King Randor, like the Sorceress, is a character that originates very early in the MOTU mythos, but who didn’t get an action figure until the tail-end of the toyline.
King Randor has his origins in the the November 1982 DC Comics story, “Fate is the Killer”. The king and queen aren’t given names, but as Prince Adam‘s parents, these are clearly the precursors to the Randor and Marlena characters that would be fleshed out later. Randor is a generic looking stock medieval King character, old enough to have white hair, and perpetually disappointed in his irresponsible son, Prince Adam.
In the following issue, “To Tempt the Gods” (December 1982), the king appears again, still without a name. In this issue he’s quite disappointed, even disgusted with Adam – to the point of feeling like he’d prefer He-Man to be his heir rather than Adam.
The unnamed king appears in a single panel in the next issue, “The Key to Castle Grayskull” (January 1983).
Meanwhile, in the Masters of the Universe Bible, completed by Michael Halperin on December 1, 1982, Adam’s father became known as King Randor and is given a backstory, along with the queen, Marlena:
Marlena staggered to her feet and lurched to the captains chair. She called out to the others. No one answered and when she looked only the spacesuits remained mute, empty and wrinkled. Little time remained to brood as the shuttle shot into the Eternian Ionsphere glowing red, yellow and white. She nosed the craft up and bounced off the layer of air slowing the vehicle for a smoother re-entry. Marlena couldn’t spot any runways for the shuttle so she aimed the ship at the only clear spot she saw — a long meadow in a lush, green valley. The space craft hit the ground, its landing gear crumpled on impact and it sank to its belly skidding, pitching and crashing to a wrenching stop.
Unconscious, Marlena couldn’t know the helping hands pulling her out of the wreckage and carrying her to the royal palace of the reigning king of Eternia, the young and handsome RANDOR.
For several days she slept in the palace and each day Randor sat by her bedside and waited for her to wake. All the royal physicians and wizards provided potions and spells in order to insure her well-being and soon color stirred in Marlena’s cheeks. On the seventh day her eyes fluttered open and the first sight she saw was Randor’s rugged, handsome face. A spark flew between them as he reached out his fingers to touch her hand and they both smiled.
Skeletor waved his staff and a charge of energy sprang forth rolling back a huge boulder from one wall uncovering a screen. A wave of his hand and a picture swam into view — a picture of Eternia then that of King Randor and Marlena. At the sight of the former captain, the trio snarled and clenched their fists – and it wasn’t lost on Skeletor.
King Randor made Marlena his queen and three years later she bore an heir to the throne of Eternia — a son, PRINCE ADAM. He was handsome and imbued with his mother’s spirit of adventure and his father’s courage. As a child he had the run of the palace playing tricks and practical joke on his teachers and the nobles of the court.
This backstory was created as a guide for both the Filmation cartoon and printed media. In print media, Randor was almost always very much in the background, but he would be further fleshed out in the Filmation cartoon (more on that later).
We get a bit of this backstory in “To Tempt the Gods”, where we learn that Marlena crash landed on Eternia from Earth. We also get a look at a younger King Randor:
King Randor pops up in a few different places prior to the advent of the animated series.
In order to protect his true identity and thus make it harder for Skeletor to destroy him, He-Man lives a double life as Prince Adam, playful son of King Randor and Queen Marlena. Even now, as we speak, Prince Adam is playing with his pet tiger, Cringer. In the beautiful gardens that surround his father’s castle, he and his feline friend romp in the tall grass, happy and care-free, unaware that as He-Man, he is about to face the most difficult and dangerous challenge of his life – a life and death struggle with Skeletor. The outcome of which will determine the fate of the planet, and perhaps the entire universe.
Castle Grayskull (Kid Stuff, 1983)
He-Man & Battle Cat (Kid Stuff, 1983)
The Power of Point Dread (1983)
In this story illustrated by Alfredo Alcala, the king (not mentioned by name here) has his DC comics look. There is no hint that Prince Adam exists in this story.
