|
|
|
|
|
Kenner / Hasbro Interview IIby Robert Musco While constantly researching into the development of the modern era Star Wars toyline new and exciting information about its history is discovered. I had a chance to interview an individual who helped create many wonderful toys for children to use their own imaginations. What follows is some great insight to several aspects of the toy creation process, as well as some information (and a couple of images) never before seen. Perhaps, another small glimpse into what might have been.Question: Let's start off from the time period of when Kenner was submitting their presentation to Lucasfilm to get awarded the master license to produce Star Wars toys (i.e. the time period entitled Power of the Force II). Can you explain what ideas were pitched and what types of items were produced and showed for the presentation? Answer: This time period was around 93-94 before the initial launch of the revamped line. There were from my recollection 3-4 different waxes exploring various proportions of the Luke figure. The body types ranged from super muscular which was the popular trend at the time to more realistic proportions with detailed wrinkles, etc. The one that made it to market was the super muscular version in order to capitalize on the trend at the time but this was eventually scaled back to the more realistic version. I was privileged enough to be on the team starting around 94-95 when we were gearing up for Episode One and developing hundreds of concepts to pitch to Lucas Film in order to secure the master toy license. I remember those times being fun, but intense. Many ideas just flowed from the many talented people who worked on the line. My primary focus was character concepts, Jedi’s, Creatures, etc. along with a few vehicle concepts. It was such a massive effort to get all of these things accomplished and many times it felt as though you flying by the seat of your pants. All kinds of ideas were shown, alien jedi’s, jedi fighting techniques using hover boards, jedi gear, girls product ideas, bread board models for new speeder bikes, etc. hundreds of concepts. Again, when you are flying by the seat of your pants plus meeting the demands of a manufacturing schedule, you do so many things without thinking. It becomes really reactive. The fans of the lines probably know more detail about certain projects than the actual designer, because the designers main focus after the design is manufacturing. So the designer is faced with many decisions that some times it’s just not possible to remember every single detail. However, a designer appreciates it when the fans recognize the effort and the decision making that goes into producing compelling product ( just don’t ask the designer to recall all the info lol).  Pictured above is a conceptual image presented by Kenner to Lucasfilm to win the master toy license for Episode One (Editor's note: Oddly the image brings to mind General Grievous). Question: Can you give us some examples of toys that were in prototype stages but ultimately never made for the Star Wars toyline? Answer: I primarily worked on action figures, the creature assortments, and a few vehicles, which I had a real passion for. To my recollection a good percentage of what I worked on made it to market at some point. From my recollection the products that were prototyped but never made it to market were certain vehicles, but I can’t recall which ones, any more. At the time I was designing three lines in addition to working on Star Wars and a television show for the old Hasbro Power Block, so age has gotten the best of me. Question: What was one toy concept that was at least considered to be created but ultimately never made for the Star Wars toyline? Answer: The only thing that really sticks out in my mind was the remote control AT-AT which was a favorite of the team. That would have been great to bring to market but I believe it proved too costly. Question: In addition, you worked on other toylines besides Star Wars, such as Transformers, and Batman. What toy concepts stand out from those toylines that were at least conceptualized and possibly prototyped but never made it to production? Answer: The best concept I would have to say that was developed was the Manga Star Wars line for Hasbro’s Signature Series. The Signature Series featured the Alien Resurrection figure line and we were looking to expand that beginning with Star Wars and another comic book property called Pitt. The ideation for the Star Wars Manga was incredible and I was looking forward to developing that line and bringing it to market but the decision was made to abandon that and focus resources on Pokemon. In addition, the other concept that I had great fun on was Batman Beyond. Hasbro/Kenner was looking to infuse new life into the Batman brand so I was asked to be involved in reinvigorating that brand. Through many brainstorms, discussions, arguments, etc. with various writers who had extensive experience in some of the most successful children’s programming on television, we collectively developed the nucleus for what would eventually be pitched to Warner’s and be known as Batman Beyond. Another concept that we put many man hours into was Superman Lives. It was supposed to be the relaunch of Superman with the Kevin Smith script (which was awesome). If you see the new history of Superman DVD one of the producers discusses the plot along with some of the concept images. They abandoned this for whatever reasons were given and we moved on to other licenses. My recollection from the Superman Lives period was that it would have definitely been a fresh and exciting new take on the character.  