“Revenge of Cobra” 1984 Generic Joe II model sheet

G.I. Joe model sheet tease Generic JoeI don’t recall when this generic trooper (version two) appeared within the 1984 G.I. Joe animated miniseries, “The Revenge of Cobra,” (feel free to chime in in the comments), but here’s a little art of him.  (Version one, not pictured in this post, is sans camo.)  First up is a black and white photocopy of the model sheet, with cel paint color codes written in pencil.

G.I. Joe model sheet tease Generic Joe

And here’s the color model sheet — cel vinyl (like acrylic paint) on the back of an animation cel.  Two or three of these were painted for every single character that appeared (standard for animation, not just the G.I. Joe production).  One or two stayed in the States, and one or two went overseas with all the scripts, storyboards, and background keys to the animation studio that would produce the bulk of the show, in this case Toei in Japan.

G.I. Joe color model sheet Generic Joe

This art is likely Russ Heath, since he’s the main designer credited on “Revenge,” but I should point out that eight other artists appear in the end credits of these five episodes.  They did costume changes, props, and lesser background characters so there’s a chance one of them took a Heath drawing of Generic Joe version one and added a few details.

I don’t know if the term “greenshirts” came about in early Joe fandom, or in 2000 when Devil’s Due Press published its G.I. Joe comic book and canonized the term, but I’ve never liked the word (even though it’s wonderfully accurate) because it represents the animation’s misunderstanding of the Joe concept from almost year one.  With generic soldiers running around in the background of every episode, G.I. Joe becomes a stand-in for the regular, larger armed forces, rather than Delta Force, (what it’s actually a stand-in for), akin to the A-Team or the Mission: Impossible folks.  It’s not hundreds of men and women, it’s five or ten or 20 on smaller missions.

But seriously, I don’t recall when this guy shows up.  Do you?

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G.I. Joe: The Movie Screenplay

G.I. Joe: The Movie screenplay tease

Credited writer Ron Friedman and credited Story Consultant Buzz Dixon have different takes on how much of this they wrote.  Based on their recollections from when I interviewed each, as well as their recall on various Rhino Home Video G.I. Joe DVDs from 2003-2004 my sense is that much more of the credit should go to Dixon.  I delve into this a bit in Chapter 8 of my book, but either way, here’s the first five pages of screenplay from Sunbow Productions’ 1987 G.I. Joe: The Movie.

G.I. Joe: The Movie screenplay title pageG.I. Joe: The Movie screenplay pg 1

G.I. Joe: The Movie screenplay pg 2

G.I. Joe: The Movie screenplay pg 3

G.I. Joe: The Movie screenplay pg 4

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Posting Schedule Update

Sorry about not posting recently.  Things have been busy, but I’ll be back on track after Thanksgiving.G.I. Joe Norman Rockwell Thanksgiving by Tim Finn

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Cobra Commander’s lost gun!

G.I. Joe photography by Wes Rollend

1982 Cobra Commander photo by Wes Rollend

I’m pretty sure this hasn’t surfaced previously.  Commonplace is Cobra Commander’s weird blow dryer/flashlight/laser pistol-thing.

G.I. Joe photography by Wes Rollend

1982 Cobra Commander photo by Wes Rollend

It came with his 1982 straight-arm figure, and the 1983 swivel-arm retool, and the 1984 mail-in hooded version of the character.  (Embarrassing trivia:  My brother and I never knew the gun fit into CC’s back!  I figured this out in 2008, meaning I should probably call off this whole book thing.)

G.I. Joe photography by Wes Rollend

1982 Cobra Commander photo by Wes Rollend

From 1981, here’s Greg Berndtson’s control art for the weapon in question.  This was drawn concurrently with Ron Rudat’s figure turnaround.

Cobra Commander 1982 laser pistol by Greg Berndtson 1

Cobra Commander 1982 laser pistol by Greg Berndtson view 2

And here’s Cobra Commander’s other weapon, the one that wasn’t ever produced and did not come packed with the Cobra Commander action figures!

Cobra Commander 1982 unproduced grenade gun by Greg Berndtson

Know of any other designed-but-scrapped weapons?