The Ordeal of Man-E-Faces (1983)
This version of Randor in the DC-produced second wave of minicomics follows the general look of the 1982 DC series, albeit this time with a purple robe:
The Menace of Trap Jaw (1983)
The Magic Stealer (1983)
King Randor was, at one point in his development, called King Miro – this is briefly mentioned in the Filmation Series Guide, and I believe he is also depicted visually. The series guide reflects earlier designs for almost all of its characters, and here Randor/Miro again looks much like he did in the DC comics. Thanks to Dušan M. for reminding me of the “Miro” name in the comments.
The name Miro is also used in the 1984 UK Annual, which tended to draw from much earlier source material. Thanks to Jukka Issakainen for pointing this out.
Filmation redesigned the character away quite dramatically. He’s depicted as being much younger, and wears a blue jacket over a red tunic, with orange tights and blue slippers.
Randor was a frequent character on the show, occasionally playing a lead role in stories like “The Rainbow Warrior” and “Prince Adam No More”.
Randor’s look in the post-Filmation minicomics is all over the place. Sometimes he follows the DC look, sometimes he has something like the Filmation look, and in the case of the Leech and Mantenna minicomics, bizarrely, he has pink hair:
The Golden Book stories tend to give Randor several unique looks, only occasionally referencing existing, established designs for the character:
The action figure, released in 1987 (initially through a buy-three, get-one-free mail-away offer), looks like a kitbashed version of the cartoon character, sticking to the Filmation colors but otherwise grabbing whatever parts were handy to make a passable King Randor. He uses the basic He-Man body, but with Jitsu‘s armor, the Castle Grayskull spear in gold. The only new parts are his head, crown and cape. Jitsu’s armor was made to fit over a slightly flatter chest, so King Randor’s armor had to be warped outward to work with the He-Man buck.
There are a couple of early models or prototypes of Randor. This one (from a French MOTU catalog) looks hand-painted, but otherwise looks just like the final toy, albeit with much brighter, shinier gold paint:
Another version appeared in the US Mattel dealer catalog. It looks like a factory piece, except his armor is painted just like the original Jitsu armor. Perhaps this was an early factory sample, where they had mistakenly used the original paint mask on the armor instead of the revised version for Randor. Or, his armor could have gotten lost somehow, and Jitsu’s armor was used as a quick replacement for the photo:
The cross sell artwork for King Randor is closely based on the final toy, although the work itself is a bit rough in places:
Despite Randor’s release being somewhat low effort, this is actually my favorite look for the character. He looks much more battle ready than either the DC or Filmation designs, and in a place like Eternia, it makes sense to have a king who can kick butt when needed.
Once the look of the toy had been established, the minicomics that followed started adhering to the Mattel design, except he was given a gray beard/hair.
The Search for Keldor
In this story, it is hinted that Skeletor (aka Keldor) is actually King Randor’s long-lost brother, although Randor himself does not know that Keldor is now Skeletor.
Revenge of the Snake Men!
Enter: Buzz-saw Hordak!
King Randor appears in a few posters by Earl Norem and William George:
King Randor also appeared in the Star Comics, which followed Mattel’s design for the character (thanks to Øyvind M. for pointing this out):
However, in the Commodore 64 Masters of the Universe game, the DC design was used:
King Randor’s long, slow evolution makes him a little more interesting to research than many other, more prominent characters in Masters of the Universe. As a kid, I think I was dimly aware that a King Randor figure had been made, but I never saw one in person. Nevertheless, his reuse of parts actually makes him seem instantly familiar now.
Land Shark is one of those Masters of the Universe vehicles that had to exist. There was no way they weren’t going to get around to making a chomping shark car vehicle, given enough time.
According to The Power and the Honor Foundation Catalog, the idea for making this kind of vehicle came from Roger Sweet, and Ed Watts (who also worked on the Dragon Walker) created the design details in the concept drawing below:
The concept design, compared to the final toy, has much sharper lines (ideal for mowing down foes, but probably too sharp for a kid’s toy) and larger eyes, but the broad ideas that went into the final vehicle are all there. Notice that Trap Jaw is depicted driving the vehicle. In a way, the Land Shark is kind of a vehicular version of Trap Jaw, sharing not only his chomping mechanical jaw but also his color scheme. In Watts’ artwork, they even have similar weapons (although non of Trap Jaw’s attachments actually looked like that). The concept version is maroon and green, while final toy was maroon and blue (all three are predominant colors on Trap Jaw).