Pictured above is a previously unseen conceptual Manga Star Wars Darth Vader drawing for Hasbro's Signature Series line. Question: What do you recall about the famous cancelled Transtech toyline? Can you shed some light as to what was being developed? Can you recall any other Transformer concepts that were pitched but ultimately cancelled? Answer: I worked briefly on some designs for presentation purposes while at Hasbro. It was so brief I’d have to sift through my files to see exactly what I did and the reason why it was done. Regarding other concepts, there were a few but it's been so long ago, over eleven years, that I just can't recall anymore. Question: Can you explain the process of the sculpting input pattern? How long does one take to create and how many passes (drawing attempts) are generally done? I realize it's a guidance reference tool for the sculptor but after the pattern is created how much input on the figure development is done by the designer? Answer: Back then to do an action figure was much more complicated than it is now. Due to technological advancements, sculptors work from what would essentially be called sketches back then. Back then, a figure had to be designed for manufacturing purposes and treated as parts so that all parts of the figure/vehicle are draftable. A vehicle for example could take 2 - 3 weeks, it just depended on level of complexity, how much engineering was needed, how many parts of it was mechanized, the changes made by the engineer in order to manufacture the parts cheaper, etc. but most importantly was deadline! Many times me and my engineer worked backwards from the shipping date in order to determine what the development path would be. For an action figure depending upon complexity and number of parts would take 1-2 days to finish. The input drawings would always be executed after the concept drawing was approved to avoid any major changes in directions. From my experiences, drawings were rarely changed at the input phase. It was (is) important to execute the best drawing possible. So if you wanted to communicate a certain body gesture, hand gesture, etc., it should be drawn that way. This allows the sculptor to take the drawing then add their expertise. Many times in the hands of the right sculptor they would be able to take what you did as a designer and make it 110% better. From my experience I was involved from concept to final packaging approvals. Some designers weren't but that was due more to project load or shift in priorities from upper management. For top priority lines like Star Wars, Batman, etc. I was involved from point A-Z. For Secondary lines like Vortech (1996/97) for example I helped create the look, had input on the tv show, but I was on Star Wars so my involvement ended due to those responsibilities. You had that a lot. But, ideally the designer would have tremendous input, working with the sculptor to modify the sculpt. For example, on the Star Wars line I worked closely with the sculptors almost to the point of being obnoxious because I knew the licensors would scrutinize the sculpt with a fine tooth comb. Then when the sculpt was submitted to Lucasfilm there would still be more changes that they made that you had no control over. For G I Joe since It was owned by Hasbro, the process was a breeze and many times we were ahead of schedule because we had total control. The experience also included working with the sample department allowing them to add their expertise to the project. The department was essential in solidifying the look and color scheme of the line. Sometimes as a designer you think you have the color scheme in place but then someone from the sample department would make a suggestion or modification and it would really pull the look together and make it more cohesive. This was really important because you want to be able to make a statement in the toy aisle and the best way to do that is to draw the consumer in with a color statement. For example Barbie is pink, plain and simple. You see the color and you register it mentally as Barbie. All well thought out and successful lines pay close attention to color statements because it's part of the brand. With the sample department was key to that development as well. The experience was comprehensive. Question: What toylines are out on the market currently that you would like the opportunity to work on, if given the chance, and why? Answer: Well, I am blessed I must say. All the ones that I want to work on I am currently working on them. I love the super hero genre and the fantasy and mythology associated with it. I have been very blessed to work on Batman, Superman, Spider-man, etc. and to be able to continue to design these products is extremely fulfilling. I have gone the other route and have designed traditional products and the like, but there is nothing like being involved in the development of these fantasies and seeing kids and fans respond (positively or negatively) to these brands. The reaction lets you know that they care about how these characters are handled. There is nothing more valuable than the under appreciated fan boy. I say that because I am a fan boy to the core. It’s what allows me to be an expert in doing what I do. Question: Which was more entertaining, being regaled with the birth of toast story or the barstool races? 8>) Answer: Toast day or bar stool? Man that's tough! Knowing What went on at both … I’ll plead the fifth! |