 

 

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G.I. Joe Book Photography – Duke and Spirit

G.I. Joe Duke and Spirit action figures MG0581

G.I. Joe toy photography by Andre Blais for Gladworks

Ace lensman Andre Blais came on board just a few weeks after I signed the contract for Gladworks to design my book, and part of the appeal was that he was (and is) in-house there.  So in one room there’s designer Liz Sousa at a Mac, and in another is Andre, with a cyc, pro lights and diffusion, tripods, and more.  (And a Mac.)  I’ll interview him soon for a future blog post.

The general idea for these photos came from the toy photography of Brian Malloy and Erik Hildebrandt in John Michlig‘s G.I. Joe: The Complete Story of America’s Favorite Man of Action.  (Regular readers will recognize that book as one of the two main inspirations for A Real American Book.)  There are only four “fantasy” shots in Michlig, where the reader point of view is in scale with the 12-inch Joes, but the toys themselves are set against the scale of the man-made world.  Rather than product shots, like a catalog displaying toys on a table top (even if the table top is a dressed set), I wanted story moments, like movie stills.

This was also practical.  I don’t want to reproduce too many visuals that are commonly available.  My book aims to continually show and tell unrevealed facts, anecdotes, and imagery.  But whole sections tell the history of people talking and making decisions, but people weren’t taking candid photos of co-workers at the office in 1982.  (Which may seem odd compared to today when every cell phone and music player is also a high resolution camera.)  If an interviewee recalls making the Snake-Eyes figure, an obvious pairing would be a photo of that figure, or a scan of a concept sketch.  But what if there’s no obvious pairing?  To break up stretches of history that have no clearly analogous visuals, the solution was to sprinkle in dramatic diorama-style toy photos.

For this photoshoot, I had only a vague idea of where (or why) an image of Duke and Spirit would go.  Maybe Chapter 4, when the narrative gets to the second and third waves of toys?  Sadly, nothing from this shoot made the final cut.  There are two reasons for that:  First, I had forgotten to bring Spirit’s belt.  I was worried that hardcore fans would dismiss the photo for not being fully accessorized, so I asked Andre to crop above Spirit’s waist, which really limited the composition.  Second, the chapter where this photo would go ultimately didn’t need a photo of two action figures in a “fantasy” setting, even if it’s a great photo.

G.I. Joe Duke and Spirit action figures, photo by Andre Blais - MG0590

G.I. Joe toy photography by Andre Blais for Gladworks

G.I. Joe Duke and Spirit action figure photo by Andre Blais - MG0590

G.I. Joe toy photography by Andre Blais for Gladworks

Note the difference in these two — how the golden light from the left adds dimension and warmth to Spirit’s hair, gun-holding arm, and torso.  It’s not in the first shot.  Here they are together for comparison:

G.I. Joe Duke and Spirit action figure photo by Andre Blais - MG0590

G.I. Joe toy photography by Andre Blais for Gladworks

A few weeks later we tried this shoot again, this time with the belt, but the magic was too difficult to recapture.

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The Comic That Changed Everything – Part Eight

Part OneTwo Three FourFiveSixSeven – Eight – Nine

In our last episode, Tim bought G.I. Joe #93, a comic book that promised to tell much about NINJA COMMANDO Snake-Eyes, but surely would not reveal his never-before seen face!  But then Tim turned to page 18…

There it was, taking up almost the entire left side:  A full portrait of Snake-Eyes, unmasked!  Four huge scars crossed his cheeks and mouth, his right eye bugging out, a calm expression on the martial arts master’s face.  It was a shock.  I must have made some noise outloud, or burst out “WHOOOA!”  Kevin must have asked what was up.  I didn’t show him the page, but I sure wanted to.  “There’s something in here you’ll really like,” was all I could tease.  Surprises in fiction, whether they be dramatic reveals at the end, unexpected cameos, or twists and turns along the way, are the most exciting parts of reading stories and watching films or TV, and this was possibly the biggest surprise of them all.  (In a dead heat for first place are the deaths of several key characters at the beginning of the animated Transformers: The Movie, a shocking theatre-going experience that had taken place three years earlier and three miles north.)

