So, it’s been a tough week.

Comic Con itself was anything but a vacation; our rooms were filthy and had terrible internet connections (see pics below!) yet were certainly not cheap. It was tough to move around the con floor, even tougher to try and take clear shots of display cases with so many people around, and nearly impossible to hold a coversation with anyone. Thank God SDComics was there to get great shots fo the boths before the crowds were let in. And I am glad I got to reconnect with folks who I haven’t talked to in years like Jesse Falcon, Eddie Wires, and the Four Horsemen. 

 
Filthy Rooms! It looks like someone was murdered in here!

 
Look at these crowds!

Got back from the long, long slog that is Comic Con (lots more on that to come) and have been working to get all the pics labeled (almost done) and do write-ups and the happenings there.  Unfortunately being gone from the office for over a week left me with a huge pileup of projects, and I’ve been pulling 14+ hour days to catch up.  So I’m just beat. Add to that my air conditioning briefly going out (it’s been around 100˚in Dallas) and you can see why the week wasn’t going well.

Then I found out that a good friend from high school was killed in a freak accident. Man. I hadn’t seen him that much in the last 10 years, but we reconnected at our 20 year class reunion a few months ago and have been emailing each other since. We had plans to meet up in the Fall when our schedules were lighter. I’ve unfortunately had a lot of friends die over the years, but this one is hitting me harder than most for some reason. Maybe it just has me feeling my age, I dunno. In any case,  it made it that much tougher to get through my work. Especially as I just had to much to do that I couldn’t hand off to go out of town for the funeral. I’ll miss you, Robb.

But it was my puppy that really put the capper on the week. You see, he learned a new trick (or at least, it’s new to me). He figured out how to jump up in my office chair. Which gives him access to my desktop. Where I had been playing with a few new aquisitions that I had yet to get around to putting in the display. He must have though he hit the jackpot, because he grabbedhis prize and ran with it. By the time I caught him, poor Firestorm had already borne the brunt of the damage.

So…anyone want a Firestorm with a battle damaged foot? And anyone know where I can find another classic Firestorm?

To be honest, though, this was a good week this to happen; I just had to laugh. Sometimes life puts this hobby of ours into the proper perspective, and you understand that they are just toys. And toys are made to be played with, even for a puppy.

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So the new Batman movie opens tomorrow: The Dark Knight.

And to herald this event, here are a few choice looks back at this incredible franchise.

Hey, who IS doing the new theme song, anyway?

That last one is dedicated to our dear departed Peter Fries! We miss you, buddy!

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I’m not a very good artist.

I mean, I’m OK as far as it goes. I can get the job done or at least figure out what needs to be done. But when it comes to guys like Matt Cauley or Kerry Gammill or Dave Hudnut (all guys I know and worked with) there’s just no comparison. And I’m cool with that.  To be honest I never wanted to be an artist; I’m self-taught in the sense that I doodled in the margins of my school papers, and taught myself how to paint just for fun in high school, but I was never one of those guys that just HAD to draw. The ones that spent hours practicing, or laboring over tiny details, or studying the great artists to figure out the secrets

Nope. I just did it until I got bored and then I’d rush through the rest to finish it. I didn’t want to grow up to be an artist, it was just a hobby. It relaxed me, and I wanted to keep it that way. Sadly, life decided that I would end up having no marketable skills and I somehow backed into a career as a designer, first of toys and now of promotions.

The good news is that I’m quite good at computer programs like photoshop and illustrator. With those, I don’t need to be a good artist, I can fake it. But it is somewhat of a regret that I never really learned how to draw well. Now that I’m in my late 30s new skills don’t come quite so easily anymore, and I sometimes really struggle to get something looking how I want it to. It was much harder when I was a toy designer, as my puny skills meant that while I designed a lot of stuff, someone else would do the final artwork. Oh, I was able to design some nice display pieces, but they were almost always not my style or done by committee (which is kind of the default in any graphic business these days). Still, I was able to put my stamp on things by slipping in the random otter or hyrax onto the item.