The cross sell artwork for the Land Shark (which incidentally seems to have been rarely used) is based closely on the final design used on the toy:
The trademark for Land Shark was filed September 10, 1984, and the patent was filed on November 13, 1984 .
Land Shark appears with some frequency in the series of minicomics released in 1985. The depiction in comics more or less matches the look of the final toy, although the guns are simpler and seem to connect to the vehicle with a different kind of hinged joint (this is true in all of the minicomic appearances, with the exception of Leech). This may represent an earlier prototype design. Excerpted images below are from the Dark Horse He-man Minicomic collection.
Curiously, Hordak drives the Land Shark in Hordak – The Ruthless Leader’s Revenge:
Errol McCarthy produced a couple of illustrations for the Land Shark. One of them was used in the 1987 Style Guide, which described the vehicle this way:
Role: Evil man-eating assault vehicle
Power: Power to seek, seize and consume the enemies of Skeletor
“Evil man-eating assault vehicle” seems like a good tag line for the toy. I’m surprised it wasn’t used on the actual packaging.
Land Shark makes a couple of appearances in the Golden books stories: A Hero In Need and The River Of Ruin (images via He-Man.org):
William George included the Land Shark in his 1985 and 1986 posters:
Earl Norem pitted the Land Shark vs the Laser Bolt in a poster included in the Spring 1986 issues of Masters of the Universe Magazine:
Norem also included the vehicle in his “Lake of Mystery” poster, although interestingly he turns it into a water vehicle in the surreal scene below:
The same issue of MOTU Magazine features a story called “The Comet Warriors Have Landed!” The vehicle also makes an appearance there:
The vehicle only made two appearances in the Filmation He-Man cartoon, in the episodes “The Gambler” and “The Cold Zone”. Predictably the vehicle is simplified for animation purposes. The guns were also dropped from the sides. Update: Dušan M pointed out that the animators also added a retractable roof so they wouldn’t always have to animate a driver. Aidan Cross points out that the Land Shark appears to be sentient, since in “The Cold Zone” it snaps aggressively when the Attak Trak says it would rather not be left alone with the Land Shark.
The Land Shark is a gimicky vehicle to be sure, equal parts menacing and comical. But, it’s undeniably one of the coolest vehicles released for the evil warriors, who never quite seemed to have enough of them. The lion’s share of always seemed to go to the good guys.
As a kind of sequel to my post about Castle Grayskull in the minicomics, I’d like to turn to Castle Grayskull as it was depicted in the box art. It shows up less frequently than you might expect.
Although Rudy Obrero painted the box art for the first year and a half of the Masters of the Universe toyline, most of the pieces of box art that feature Castle Grayskull were painted by him. That makes sense, as the the time to most heavily cross-promote the playset would be around the time it was released.
Battle Cat (1982)
Rudy Obrero’s first piece for MOTU was actually for the Battle Cat packaging. Castle Grayskull really isn’t the star of this illustration. Most of the detail is saved for Battle Cat and He-Man, while the castle is half-shrouded in mist in the background.
Most of Rudy’s depictions of the Castle generally follow the design of the playset However, this one is kind of a transitional piece, in between the prototype and the final toy design. It has the rounded teeth, full towers (these were shortened on the production playset) and red laser cannon of the prototype, but has lost the prototype’s tower ledge and “pawn” piece on the helmet. The “pawn” was actually present in Rudy’s original charcoal drawing (below). That indicates that some of the changes made to the castle happened while Rudy was still illustrating this piece.
Castle Grayskull (1982)
The landscape around the castle seems to change with each depiction. In Battle Cat, it seems to be sitting in a valley. In the Castle Grayskull packaging illustration, the scenery is much more dynamic. The castle is surrounded by a deep chasm, seemingly filled with lava. We don’t get a good view of the ground directly in front of the castle, but it seems that the jaw bridge is the only thing making it accessible by land.
