LOU SCHEIMER: CREATING THE FILMATION GENERATION

Lou Scheimer: Creating the Filmation Generation is Scheimer’s 2012 autobiography, which he wrote with Andy Mangels. Scheimer co-founded Filmation in 1962, and he was the only one left when the sale to L’Oreal shut the company down in 1989. As such, this book also serves as a comprehensive history of Filmation, which is best known for such cartoons as He-Man and the Masters of the Universe, Fat Albert and the Cosby Kids, and Star Trek: The Animated Series.

The book begins with Scheimer’s parents’ immigration to the United States and his childhood and schooling; from the foundation of Filmation onward, Scheimer keeps things mostly chronological but largely gives a show-by-show account of events. I only have one real complaint about the way the book is laid out—it would have been nice to get more information on the animation process earlier in the book so that certain portions would be easier to follow.

The book has a very conversational tone, which makes it extremely engaging. Scheimer’s personality really comes through unfiltered, and by all accounts, he was quite a character. He never met a tangent he didn’t like, but most of what he has to say is so interesting that it’s easily forgiven (e.g., his dad purportedly punched Hitler in the face).

Scheimer heavily emphasizes his passion and vision for animation throughout the book. He was a trailblazer, he says, for incorporating racial diversity into children’s cartoons, and for producing material that communicated values, morals, and instruction. He was also committed to keeping animation jobs in the United States when most studios were sending large amounts of work overseas (this is, in fact, one of the primary reasons for Filmation’s well-known and oft-maligned stock animation system.

This is a huge book—8.5” by 11”, and almost 300 pages—and it’s kind of unwieldy. It’s worth wrestling with, though, because of the vast number of pictures. Contrary to what its Amazon page would lead you to believe, however, the book is not in full color. Only pp. 209–224 are; the rest are in black and white, so caveat emptor. The book really could have done with some serious copyediting, especially to clean up Scheimer’s serial misuse of “I” when he should have used “me” and the redundancies in the writing (Mangels, isn’t that your job?).

For me, at least, the production and editorial knocks on the book are readily forgivable. Lou Scheimer: Creating the Filmation Generation gave me a new appreciation for Scheimer, for Filmation, and for some of the cartoons I grew up with; I’m grateful simply that the book exists.

If any of the Filmation shows you grew up with are still meaningful to you as an adult, odds are you’ll find Lou Scheimer: Creating the Filmation Generation well worth your time.

HIGHLY RECOMMENDED

HE-MAN AND THE MASTERS OF THE UNIVERSE #7–9

***SPOILERS***

He-Man and the Masters of the Universe #7–9 (DC) are written by Dan Abnett and illustrated by Rafael Kayanan and Michael S. O’Hare. Here, when Randor leads an attack on a Horde archaeological dig, Hordak nukes the site from orbit, leading the Heroic Warriors to undertake a forbidden journey to Subternia in an attempt to resurrect the Sorceress. No, seriously.  

From the first panel, Abnett tries to go high fantasy with the dialogue and narration. You’ll recall that Giffen did too—sometimes. Abnett, at least, is consistent, and so it works a lot better. The scripting isn’t anything fantastic, but there’s a conspicuous absence of any petty bickering. In fact, Abnett’s Teela isn’t too far off from the 200X Teela: sassy, but not obnoxious so. On the heels of the complete disaster that was Giffen’s scripting, this is a major upgrade that imbues every page of these comics with the refreshing breeze of not flagrantly sucking.  

Beyond the fact that on the face of it, it doesn’t make a lot of sense, the plot is also fair; I’m not sorry to move the story away from the Horde for a while. Unfortunately, the pace isn’t great. There’s too much fighting and too much expository speechifying (including a great deal of mystical mumbo jumbo concerning the Goddess). Since we’re not getting any character development for any of these people, we need to be getting a good amount of storytelling accomplished, and we just aren’t—there seems to be a ton of ground to cover (or to skip over) to resolve this storyline by the end of #12.   