Once I moved to doing promotions for big companies I got a lot more freedom to design display pieces, but it was still directed by multiple people within the agency and the client.  It was my art, but not necessarily what I would have done given free reign (but then, given free reign I wouldn’t be making ads, either!) But most of what I do serves the client, and not me, which is how it should be.

So what’s the point of this post, you ask? Well, I was in Wal-Mart the other day and for the first time I saw some of my own artwork, in my own style, there on some product! It turns out that a while back I was doing some design options for a pool chemical company. They wanted some pieces that would evoke "summer fun" and I presented the usual stuff- photo montages of kids playing in the water. But literally at the last minute, I decided to slip in an extra option that no one had asked for: just some very retro style kids on a stark graphic background. At that point, I was moved to a new account and handed that one over to another very capable designer and didn’t think much about it. Well, it turns out they liked my concept and ran with it!

Which leads me to the bittersweet part. I mentioned before how I wasn’t a great artist. But I can fake my way through an awful lot. I did those designs in about 25 minutes, with the thought that if they didn’t like them it was no sweat and I didn’t waste a lot of time but if they got chosen then I would redraw everything to be really nice and very tight. But everyone really liked the art as it was! So the only modification that got made was adding goggles to the dog. Now, don’t get me wrong: I’m not ashamed of these or anything. But here is my own artwork untouched by anyone else, finally on store shelves (more or less) and it’s the equivalent of a rough sketch! Ah well…

BTW, you can find these on the neck of some bottles of pool chemicals in Wal-Mart, just over from the toy section. It’s a fold-out brochure on how to treat your pool. Whee!

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Happy 4th of July, all!

This holiday always makes me think of being a kid back in the 1980s, hanging out with my friends for backyard grilling, then going to another house for more grilling, then another house for even more grilling….you get the picture. Since I moved away from home in 1990 I’ve rarely been able to reconnect with old friends for the 4th or even family: if I do anything special it’s usually hanging out with local friends or catching up on old movies and documentaries that I’m normally too busy to watch. We had fireworks here last weekend (and Three Dog Night was playing) but nothing can compare to when I lived in Marina Del Rey the past few years and they fired off this huge show from a barge in the middle of the marina only about 300 or so feet from my apartment. The first time it happen I thought we were under attack; my windows literally shook with every blast!

Anyway, today I’m off to visit some of those old friends from 20 years gone by, and it puts me in a nostalgic mood. I really enjoyed the 80s at the time, and still like to look back on what I think was the last "innocent" age to grow up in: we had the dawn of MTV, Saturday Morning Cartoons, only 4 channels for the beginning of the decade (for a big part of the country, at least) and no internet. I think if I had access to the internet growing up I would have turned out a much different person than I did. And that’s a very good thing.

So to celebrate the holiday, here are a few random, but fondly remembered bits of nostalgia from my youth:

Music videos next time!

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Before I post about more unseen Star Wars stuff, I thought I’d do a bit of follow-up to some that I’ve already shown. One of our biggest heartbreaks in designing stuff for Phantom Menace promotions was getting all the way to prototype on a big Jabba the Hutt beanbag, but having it rejected for cost/size issues.

Keep in mind when looking at this that it was just the initial attempt. We would have had a few more rounds of refinement to get it as close as we could. The one that got made was created by a domestic beanbag maker in the traditional manner, with a sort of textured fabric for Jabba’s "skin" and very simplistic vector graphics (created by Steve Ross, shown next to Jabba) printed on it for the details. Originally we tried to have the fabric airbrushed for a more realistic effect, but this proved to be too problematic to reproduce, and we had concerns about the durability in the long term. This was not our first attempt though.

I’m going to digress a bit here to explain why I am showing this "prototype". A lot of times collectors complain about how paint jobs are off on toys, or they are off-model compared to the source, or the articulation has been put in wrong, or any number of things that they can’t understand how someone missed it. What they don’t realize is that many times these "mistakes" were not there in the original sculpts or paint masters supplied to the factories, but showed up during production itself. Due to the high costs involved and the strict timetables, if it was caught early enough there might be a running change. But most of the time these things are just let alone if it does not greatly impact the licensor or safety. 