Looking back at Mark Bright’s robust portrait of everyone’s favorite Joe I’m struck by how tame the gore is by any standards of action and violence twenty years on.  (This is a topic for another day, but it’s clear that what used to net an R-rating now is routinely PG-13, and concerning blood and violence we’re a much more permissive and desensitized society.)  When I really think about it, Snake-Eyes doesn’t look that bad.  This is the face of a soldier who took trace fire in Vietnam, and who took a face full of exploding fuel in a crashing helicopter on the way to the Iranian Hostage Crisis?  I mean, his skin doesn’t look like what little I know of burn victims.  But again, this is me being rational and methodical in an analysis that benefits from decades of hindsight and reflection.  This image, and indeed all of the violence in Marvel’s G.I. Joe, had to meet the standards of the The Comics Code Authority, the industry’s self-censorship board.  But as a soon-to-be sixth grader mired in the height of kid G.I. Joe fandom, this was a revelation without comparison.

The rest of the issue is thrilling.  The Joes arrest and then lose the Dreadnoks, Flint and Roadblock threaten civilians (not really), the Baroness learns that the same plastic surgeon who fixed her years earlier (a footnote to issue #22, waaay too early for my brother and I to register as a big deal) is the some one operating on Snake-Eyes, and that Snake-Eyes killed her brother!  And then, the Baroness blows up Zarana and the Dreadnoks’ van via remote control — while talking to Zarana on the telephone!  This ranks as one of the best cliffhangers ever, and is heightened by the cruelness with which the Baroness executes her task, frowning while she literally pushes a red “detonate” button.  (“Luckily I had a contingency plan.”  WHAM!)  It was all too much excitement, and if it weren’t for needing to shove the issue into my brother’s hands so he get up to speed, I would have read it again from page 1 that very instant.

It is this magic that I long for when I read comic books.  A thrilling hunger to know what will happen next, and a  nervous worry that anything will, and that my favorite characters might not make it out of the next story alive.

What Kevin and I couldn’t have known was that we started reading the G.I. Joe comic book right around the time that writer Larry Hama was pulling together several plot threads and character revelations, and that the next few months would be my favorite comic books of all time.

What are they?  Tune in next week to find out!

Part OneTwo Three FourFiveSixSeven – Eight – Nine

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Behind the Scenes of G.I. Joe – Cobra concept art, 1990

Kurt Groen unproduced G.I. Joe Cobra marker sketch dated 1990

For every figure that made it into the line, dozens  were proposed as concepts and sketches.  Here’s a color marker comp (ink on a photocopy of pencil art) by Kurt Groen of an unproduced Cobra  soldier — likely some kind of Viper — from spring of  1990.  I’m not sure if this character made it into three dimensions, but I doubt it.  Click for a slightly larger image:

Unproduced G.I. Joe Cobra marker sketch by Kurt Groen dated 1990

Subtly refining the art and adding a touch of detail, Groen redrew this as a finished color presentation “painting,” but by the time he was involved with the brand the toy development process dictated the internal presentation paintings no longer be painted.  The final art, not pictured, looks just about the same as the rough, above.

Presumably this character was initially pitched for the 1992 product line.

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The Comic That Changed Everything – Part Seven

Part OneTwo Three FourFiveSix – Seven – EightNine

In our last episode, after returning home from summer camp and buying G.I. Joe issue #92, Tim went with his family to Ocean City, Maryland.

One of OC’s two malls, Ocean Plaza Mall, had a toy store near a bookstore next to a video arcade in front of a food court with my favorite pizza, so it was a destination.  And one afternoon in the August before 6th grade I wandered into Harriet’s Books, which was a small shop with (I want to say) a green sign with yellow letters.  Kevin had gotten into Dungeons and Dragons novels, and I might’ve had to pick up a summer reading book.  Just inside on the right was a newsstand with magazines and – COMIC BOOKS!  Comic books?  Why, if those had been there in years past I certainly hadn’t noticed.  But my eyes worked differently.  Now I was on the lookout.  And there on the bottom shelf was a bright yellow logo that spelled one my favorite words:  “G.I. JOE.”  It was issue #93!  Confusing!  Hadn’t we just bought issue #92?  Was Waldenbooks behind?  Was Harriet’s Books ahead?  It didn’t matter, all I knew was that I now had three comics to read over and over on the trip (we had brought G.I. Joe #92 and the Batman adaptation).

