. Joe Defiant (or was it the Crusader?), and what kind of looked like the G.I. Joe Phantom X-19.  And notably, no people.  Again, the kind of cover you’d never see on Superman, Batman, or X-Men.  This was just tanks and jeeps and planes.  Or in this case, just planes.  And like G.I. Joe issue #90 three months earlier, it was just a dollar.  I bought it, or perhaps convinced my dad to buy it for me since I’d be reading it on a car ride and parents are suckers.  And while Kevin had initially advised against buying #90, he was onboard this time.

G.I. Joe/Frontline Combat art by Zeck, Trimpe, and Toth

Special Missions #28 is a great read.  (If you want to learn how to write airplane comics, read it, the aforementioned G.I. Joe #34, Special Missions #5, and “Thunderjet!” from EC’s 1952 Frontline Combat #8 by Harvey Kurtzman and Alex Toth.) Hama deftly balances the nuances of piloted flight with the action of aerial combat, all while using authentic jargon, finding opportunities to explain that jargon to readers, and throwing in some goofy fun or less-than-realistic moments. In the case of Special Missions #28, that would be the Joes landing their Space Shuttle on the flight deck of their aircraft carrier.  Without an arrestor cable.  Which is somewhere between ridiculous and impossible.  But it still makes for a fun yarn, and “Condor” (the title of this story) is the only time in all of Hama’s comics where the on-page characters speak directly to the readers.  In this case it’s Hawk, kneeling in front of all the Joes, soccer team photo-style, on the deck of the Flagg, telling us to keep reading the regular monthly G.I. Joe.  I didn’t like this breaking of the fourth wall, and I didn’t like discovering a whole ‘nother G.I. Joe series that was over the day I found it, but I’ve come to terms with Hawk’s goofy dialogue and I have a faint wish to track down the original art for that final page splash, buy it, frame it, and hang it on my wall.

Credit goes to Hama’s artistic collaborator, the talented and reliable Herb Trimpe, who had drawn the first year of G.I. Joe.  Trimpe flew planes, and owned his own, so Hama tried to give him planes to draw in this spin-off.  I’m convinced this particular comic book would never have happened unless Herb Trimpe was paired with Larry Hama to draw G.I. Joe Special Missions:

G.I. Joe Special Missions issue 12 cover by Herb Trimpe

Back to the victorious Dart Drug purchase, I don’t remember reading that issue in the car ride north, but I do remember throwing it in the back of our Chevy Malibu station wagon a few weeks later when we drove the hour to visit my other grandparents in Baltimore.  This was before Kevin and I discovered protective bags and boards, in that first year when our entire G.I. Joe collection sat stacked in a cardboard box at knee height on a bookshelf in my bedroom.

Anyway, Special Missions doesn’t get a lot of attention, but narratively it’s as vital as the regular series.  And because each issue is a complete story unto itself, it’s actually more satisfying than G.I. Joe, even without Snake-Eyes and Storm Shadow showing up all the time.

I have a distinct recollection of seeing a TV commercial for Special Missions #28, but I have never seen any evidence of it on the Internet.  Bethesda, Maryland’s Dart Drug and Crown Books were demolished a few years later.  A feud in the Crown family tore the business apart, competition from Borders and Barnes & Noble was fierce, and that entire plot of land was to become a eighteen-story, double-towered headquarters for Chevy Chase Bank.

But this wasn’t the end of buying comics in Bethesda.  What was our new outlet?  Tune in next week to find out!

Part 1[2] [3] [4][5][6][7][8][9] – Ten

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Behind the Scenes – Law blister card

G.I. Joe 1987 Law blister card close-up

Something simple today:  A blister card front sample for 1987 Law.  No blister, no figure, no accessories.

I’m attributing the artwork to Hector Garrido.

G.I. Joe 1987 Law blister card

Many fans know Law was sculpted to resemble Kirk Bozigian, number 2 marketer for G.I. Joe when it relaunched in 1982.  In fact, several figures from the whole ’82-’94 span resemble Hasbro employees, but it was much less often that the package paintings did.  I can’t find my Law figure, so that’s why there’s no accompanying photo today, but the toy does match the person, and in this case, the painting appears to as well.

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Interview – Flag Points Part One

In October I fired up my microphone and Skyped with Don and Dave of the G.I. Joe podcast Flag Points.  It’s pretty nerdy, but should appeal beyond a narrow band of hardcore toy Joe fans.  We talk about collecting, my book, and Hasbro, and we also make Star Wars and Transformers references.  And after I overmodulate for the first few minutes I back off from the microphone.  Perfect for those long drives or killing time on the treadmill.  We talked for so long they broke it in half.  You can stream or download to take with you.
http://flagpoints.podbean.com/2011/10/28/flag-points-10-part-1/

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The Comic That Changed Everything – Part Nine

Part OneTwo Three FourFiveSixSevenEight – Nine

In our last thrilling episode, Tim bought G.I. Joe issue #93 and saw Snake-Eyes’ face!

