Cass


 * //__media type="youtube" key="WHfNniqT7bo" height="290" width="355" align="right"ROBOTECH__//**


 * //Introduction//**


 * ROBOTECH** follows three generations of characters from 1999-2044 as they are shaped by the events of three interconnected wars. The ROBOTECH cartoon premiered in 1985 and stood out from its contemporaries -- unlike iconically similar G.I. JOE and TRANSFORMERS, ROBOTECH's characters lived and died, met and fell in love, and expressed real emotions and evolved as individuals. The original 85-episode run of this "sci-fi soap opera" spawned toys, comix, role-playing games, novels, and other pop-culture relics. From an "America is a patriarchal society" perspective, ROBOTECH is a unique study: it featured women heros in leadership positions, a cross-dressing male hero, and an essentially anti-war message, among other subversive elements. So, //"What would [Author] say about ROBOTECH?"

//

**//"What would Johnson say about ROBOTECH?"//**

Although it is true that ROBOTECH features many strong, 'real' female characters, the fact is that, in general, ROBOTECH's stories and characters function within a patriarchal world. Within that world, though, ROBOTECH occasionally challenges and subverts patriarchy. In THE GENDER KNOT, Allen Johnson outlines four components of patriarchy and offers suggestions for challenging it. Applying these to ROBOTECH sheds light on its conflicted nature.

//Component 1//: "Patriarchy is male dominated in that positions of authority [...] are generally reserved for men" (5). This is true in regards to all three parts of the ROBOTECH saga. In "Macross Saga," the primary authority figure is Captain Henry Gloval, with his second-in-command being Lisa Hayes; the majority of the characters answer to Lisa, a woman, but she answers to Gloval, a man. In "The Masters," the primary authority figure is Supreme Commander Anatole Leonard, with the story-focus character being Lt. Dana Sterling; Dana, a woman, is in charge of her squadron, but she herself takes orders from Leonard, a man. In "New Generation," the primary authority figure and central character are the same, Scott Bernard, a man.

//Component 2//: "Patriarchal societies are male identified in that the core cultural ideas about what is considered [...] normal are associated with how we think about men and masculinity" (6). This component, in regards to ROBOTECH, is subtle. In all three parts of the saga, it is unsaid-but-obvious that the "core cultural ideas" of patriarchy are the societies' foundations. What's subversive about ROBOTECH, though, is the fact that all three societies violently come to an end due to the actions of 'men in authority' -- with the women characters inheriting their respective worlds as those now in authority and in charge of rebuilding and reshaping their post-war worlds.

//Component 3//: "[Patriarchy] is male-centered, which means that the focus of attention is primarily on men and what they do. [...] Male experience is what patriarchal culture uses to represent human experience, even when it is women who most often live it" (10). True to this, the experiences of men are 'primary' in ROBOTECH. "Macross Saga" and "New Generation" both feature male heroes as their focus; "The Masters" (subversively?) features a female hero as its focus. What is interesting about ROBOTECH, though, is that throughout all three sagas, the story and action often moves beyond the series' heroes to focus on supporting -- but still significant -- characters, many of them women, adding a breadth to the show's scope and emotional experience.

//Component 4//: "[Patriarchy] is an obsession with control as a core value around which social life is organized. [...] As a result, controllers come to see themselves as subjects who intend and decide what will happen, and to see others as objects to act upon" (14, 15). ROBOTECH is a multi-generational war story. Men are in charge of these armies and characters, controlling the actions of those they command. Thus, by its very nature, ROBOTECH is patriarchal when it comes to control as a value. On a character level, there is greater variety: Rick and Lisa in "Macross Saga" are equals in their romance; Dana in "The Masters" regularly challenges male authority with winning results; Scott in "New Generation" is patronizing and chauvinistic, especially in regards to his romantic interest, Marlene.

Considering all four components of Johnson's definition of "patriarchy" in regards to ROBOTECH, it is clear that ROBOTECH is, in general, patriarchal. That said, as evidenced by example, ROBOTECH often challenges and subverts the patriachal system -- making it a unique cultural relic of 1980s kid culture.

//BIBLIOGRAPHY//

Johnson, Allen G. //The Gender Knot: Unraveling Our Patriarchal Legacy//. Rev. ed. Temple UP, 2005. Print.


 * //"What would Kearney say about ROBOTECH?"//**

Mary Celeste Kearney, in her article "Producing Girls: Rethinking the Study of Female Youth Culture," examines the role female teens and young women have played and do play in consuming, shaping and creating media. From, for example, solicited contributions in corporate, commercial magazines to anti-corporate, DIY zines, Kearney tracks the history of the compromises-and-conflicts between "for girls" and "by girls" in the context of "producing girls," i.e. girls as 'cultural producers' (286). In a similar way, throughout its history, "corporate" ROBOTECH has coexisted and occasionally come into conflict with "DIY" ROBOTECH; and, throughout its history, "producing girls" have been active participants.