The reason for this is that the Chinese engineers and artisans do not see the source material as we see it, at least in my experience. This is the reason I had to actually go live in China and show them exactly what I wanted. I found that they were great at copying a 3D object to another 3D object, but couldn’t seem to make the connection between 2D art and a 3D object. They have fantastically talented sculptors and painters, but they need very detailed engineering blueprints, exploded views, and everything to be perfect in terms of measurements to create what you want. And even then the process needs to be refined a few times to correct for problems in translation. This is why you need line designers who really know what they’re doing, especially when the sculpting is being done at the factory level and not domestically.

So back to the Jabba Beanbag. While I was staying in China working on the Star Wars life-size characters I was also overseeing our other promo items that were in production, like the Star Wars bomber jacket, Lightsaber Flashlight, and assorted trinkets like watches, magnets, and puzzles. Once the Jabba Beanbag got the greenlight to go further, I sent our concept art to the factory to make an initial sample for costing. Their only instruction was to come as close to the concept art as possible (for these types of "never been done before" projects, it’s always good to see what they can do first, before trying to reinvent the wheel). We also included a lot of shots of Jabba from the movie for reference. When I went over to their offices the next week, this is what they showed me:

Yeah, that was my reaction, too. They seriously thought this matched the concept art very well. After a few more discussions, we realized that for this specific project it would probably be better to find a beanbag manufacturer and go from there. Even so, there were a lot of discussions and experiments to get us where we were at the picture at top. But hopefully this helps explain why you really need someone who knows what they are doing to daily communicate with the factories to make sure that they are on the right track. It’s not that the skill isn’t there, but the common viewpoint is sometimes lacking.

I have a few more really crazy examples that I’ll try to dig up, to further illustrate the point, this time with actual sculpts. As an added bonus, here is a picture I took when I was goofing around of our life-size Yoda sporting a pair of Jar Jar eyes. Makes him look kind of a like a Gremlin!

A couple of things about this Yoda; one of the cooler moments of my life was standing around Lucas Licensing at Skywalker Ranch with Karl Myers of Gentle Giant, right after we were given the surprise go-ahead to make Yoda based on the positive feedback from the Darth Maul and Jar Jar prototypes. We asked if they had any reference of his new Phantom Menace look and they walked into George’s office there, picked up the bronze casting of the new Gary Pollard sculpt that was made for George Lucas and Stuart Freeborn and handed it to us and said "why don’t you just cast this?"  So our Yoda was basically an identical duplicate of the actual sculpt used for the puppet. Unfortunately, the puppet didn’t look too much like the classic Yoda (I always thought it looked kind of like Anthony Hopkins) and for the next two films they went back to a look closer to that of his first appearance. Our Yoda was also not really life-size: Pepsi thought that his real height (28") didn’t have enough presence for an in-store display so we scaled it up to 36", which created some headaches in trying to figure out new dimensions for his feet, cane, hands, clothes, etc. But it still came out neat enough for a mass produced item! And Lucas Licensing was awesome throughout the whole process (got to give props!).

So that’s the story More tomorrow! 

Pictures cannot be used without express written permission.

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So I started this year vowing to cut back on the toy buying. In fact, I had quit buying almost all together, thanks in part to it being so hard to find Mattel’s latest offerings and the fact that Hasbro has delayed the next batch of Marvel Legends for so long. In any case I wasn’t planning on starting any new lines. And then I went to see this:

And within a few days I had bought all of this:

Now, don’t get me wrong; I love Indiana Jones. It’s just that I hadn’t planned collecting any of these, really, especially after dropping the Star Wars line in 2001. I was narrowing the collection down to just the DCUC line and a few Marvel Legends that filled gaps in my nostalgia collection. Mainly because as I get older I care less about owning toys, and also the small fact of having 60+ boxes of action figures sealed away that i will probably never open or display every again.