For some reason Kevin had stayed in the car – I guess my jaunt inside was going to be quick?  Mom or Dad must have been there, or both?  Maybe they were in the Super Fresh (grocery store) and I had enough time to kill to run in the mall?  Anyway, I opened the car door and excitedly showed Kevin.  “Awesome!” was probably his reply.  Contrary to his mild reaction two months earlier regarding issue #90, Kevin was now fully onboard and we were splitting all comics purchases 50/50.

The cover to #93 teased big revelations regarding Snake-Eyes, the masked ninja commando clothed in all black.  It’s important to properly set the scene of how mysterious and cool this character was:  We’d never seen his face, he never spoke, his action figure came with a sword, an Uzi, and a wolf, AND HE WAS A NINJA COMMANDO.  I also liked grenades, and his action figure had three molded onto his chest.  Very cool.  Since he didn’t speak, the writers on the TV show seemed not to know what to do with him, and besides three or so episodes, Snake-Eyes rarely appeared.  It fell to Larry Hama, who had created the character’s entire back story, to flesh out him in the pages of the monthly comic book.  Even though we only owned less than 15 G.I. Joe comics by this point, Kevin and I knew that portions of Snake-Eyes’ origin and motivations had been doled out over time – issues #21, 26, 27, 43, 84 – but we didn’t have most of those yet.  We were in the dark.

I got in the car and started reading.  The issue was great, starting with a compelling splash page of the Baroness and Zarana (two villains) grappling with each other in the open doorway of a transport helicopter over Manhattan.  At the top, the title “Taking the Plunge” only added to the drama.  In the story, threads from issue #90 continue and new story beats develop: Destro asserts his leadership over Cobra; the Dreadnoks brainwash Clutch and drive an ice cream truck; Flint, Lady-Jaye, and Roadblock (three series regulars from season 2 of the TV show) drive G.I. Joe’s Tiger Force-recolored vehicles; and seemingly innocuously, Snake-Eyes and Scarlett see a plastic surgeon in Switzerland.  Tantalizingly, Dr. Hundtkinder removes the ninja commando’s mask (the one that looks like a normal face for going about in public, not the black costume one) and rattles off anatomical mumbo-jumbo.  (Actually Hama being diligent and accurate.)  But we weren’t going to see Snake-Eyes’s real face because that was a permanent part of G.I. Joe lore.  Since early 1982, Hasbro, Marvel, and Sunbow had held back what masked characters Destro, Cobra Commander, and Snake-Eyes looked like.  It was embedded in the mythology.  Those visages would forever be mysterious and unknown.  The comic book had previously gone to some lengths to show Snake-Eyes without his mask, but always in shadow, cropped, or from behind.

And then I turned the page.

What did Tim see?  Tune in next week to find out!

Part OneTwo Three FourFiveSix – Seven – EightNine

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Behind the scenes of G.I. Joe – Marvel Licensing


Bob Prupis points to early G.I. Joe product in this spring 1982 "Marvel Update"

Here’s a fun bit of paperwork.  When Hasbro relaunched G.I. Joe in 1982, the company rolled out the new toys with an impressive list of licensed products.  This is common today, but was not then.  As Marvel Comics was already handling the biggest license — a comic book — and had a licensing division, it made sense to partner in this way, so that Marvel could line up all those third-party companies wanting to put G.I. Joe on their consumer products.  Here’s a slick trumpeting that fact.  Only pages 3-4 are germane, but I’ve reproduced 1 and 2 as well since they’re fun, and since Spider-Man and His Amazing Friends is a cousin to the G.I. Joe cartoon.  (Pages 5-8 of this catalog are not reproduced here.)