Other thoughts on the writing: Iron Pants He-Man still isn’t doing much; he’s just part of the team. In fact, it’s obvious who the most powerful of the Heroic Warriors is: Moss Man. For reals. It’s not even close. And everybody just calls Iron Pants He-Man “Adam.” Given all this, it might be time to retitle the book. If you don’t like Adam and the Masters of the Universe, plain old Masters of the Universe would certainly fit better, as would, perhaps, Justice League of Eternia.

The decision to make Grizzlor, of all people, the Horde’s sophisticated tactician is an interesting one, but it works well enough. Man-At-Arms is conspicuous by his absence, although Randor fills his role as the group’s strategic planner, wearer of sweet knobbly armor, and  one that has a gun. Abnett also seems to be going out of his way to drop these characters’ “real” names from the MOTU Classics line whenever possible. Gur’rull Gu’rroooow? Sure, buddy. Whatever you want. Also, we really could have used some better editing.

Kayanan does the art for #7 and #8. There are some nice touches: a lot of the classic vehicles appear, for example, and Grizzlor’s cloak is clearly made from the Mattel Fright Zone dragon puppet (but why does Stratos look like Spider-Man?). However, Kayanan uses heavy, messy inks, his figures often look flat, and his human faces aren’t good at all—it’s an ugly style that doesn’t work for me at all. It also makes for a jarring transition to O’Hare’s art in #9, which is clean, bright, and vibrant. It’s a style that fits what He-Man is supposed to be all about (although…would one background be too much to ask for?). The short-term good news is that O’Hare is listed as the artist on #10–12. The only other art-related comment I have is that the cover for #7 is probably the worst I’ve seen since Marvel put Hordak’s giant head on the cover of Masters of the Universe #4 (in which he didn’t even appear) in 1986.

So then: while these are, overall, some pretty mediocre comics, they’re also the most unterrible He-Man comics we’ve seen in many moons. By God, these things are readable. I’ve been subjected to too much to get my hopes up, but #10–12 certainly have the potential to be the most unterrible comics yet.

TAKE IT OR LEAVE IT

THE SWORD OF SHE-RA by Roger McKenzie and Fred Fredericks

So here’s one that slipped through the cracks on me during the Mammoth Read-Along Masters of the Universe Marathon: 

The Sword of She-Ra is a 1985 Princess of Power children’s book written by Roger McKenzie and illustrated by Fred Fredericks. Here, Prince Adam takes the Sword of Protection into another dimension to find its rightful owner.

This book is, essentially, a severely abridged adaptation of the first half of Filmation’s The Secret of the Sword film. Substantial changes have been made (e.g., they’re rescuing Queen Angella from Beast Island rather than He-Man, and they get there on flying goats) and the story has been rearranged (e.g., they go to Beast Island before Adam ever finds Adora).

Aside from a single page with Hordak and Shadow Weaver, the named Horde villains are nowhere to be found – it’s troopers all the way through. One wonders whether this was done out of consideration for the PoP toyline or the delicate sensibilities of the young female audience.

Fredericks’ art is generally fine. He isn’t much for backgrounds and his male characters look stubby sometimes, but the female characters look good and the pages where he really applies himself are solid. The Horde Trooper are oddly colored, though. But an Earl Norem cover is always worth getting excited about.

The Sword of She-Ra is a passable version of She-Ra’s origin story, and it’s different enough from The Secret of the Sword that it’s worth checking out for that reason alone. Plus, where else are you going to see Cringer on a flying goat (sort of)?

RECOMMENDED

HE-MAN AND THE MASTERS OF THE UNIVERSE #4-6

***SPOILERS***

He-Man and the Masters of the Universe #4-6 (DC) are written by Keith Giffen and illustrated primarily by Pop Mhan. Here, He-Man tries to rescue Teela and Adora learns the truth about her past.

Well. They couldn’t get rid of the classic vestiges fast enough, could they? Doing away with the classic He-Man outfit and Power Sword is pretty stupid on its own, but this sin is compounded in that the replacements are incredibly awful. He-Man’s new outfit looks like something Tony Stark would have come up with if he lived in the Gears of War universe. Never mind that we all know that He-Man’s not supposed to wear pants; the last time he wore pants, we got Space Ponytail He-Man, and look how that turned out.