The castle itself is highly detailed, based on the playset but amped up with bigger teeth and a meaner looking face. It has the finalized laser blaster and flag designs. In my opinion this is probably the single most iconic piece of artwork ever done for the Masters of the Universe line.
Battle Ram (1982)
In Rudy Obrero’s Battle Ram illustration, the castle is is in the distant background. It has the general look of the version of Castle Grayskull that appeared in the Battle Cat illustration. In this instance, the castle is set some distance away from a deep chasm.
He-Man and Wind Raider (1982)
The castle is a bit more finely detailed in Rudy Obrero’s He-Man and Wind Raider illustration. It follows the general look and design of the Castle Grayskull packaging, but now the castle sits on a rocky, smoke-filled battlefield, with no hint of any trenches or chasms.
Wind Raider (1982)
Rudy Obrero’s Wind Raider illustration (below) is interesting for a few reasons. First of all, it again seems based on Rudy’s Castle Grayskull packaging illustration, complete with oversized jaw bridge. In this scene one tower has been destroyed by He-Man’s Wind Raider anchor (remember at this point the castle was no one’s home base).
Finally, the Castle this time sits on small, rocky island in the middle of a lake (or so it appears). That’s significant because that’s the setting that designer Mark Taylor originally had in mind for the castle:
“The visible Castle rises above a fetid lake/moat inhabited with assorted exotic and dangerous flora and fauna, the castle extends seven levels/floors into the bedrock of the lake. Each level distorts reality (i.e., time and space) more than the one above. For example: the levels below the weapons storage room (armory) start with all the weapons that exists within one century each way from the present (MOTU time), the floor below that within five centuries years each way and so on.
“The Pit of Souls is a dungeon containing undying monsters from the beginning and end of time, that also extends into the time and space continuum (probably a miniature black hole). The powers of the castle are linked to these evil captives. Skeletor and his minions would love them released but also fear their potential. One must be very careful when listening to their counsel because they are extremely clever and totally evil.
The elevator when properly programmed (secret code) drops into these descending levels, of course, with each level potential danger as well as power lurks… This is obviously not the Eternia envisioned by marketing at Mattel, it is my world of He-Man.”
Attak Trak (1983)
For whatever reason, Rudy Obrero’s Attak Trak illustration is a mix of influences. In most respects it looks very much like the playset, but at the top of the helmet it features the prototype “pawn” piece.
Location-wise, this looks like another rocky battle field, like the one in He-Man and Wind Raider or in Battle Cat:
Rudy Obrero’s Zoar illustration has Castle Grayskull on top of a rocky hill. Design wise, it’s a very close match to Rudy’s Castle Grayskull packaging illustration.
This illustration by William Garland features a Castle Grayskull that very much resembles the way Rudy Obrero depicted it in Battle Cat. Garland, however, seems to prefer to set his battle scenes in the desert, with blowing clouds of dust everywhere.
This William Garland illustration features a mirror image Castle Grayskull – the tallest tower with the window is on the wrong side. It also seems to have the prototype “pawn” piece on top, and feature’s Garland’s usual desert location.
Castle Grayskull is easy to miss on William Garland’s Panthor illustration. It’s off in the distance and it happens to face upward on the box. The design and location of the castle are more or less identical to Skeletor and Panthor.
William George didn’t illustrate Castle Grayskull all that frequently, but when he did, he tended to put it on top of a mountain, often with a winding path leading to it. His castle generally follows the look of the playset, albeit with longer teeth.
William George included both Castle Grayskull and Snake Mountain in his Eternia box art illustration. Interestingly, this version of the castle seems more closely based on the prototype than the playset. The castle seems to be set on a small hill rather than a mountain, but the winding road leading to it is still there.
Flying Fists He-Man & Terror Claws Skeletor (1986)
William George again sets his Castle Grayskull up on a mountain, although there is no path leading up to it this time. The face on the castle is a little compressed looking in this interpretation, with an upper jaw that seems to hang far out over the entrance.