But once I saw the film and then saw all the toys on sale the next day something deep within me snapped and before I knew it I was carrying them to the register and buying a good chunk of what was out there. It didn’t help that I had ordered the "Making of" book and the soundtrack the morning before I saw the film (the book is good, but not anywhere near as good as the great Making of Star Wars book they put out last year. Much of the info here is from the documentaries that were on the DVDs!).

I did plan on buying one or two figures and maybe the truck vehicle to repaint with a more detailed paint job. As it is, the deco work is one thing that is really bad about these figure. Hasbro claims to be fixing it, so we’ll see. Having come this far, I’ll at least pick up the main characters from Temple of Doom and Last Crusade, along with whatever major characters are left over from Raiders. But I don’t need 20 Indys, Mutts, or army builders. Maybe I’ll just paint them and put them all on eBay next year, I dunno. In any case, I already broke down and got the great Sideshow 12" figure when it went on sale to go next to my Medicom Rocketeer and assorted real life characters, Generals, and Presidents.

So what did I think of the movie? Well, the short answer is that I enjoyed it a lot while i was watching it. I found it pretty entertaining and I didn’t get bored. My parents happened to be visiting me that week, so I took them on opening day, and being children of the 1950s they enjoyed it a lot. And that made me like it probably more than I would have otherwise, having seen Raiders of the Lost Ark on opening weekend with my Mom 27 years ago.

But it could have been better. It is better than Temple of Doom (in my opinion), but suffers from the same problem: a good story, good set pieces, good action that is hampered by an inelegant script. Say what you will about Last Crusade, but the dialogue and character motivations are solid. Yes, I know some people don’t like the revised characterizations of Indy and Marcus Brody from Raiders, but within that story everyone behaves as logically as you could expect them to for a film of this type.  For that matter, this is the same problem that the Star Wars prequels have. I can only imagine this is mainly a "George Lucas need an editor" issue. He’s a fantastic storyteller, but a pretty bad with dialogue and motivation.

So here are my thoughts about the film. SPOILERS AHEAD!!! Keep in mind that I did enjoy it quite a bit, and felt that Spielberg really nailed the era it is set in, and the overall look of the film, which fits in very well as a "lost" 80s movie in terms of pacing, editing, and lighting.  I really loved all of the 50s elements: the hot rods, greasers, atomic age paranoia, and even the sci-fi angle. I didn’t mind the fact that the artifact in this film was extraterrestrial, and really liked Lucas’ idea of following the 50s "saucer men" conventions instead of the 30s serial ones. The lusic fit perfectly, with a hint of thermin even. Unfortunately, 50s sci-fi music was very atmospheric and not much for stirring character themes like the 30s scores of Rozsa and Steiner, so there are very few memorable new cues from John Williams this go-round. I liked Shia’s character and acting well enough, and of course loved that they brought back Marion instead of trying to introduce a new "girl" that would have to be either in Indy’s age range (icky) or much younger (creepy!). 

What I didn’t like are all the things that made it seem not like an Indiana Jones film.  For one thing, all of the other films open with a segment that feels like it is the ending of a movie that we haven’t seen. This one picks up in the middle of an ongoing story all right, but is more or less a prologue to the movie we’re about to see. It also sets up a great "commie witchhunt" angle that is then completely dropped! Almost nothing that happens in the prologue pays off in a meaningful way later. In the first draft of the script (Indiana Jones and the Saucer Men from Mars) written waaay back in 1994 this sequence took place near the middle of the film. I would have rather seen a prologue that has nothing to do with this film, start with the Yale sequence and then have the Soviets grab Indy and Mutt and take them to Hanger 51. Everything else could proceed from there, with the FBI goons basically blacklisting him at that point. 

It would also break up the film a bit more. One thing that bothered me even as I was watching was that not only did everything see to happen very easily without much hassle, but they traveled in a fairly linear manner: Mutt gives Indy a letter about South America, Indy figures out a code the Soviets couldn’t crack IN SECONDS they travel to Peru where he figures out where to go IN SECONDS they go to graveyard that doesn’t seem to be in the least bit hidden, are attacked by useless guardians (who are these guys?), find the skull immediately, and it continues like this for the rest of the film. It would at least seem a bit more challenging if they had traveled somewhere other than South America to find the conquistador, and THEN went to Peru. Of course, Temple of Doom suffers from this very same thing- too long in one place.