An example of solicited contributions in a corporate, commercial publication is that of ROBOTECH: ART 2. ART 2 was the second in a series of three ROBOTECH art books released in the 1980s by boutique publisher Starblaze/The Donning Company. Whereas ART 1 was a 'series bible' of sorts (episode guide, character bios, behind-the-scenes production notes), ART 2 was a high-end collection of professional and amateur artworks. Of the 19 artists featured, six (32%) were women; of the 78 artworks included, 49 (63%) were from the female artists. ART 2 is considered by many ROBOTECH fans as one of the finest series' merchandise items ever released -- an item that would not have existed were it not for the female artists (pro and amateur) who contributed to its contents.

The late '80s into and throughout the '90s saw, at first, a renaissance in 'old school' fanzines (Kearney 299) focused on ROBOTECH, followed by -- as the internet entered the mainstream -- an explosion in ROBOTECH-specific websites. This was an era that found ROBOTECH's corporate owners, Harmony Gold, very passive legally in regards to their ROBOTECH brand; fans were able to create -- unchecked -- DIY fan-fictions, fan-artworks and fan-communities. In the case of both fanzine and website contributions, many female fans generously contributed their writings and artworks. An interesting note regarding female ROBOTECH fans: They seemed to be primarily responsible for website 'shrines' that focused on specific series' characters and couples (two that this writer recalls dealt with "The Masters"' character Musica and the "New Generation" couple Scott and Marlene). Kearney explains why this might be: "[Much] of this (sub)cultural activity on the part of today's youth is not entirely independent from the mainstream media and popular culture upon which it must rely not only for publicity and promotion, but also for source material..." (298).

The year 2000 saw Harmony Gold reassert its control over its ROBOTECH brand. Starting in that year through to the present, Harmony Gold's legal department targeted/targets fanzines and websites with a "cease and desist" letter; the sad result is that many of those fan produced relics of the previous decades -- many by "producing girls" -- have been lost. Harmony Gold has tried to make amends by establishing a "Fan Art/Fiction" section on their official ROBOTECH website (http://robotech.com/community/fan/) for the show's fanboys and fangirls, but the creative works lack genuineness and integrity due to being legally filtered by and owned by default upon submission to Harmony Gold.

The heritage of ROBOTECH fandom, though, is positively felt to this very day -- especially in regards to female fans moving beyond 'producing fangirls' to independent 'cultural producers.' As Kearney says: "In numbers now too big to ignore, female adolescents are increasingly involved in the production of films and videos, the recording of music, the publication of literature, and the manufacturing of clothing and fashion accessories" (289).

//BIBLIOGRAPHY//

"Robotech Community: Fan Art/Fiction." //Robotech.com//. Harmony Gold USA, Inc., 2007. Web. 9 May 2010. .

Kearney, Mary Celeste. "Producing Girls: Rethinking the Study of Female Youth Culture." //Unknown//. Unknown: Unknown, Unknown. 285-309. Print.

Reynolds, Kay, ed. //Robotech: Art 2//. Norfolk, Virginia: Donning Company/Publishers, 1987. Print.


 * //"What would Do Rozario say about ROBOTECH?"//**

ROBOTECH's "New Generation" features a Princess, Prince and Queen, with parallels to both Walt Disney and Team Disney's archetypical models. The context in which "New Generation" takes place is Earth after being conquered by the alien Invid, spawning a human resistance movement leading up to an attempt by space-faring humans to try to win back Earth for all of humanity.

//The Princess// in "New Generation" is Ariel/Marlene, an Invid princess who is inserted into a human resistance cell's ranks as a spy for her people; as an Invid, her name is Ariel, whereas the amnesiac identity she adopts with the humans is Marlene. Toward series' end, Marlene discovers who she really is -- the Invid princess, Ariel -- and she exhibits similar behaviors as that described by Rebecca-Anne C. Do Rozario, in "The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney Princess," by the Walt Disney princess archetype: "She wanders barefoot in the woods and is uninterested in the affairs of kings, devastated when she learns she is a princess [...]" (38). Following this revelation, though, she eventually embraces her Invid heritage and name and, along with Scott and her other freedom fighter companions, "creates the possibility of an equal match between hero[s] and princess [...] the new government [that is ultimately] forged is less insular and the princess is reconciled to both father [or mother, i.e. the Regess] and lover [Scott and humanity]" (Do Rozario 55, 56).