"Marvel Update" spring 1982 pg1"Marvel Update" spring 1982 pg 2

"Marvel Update" spring 1982 pgs 3 & 4


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The Comic That Changed Everything – Part Six

Part OneTwo Three FourFive – Six – SevenEightNine

In our last episode, Tim and his brother Kevin returned home from summer camp and had missed an issue of G. I. Joe!

This timing has long amused and puzzled me.  In the four weeks we were away, G.I. Joe issue #91 managed to debut and complete its full sales cycle, so when we at last checked back in we were greeted by issue #92.  But how unlikely was it that the very four weeks we were away were the same four weeks that issue #91 was available?  Pretty unlikely, but it happened nonetheless, and we had to make do with #92.  On the one hand, we were excited to be reading any new G.I. Joe comic book.  On the other hand, it was disappointing that we had missed an issue.  Yes, there had been those two visits to a comic book store (with a full selection of back issues), but it was a small ordeal to mount a trip there (not really), so for the time being, we had no way of getting #91.  Fortunately #92 was excellent.

It’s actually the resolution of a storyline started a month earlier in the spin-off book G.I. Joe Special Missions (a fact that mostly eluded us, despite the footnote saying so).  #92 is a great action comic book with many moving parts – different factions of good guys, a rescue from hostile territory, corrupt politicians, a chase, and the series regulars Cobra.  And it zips along at a swift clip, and is funny, too.  Plus, to refer back to one of my initial reasons for the Marvel series hooking me in, this new issue spotlighted an obscure character, the vehicle driver Long-Range.  In fact, he (and his vehicle) get the entire cover to #92.  Whenever I lament modern action comic book writing with its poor pacing or lack of visual action, I hold this up as an example.  (Also, issue #50.  Great action comics both.)

I suspect that Waldenbooks received some of its comics late, because two weeks later the family took its annual trip to the beach, where Kevin and I found – much to our surprise, as we had only just bought #92 – G.I. Joe #93!  More on that in a moment, as something else important happened in this summer before 6th grade:

Batman Movie Comics Adaptation

Batmania.

It’s hard to adequately explain how big Tim Burton’s first Batman film was.  Everyone was talking about it, everyone loved it, and merchandise was everywhere.  I saw more than one Batman t-shirt every day that summer.  Montgomery Mall had a keyosk devoted entirely to Batman shirts and memorabilia.  I saw the film three times, daydreamed that my school would stage it as a live play and I’d be cast as Jack Nicholson’s Joker, bought the Topps trading cards with their alternatively dry and lurid captions (“Plunge Into Toxic Oblivion!”), and rolled my eyes at the high prices in the special catalog of toys and merchandise that Warner Bros. had printed for movie theatres.

Just a few days before we left for Ocean City, MD, Kevin and I were at the other bookstore at Montgomery Mall, B. Dalton Booksellers.  (Yes, the rival chains had names that rhymed – Walden/Dalton.)  We rarely shopped “Dalton,” as we inaccurately called it, since it was in a dead corner of the mall, but B. Dalton did carry graphic novels (important later) and that first week of August it did have the deluxe edition of the official DC Comics adaptation of the live-action Batman movie.  It was perfect bound, a term meaning rather than paper folded in half and stapled at the centerfold (comics, magazines), this book was printed like a book – glued, trimmed pages, and a square, though skinny, spine.  It was $5.00, a huge step up from the dollar we had spent on our G.I. Joe comics, but it was also A) generally fancy – glossy paper, increased color palette, higher quality printing, B) superbly illustrated, and C) BATMAN.  I couldn’t get this movie out of my mind, so to be able to read it over and over was exciting.  And read it over and over I did.  Every day at the beach for two weeks.

On this yearly trip I OD’ed on cable TV, Kevin and I splurged on video games (Mom saved quarters in advance of the trip), we played in the water and built sand castles, Mom and Dad read books, Kevin and I checked off summer reading, we ate out, and Dad took us miniature golfing.  And at one of two malls there, we stumbled upon the greatest revelation in all of G.I. Joe history.

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

Part OneTwo Three FourFive – Six – SevenEightNine

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