Just below issue #93’s great cliffhanger was the “next issue” blurb, one that promised the beginning of “The Snake-Eyes Trilogy.” My brother and I owned enough issues of G.I. Joe by now to know that the series had never been delineated with story arcs. Chapters weren’t branded as “part 1,” or “part 2.” It was all an ongoing story, with some characters and plotlines taking the spotlight and others moving to the back or dropping out for stretches at a time. So combined with the fact that this “Snake-Eyes Trilogy” was about the mystery man, and that we had just seen his scarred face for the first time, here was ample evidence that #94 and beyond were a big deal. The tiny preview of next month’s cover showed a healed Snake-Eyes pulling the bandages off his head and brandishing a pistol, a steely look of resolve over the NINJA COMMANDO’s face.

Oddly, when that issue did arrive at Waldenbooks in September, the cover was different. The earlier image had been redrawn, and much of the space was now taken up with giant type that read “SNAKE-EYES GETS A NEW FACE!” And “THE SNAKE-EYES TRILOGY PART 1: WARRIOR REBORN!” And “TOP SECRET.” One of the important factors that separated the monthly G.I. Joe from almost all of Marvel’s other output was the lack of type on its covers. Marvel super-hero comics (and some of the licensed books) regularly had dialogue on the front, and copy that sought to pull in young readers, a decades-old remnant of once head writer and editor Stan Lee’s hyperbolic writing style (“The Day Kitty Pryde Leaves the X-Men, is the Day the X-Men Fall!”) In fact, only 16 out of the previous 93 issues of G.I. Joe had cover copy. This point is worth spending some time on. By way of example, note how impactful this random cover by Mike Zeck (issue #62) is:

G.I. Joe issue #62 cover by Mike Zeck - as printed

There’s tension. You’re worried about the prisoners. One looks injured, one looks seriously ticked off. Maybe he’ll try to escape! Visual cues let you know they’re out of their element: barbed wire and AK-47s particularly. These guys are prisoners behind the Iron Curtain. That’s a scary thought for a soldier in 1988 or so, or a boy following his exploits. But the cover loses all its power if there’s copy:

G.I. Joe issue #62 cover by Mike Zeck - type added

So when Kevin and I found issue #94 at Waldenbooks, with its leading cover text, even if we didn’t consciously realize it, the “part 1 of 3” and the mere presence of a blurb meant that something was different. Now it may have just been Editorial trying to goose sales — Read this issue or you’ll miss out! – but the cover treatment, whether it pulled in additional readers or not, was an accurate reflection of the heightened stakes in this run of issues. I mean, last month the Baroness just blew up the Dreadnoks’ van. In this new issue, she shoots Scarlett point blank in the head! I’m not a bloodlustful guy, but I do appreciate edgy kid entertainment, and stories that don’t talk down to me. This kind of violence could never have flown on TV, but we knew that in war, people get hurt. People die.

And some wars come to a premature end.  Which one was it, metaphorically?  Tune in next week to find out!

Part OneTwo Three FourFiveSixSevenEight – Nine

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G.I. Joe: Retaliation Trailer

The first trailer to G. I. Joe: Retaliation went live the other day, and a few people have asked what I think of it.  First, here it is:

It’s difficult to discuss this without making comparisons to G.I. Joe: The Rise of Cobra, a flawed and disappointing, yet enjoyable, movie.  A proper review of that earlier flick is a topic for another day (um, I have 15 pages of notes, so it will be a long day), but suffice it to say Retaliation looks to ignore much of what didn’t work, accentuate what does, and still move the story ahead (it is a sequel, after all) without alienating those who missed Rise of Cobra.

Things I like: 
-The White House subplot is capitalized on.  (Ha!)
-Lots of action
-Dwayne Johnson’s charisma, and the fact that he’s taking taking the film seriously, but not too seriously
-Bruce Willis
-The lesser actors from the first film are not present
-Machine guns rather than pulse guns

Things I like but as an over-protective fan, need to be won over on:
-Ninja cycle with guns
-Willis should have hair
-Cobra doesn’t seem to have leadership?
-But seriously, something seems familiar here…

Seriously, I can’t be the only person who immediately thought, “Wait, I’ve seen Snake-Eyes ride a dark motorcycle with guns on it right-to-left before,” can I?

G.I. Joe Retaliation comparison

1990 Ninja Force TV ad and "G.I. Joe: Retaliation" comparison

Much is yet to be revealed (and they’re still making the film, so much could change), but this early out, a tip of my hat to director Jon M. Chu, writers Rhett Reese and Paul Wernick, production designer Andrew Menzies, and the folks at Hasbro for what looks like a fun and more faithful G.I. Joe movie.

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G.I. Joe: The Movie Screenplay, excerpt 2

G.I. Joe Movie screenplay 1987 tease 2

This week, pages 5-9 of the Ron Friedman/Buzz Dixon screenplay to 1987’s animated G.I. Joe: The Movie.  And a greeting to those of you Googling for the screenplay to G.I. Joe: Retaliation.  Take a load off.  Stay awhile.

Pages 0-4 | 5-9 | 10-14

G.I. Joe: The Movie 1987 screenplay pg 005 Friedman/Dixon G.I. Joe: The Movie 1987 screenplay pg 006 Friedman/Dixon G.I. Joe: The Movie 1987 screenplay pg 007 Friedman/Dixon G.I. Joe: The Movie 1987 screenplay pg 008 Friedman/Dixon G.I. Joe: The Movie 1987 screenplay pg 009 Friedman/Dixon

Pages 0-4 | 5-9 | 10-14

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