Speaking of plotlines that got dropped,  why make such a big deal about Mutt bringing his bike to South America with them, and then never mentioning it again? Why bring up the human looking Mitchell-Hedges Crystal Skulls if they have no relevance to the plot or the alien skulls? Why do the Soviets get the alien from Hanger 51, yet not try to use its skull? How is it connected to the Akator aliens? Where does it go? What connection do the graveyard warriors have to Akator? What are they guarding, if not the skull? If they are guarding the skull, why? Again, too many things are brought up in the script with no payoff later. We never even see Indy and Marion really reunite, or Marion and Mutt reunite, it’s all like a sitcom reunion. And shouldn’t Oxley and Indy have some sort of reconciliation once Ox’s mind is right? Seriously, why does David Keopp have any kind of reputation?  

I’ll skip complaining about the CGI, except to say my biggest objection to it was that it removed any feeling of danger and made a lot of locations feel like soundstages. In the first film, I was nervous about Indy hanging on to a truck. In the second, I marveled at him being on a rope bridge over a humongous chasm. In the third, he’s on a horse vs a tank. All of these felt like he was actually doing these things. In this film he goes over 3 giant waterfalls and is a little bit wet. No one in the CAR is even slightly sore! They drove off a cliff to get there! C’mon! The ants weren’t particularly scary, but it was a nice nod back to another 50s film, the Naked Jungle. I’d have rather George included a river boat sequence with crocodiles like the ones in the earlier "Saucer Men" draft and even the rejected script for the 3rd movie, Indiana Jones and the Monkey King. I guess Lucas just wanted to let Disney own that concept in their upcoming Jungle Cruise film.

I talked a bit earlier at how I liked Mutt and Marion. I thought that they, and Indy, and even Irina were fleshed out well enough for this film. Marion needed more to do, but all of them had nice moments and they felt like consistent characters. The rest of the Soviets were a waste (and why cast real Russian actors when only one of them had anything to do outside of shout and run?) Speaking of a waste, what is the point of Ray Winstone’s character at all? He doesn’t really effect the plot at all, and is given very little to do. And I understand that John Hurt is supposed to be akin to Treasure Island’s crazy Ben Gunn, but it would have been nice to see him have some resonance on any level with the audience. Even the characters in the film treat him more or last as a dog they found and are taking along for the ride.

And honestly, did we need all these great big-name actors? Indiana Jones is supposed to be a down & dirty serial, not an Oscar contender. Outside of Sean Connery (which was an in-joke that made sense) the other films didn’t have any acting heavyweights involved. Sure, they had great character actors, but not of the caliber of Cate Blanchett, Ray Winstone, Jim Broadbent, and John Hurt. Even Shia starred in freaking Transformers! I think the story would have been much better served without so many recognizable faces on the screen every five minutes. Even minor roles had me saying "hey look, it’s Charles Widmore from LOST! And the janitor from Scrubs!" and I don’t even watch much TV. This same thing was a detriment to the Star Wars prequels. Although I don’t want Lucas casting the parts if it gives us the Indiana Jones equivalent of Jake Lloyd and Hayden Christenson. *shudder*.

Anyway, I could go on and on, but I did enjoy it pretty well for what it is and am looking forward to seeing it again on DVD. Unlike Star Wars, which is one long story, the Indiana Jones films are relatively self contained and each one’s merits don’t necessarily effect the others. After all, these are meant to be the B movies of today, and for my money they’re still better than crap like Transformers or the Matrix sequels. I think they could even extend the franchise with Mutt for some fun 60s styled adventures and i don’t have a problems with that at all.

Man, that’s a lot of writing for no good reason! Check back in a couple of days for my long-awaited follow-up of more unseen Star Wars concepts!