The new Power Sword is just as bad. A forced attempt to match the sword to the chest armor results in the most ill-conceived cross-guard ever – you wouldn’t be able to use that sword without gouging your wrist to the bone or losing some fingers. But don’t take my word for it; look at the illustrations in these issues – it’s such a stupid concept that Iron Pants He-Man can’t even be drawn holding it believably.

What’s also remarkable is the fact that this style change was tacked on after the initial redesign: check out the before-and-after of the cover for issue #4:

Because why would we ever keep something the same when we can make it stupid? Ugh. Let’s move on.

This series is so much more tolerable when Teela and He-Man are apart and we don’t have all that god-awful bickering, although Giffen puts dumb chit-chat in the mouth of nearly every character. Based purely on their dialogue, the supporting Heroic Warriors are completely indistinguishable from one another.

Bickering aside, though, the writing’s really not any better. The plotting is a mess. Giffen makes some needless and stupid changes to the Adora backstory (and hell, with DC being what it is these days, I wouldn’t be surprised if they trotted out some Adora/Teela homoeroticism down the road). There’s a lot of farting around with “secrets” most readers have known for years. And why is the Sorceress just now getting around to dropping all this knowledge on everybody?

Like much of this series, the climax in issue #6 features a lot of pointless talking and not a lot actually happening. Hordak’s speech is ridiculous. What is he doing? What is his plan? Does he even know? I guess it really doesn’t matter, because Iron Pants He-Man doesn’t ever actually do anything – he’s just another guy.

I’m not through. Having slogged through all the yammering in the first eight pages of issue #6, I flipped to page nine, blinked, and uttered a blank-faced “Really?” Here, abruptly, without any lead-up or logic or dramatic effect whatsoever, in a single page that perfectly symbolizes precisely what he’s done to this property, Giffen destroys Castle Grayskull. Jesus, Giffen, what the hell? Did one of your children get beat up by a bully in a He-Man shirt twenty-five years ago? 

I said last time that you can’t trust Giffen with the Masters of the Universe property because he obviously doesn’t like it or care about it on its own terms, and he continues to prove that this is absolutely true. It’s kind of amazing, really – in a little over a year, DC and Giffen have managed to trample over the established personality of nearly every character and kill off the Sorceress and several minor characters, He-Man’s secret identity, his classic costume, the classic Power Sword, Castle Grayskull, and the very premise of the franchise.* And in just six issues of the monthly, they’ve obliterated all the setting that made Masters of the Universe what it is.

Everything Giffen does is cheap; nothing is paid for, nothing is earned. He walks away from this smoking, rancid wreckage of an arc leaving us with the scenario of a band of heroic rebels hiding out and fighting the Horde. That’s right, Giffen’s turned it into She-Ra: Princess of Power. All we need now is frigging Loo-Kee (oh, and She-Ra; despite what the cover to issue #5 might lead you to believe, there’s no actual She-Ra here anywhere).

If there’s any light at the end of this trainwreck-filled tunnel, it’s that Giffen’s not writing the next six issues. Storywise, I don’t know how much of this disaster is Giffen and how much is DC’s powers-that-be, but either way, it’s hard to imagine that Dan Abnett can do any worse.

So remember, kids, just because it says “He-Man” on the box doesn’t mean there’s He-Man in the box.

RECOMMENDED AGAINST


*Here’s where we’re at right now on the original** premise:

“I am Adam, Prince of Eternia and defender of the secrets of Castle Grayskull. This is Cringer, my fearless friend. Fabulous secret powers were revealed to me the day I held aloft my magic sword and said, ‘By the power of Grayskull! I have the Power!’ Cringer became the mighty Battle Cat, and I became He-Man, the most powerful man in the universe. Only three others share this secret: our friends, The Sorceress, Man-At-Arms, and Orko. Together, we defend Castle Grayskull from the evil forces of Skeletor.”


**Obviously, by “original,” I mean the Filmation mythos with Adam and Randor and everybody else, as these comics clearly have never had a thing to do with anything pre-Filmation.