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I miss the 80s. Sure, it was a weird time, but it was also a really fun time. And pre-internet, the early days of cable TV held so many hidden riches, not the least of which was MTV actually airing music videos all day long. I’m not sure what kids today watch in the afternoon (Hannah Montana? Lazytown? Gravyland?) but back then I was fed a steady diet of Perry Mason, Leave it to Beaver, and Andy Griffith, thanks to America’s great nostalgia kick.

And the commercials! Infomercials hadn’t quite hit their stride, s advertisers for cheap crap had to cram a huge amount of information into a short promo. Case in point, this great offer highlighting future superstar has-been Alfonso Ribiero, who was popular strictly from having appeared in a 30 second Pepsi commercial aping Michael Jackson. So sit back and enjoy a pleasant remnant from my youth. It’s the safe way to break and pop!

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Today’s toys have risen in quality in leaps and bounds over the toys of my youth. The sculpting is better, the molding is better, the packaging…can be better at times, and the articulation is in a whole other league. And for the most part, the painting is better. Well, sometimes, that is. For companies like McFarlane Toys and NECA, the paint applications is just wonderful most of the time. But for most of the mainstream majors, like Hasbro, Playmates, and Mattel (now that Toy Biz is out of the game) it seems like an afterthought. 

In the late 90s Toy Biz was really one of the first major players to step up to the plate and deliver very detailed paint applications on their figures and more sophisticated paint washes to bring out the heightened sculpting details. Sure, the smaller guys were also experimenting with paint, but nothing like the leap Toy Biz made (even with their smaller figures), thanks to guys like Eddie Wires doing the paint masters (and also doing them for Palisades and Diamond, among others). For companies like McFarlane and DC Direct you had the Four Horsemen and Tim Bruckner really raising the bar with their painting prowess. 

But for some reason, we hadn’t seen this trickle down to Hasbro, Playmates, Bandai or Mattel in their superhero lines. Sure, Mattel is now using some paint washes on the DCUC line, but as the Red Tornado can tell you, this is all still very much a work in progress (and one they are laboring hard to fix, I might add). Actually, the reason is quite clear: money. The time it takes to oversee every aspect of production costs money. The added paint operations cost money. The extra rounds of approvals to hash out a detailed process cost money. And for the big companies, this is not a cost that they want to bear. Which is sad.

Because they work and skill that go into making the toys is being sabotaged at the final step. Most folks think that painting is just slapping on some solid colors that matches the comics. Well, that match a style guide, at least. For some reason, most style guides don’t match the comics or animation very well, so the toys suffer right off the bat. But it’s not just filling in the lines with color. A good paint job can transform a sculpt like you wouldn’t believe, and a bad paint job can really mask the artistry of the sculptor. How many times do we see figures of famous actors and think the sculptor got the details wrong? More times than not, I wager. But it many cases, the sculpt is actually perfect. You just can’t tell because it’s covered in shoddy work. 

Here are some really good examples of what paint can do: I found these across the web and I hope you go follow the links back to these artists’ work. It really is amazing. First up is Noel Cruz, who goes by Noeling. He repaints existing dolls as celebrities and original works. He treats each one as a 3D canvas, and what he does with the run of the mill dolls and paint is very good, but what he does with a specifically sculpted doll, like the Tonner ones, is nothing short of phenomenal. The pic to the right is a before and after of the same doll- a Tobey Maguire as Peter Parker. No sculpting is involved. Can you imagine if this was a production piece, even a high end one? Go check out his galleries to be even more amazed. The guy is seriously talented.

But sure, you’re saying. Those are expensive dolls, not production figures at 6 inches. True, true. But smaller figures can always use help, like Hasbro’s IronMonger figure from the new Iron Man movie line.  MeguiarsEM on the Spawn Forums took this basically unpainted figure and gave it a quick dry brushed metal look that raises the bar considerably. It went from looking like a toy to a high end collectible. With only an easy paint job!

And there are examples like this all across the web (and I think it would be cool for everyone to submit links to other great repaints in the comments section) like Jin Saotome’s killer Dr. Doom repaint, or his custom Transformers Wreckage repaint. And speaking of customs, there are tons of amazing customizers out there whose works blow most production houses out of the water, like Doubledealer or CollectibleKid or Glorbes. Why no company has snatched these guys up to work in-house like Art Asylum did with Iron-Cow is beyond me.

In the meantime, these mini masterpieces have inspired me to try a few repaints of my own. Starting with the "great sculpts, bad paint" fiasco that is the upcoming Indiana Jones line. Check back here in a couple of months to see my progress.

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Wow. It’s been three whole years since I agreed to help out my friend Daniel Pickett set up a new site. And all I originally intended to do was just help design some stuff and then return to not updating ToyOtter.com. Ever since leaving RTM, I had decided to never run a big toy site again, since that experience (while rewarding) was incredibly tough to maintain such a high standard that we had set for ourselves.

But I ended up right back in the thick of things again in spite of myself. And I have to say that I’m pretty pleased with how it all turned out. I think it has been universally noticed that while we may not update every day (to save our sanity!) we do try and deliver solid content, without being a transparent grab for more ad hits. To be honest, we actually need to get better at the ad thing, as the site is starting to cost serious money! But I hope that goies to show that we do this for the love of toys, and our community, and not to try and scoop everyone all the time just to raise our traffic.

Speaking of raising traffic, though, boy howdy was I not expecting the incredible attention paid to my post about the never-produced Star Wars concepts! After a slow start, this thing just exploded across the web, eventually garnering mentions on Wired, Gizmodo, Geekologie, G4, The Official Star Wars Blog, Neatorama, Boing Boing, CNet, Fark, and many, many other blogs. Even crazier is that I ended up being interviewed about it on NPR by Alison Stewart. Click on the link above to listen to the segment. It was NPR’s second most emailed story for nearly a week (beaten out only by a story on Roasted Fish!)

I have to say that I never expected so many people to be so interested in this. I mean, I’ve been sitting on these for ten years, mainly because this has been my job every day since then. To me, it’s nothing special to have so many unproduced concepts, because my job was specifically to think of as many crazy ideas as I could, knowing that only one (at best) is going to be chosen. But reading comments from around the web, it’s obvious that these have struck a chord with not only Star Wars fans, but the general readership.

Why? Why do these real world items make a connection to the people who’ve seen them? Well, I think it’s for the same reason that AFI has built the following it has, and the same reasons that Apple stands out so much from the crowd along with Google and YouTube. It’s because when we were thinking of the concepts we tried less to think of "hey, that would be cool" and more along the lines of "what will people actually USE?"

It comes down to the end user, not the creator. Here is a really good link that breaks down what that really means. In all my work, I strive to think of the target audience first, not my personal tastes. I think that’s one reason that we have such nostalgia for the 70s & 80s toylines and even comics. It’s because the creators and designers were not trying to make art, or things that they were jazzed about seeing, but were trying to make what KIDS wanted. It’s why GI Joe Extreme tanked, but Power Rangers still is going strong.

 And I think there are a lot of companies out there today that have this AMAZING resource (the internet) where you can get an aggregate reading of what most collectors truly want, and yet for the most part it is not only ignored, but disdained and mocked by them. I have to give crazy props here to guys like Jesse Falcon, the Four Horsemen, and the Mattel guys who haunt the forums. While they may not base all of their output on what the fans are asking for, they do actually listen to what is out there.

 OK, that’s enough for today. I’m going to try and blog once a day for the whole week, and there are a lot of fun surprises hitting all week throughout the site, leading to NYCC at the end of the week where fans will really be blown away by what is coming in 2008! Stick around!

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OK, so I’ve been away from the blog for awhile. Work has been kicking my ass, big time.

Lots to blog about, lots more unseen concepts to see, and lots to talk about concerning upcoming toy news that we can’t speak of just yet.

In the meantime, I’m not sure anything I could write about can possible top…a monkey on a motorcycle!

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