//The Prince// is Lt. Scott Bernard, the lone surviver of an earlier, failed attempt to win back Earth for humanity, and the leader of the human resistance cell Ariel is inserted into; Ariel enters the group as an amnesiac, after which Scott names her "Marlene" after his dead fiance. Over the course of their character arcs, Scott and Marlene begin to fall in love and Scott regularly comes to her rescue, similar to the Walt Disney prince described by Do Razario -- the "prince [Scott] as rescuer, and a 'dragon' [i.e. The Regess ...] from whom the princess [Ariel/Marlene] needs rescuing" (42). From a Team Disney POV, Scott functions as an outsider-prince in the eyes of the Regess: 'He appears to threaten the stable future of the kingdom by changing the status quo, a forbidden prince who is contrary to the custom of the kingdom and will force the kingdom to become less insular' (Do Razario 54).

//The Queen// is the Regess, the queen-mother of the Invid race who has come to Earth and conquered it for her people's survival, since their food source, the Flower of Life, has taken root and flourished on Earth following the devastating end-result of the previous Robotech war. From the Team Disney POV, Do Rozario suggests the queen/mother position as "either sentimentalized or disdained [...] their identity and their work simultaneously erased, naturalized and devalued" (Haas qtd. 52). This is especially true while Ariel is amnesiac and believes herself to be Marlene -- she denies the Regess as her mother and fights against her, since she doesn't know any better. It's at the end of "New Generation" that a striking Walt Disney-esque queen/mother moment occurs: To stop humanity from destroying their own world (Earth) in an attempt to exterminate the Invid, the Regess sacrifices her and her race's new new home by choosing to flee from it by 'turning herself into a proverbial dragon' (Do Rozario 40), thus saving not only her own race but that of the one she previously conquered.

A princess. A prince. And a queen. ROBOTECH's "New Generation" features all three, with both the Walt Disney and Team Disney archetypes apparent throughout.

//BIBLIOGRAPHY//

Do Rozario, Rebecca-Anne C. "The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney Princess." //Women's Studies in Communication// 27.1: 34-59. Print.

"The New Generation." //Robotech.com//. Harmony Gold USA, Inc., 2007. Web. 10 May 2010. [].


 * //"What would Hager say about ROBOTECH?"//**

There are a couple interesting parallels between THE POWERPUFF GIRLS and ROBOTECH. On a superficial level, both series feature a trio of female characters with specific representational colors and personality types. On a deeper level, both feature female characters who demonstrate the concept of Diva Citizenship.

Regarding THE POWERPUFF GIRLS' primary characters -- the Powerpuff Girls themselves -- Lisa Hager, in her article "'Saving the World Before Bedtime': The Powerpuff Girls, Citizenship, and the Little Girl Superhero," writes: "Each Powerpuff has a clear personality that is revealed through her signature colors [...]"; Hager goes on to discuss those personalities and colors in great detail (70-73). Wikipedia sums up their characterizations succinctly: Blossom is the "smart one" and wears pink; Bubbles is the "cute one" and wears blue; and Buttercup is the "tough one" and wears green.

The second generation of the ROBOTECH saga, "The Masters," interestingly enough, also features a trio of female characters who each have their own distinct color and personality set. Dana Sterling's military uniform and battle armor are highlighted with pink; her personality is carefree, good-humored and impulsive. Marie Crystal's military uniform and battle armor's base color is yellow; her personality is relaxed, reasonable and polite. And Nova Satori's primary color is black accented with green; her personality is uptight, serious and relentless.

In both THE POWERFUFF GIRLS and ROBOTECH's "The Masters," the "girls' personalities as a group work to sustain the law even as their individual excesses are radically lawless" (Hager 70). This ties directly into the concept of Diva Citizenship -- a "moment in which a previously abject citizen 'stages a dramatic coup in the public sphere in which she does not have privilege' and temporarily makes her radical critique central to the dominant discourse [... thus making] visible the State's inability to live up to its ethical principles" (Hager 64, 65).

Hager discusses the specifics of the Powerpuff Girls' Diva Citizenship, but what about ROBOTECH's "divas"? In the case of Dana, Marie and Nova, they are female soldiers who answer to male military higher-ups. They're expected to follow orders, they're expected to not question their supervisors' decisions... in essence, they're expected to be 'good little girl soldiers.' As happens throughout the whole of the "The Masters" saga, though, Dana regularly takes the lead in insubordination; Nova hounds her and, in the process, becomes an active participant in the action; and Marie plays the peacemaker between the two, also getting caught up in the subversive acts. In their 'radical lawlessness' -- always based on "ethical principles" and always resulting in a heroic 'turning of the tide' -- they challenge the patriarchal status quo, are lectured for insubordination but are rewarded for its outcome, and promptly return to their subordinate status in time for the next episode. Just like the Powerpuff Girls.

The parallels between THE POWERFUFF GIRLS and ROBOTECH in portraying their 'diva trios' is apparent. In both cases, their characterizations are built on the foundation of particular 'types,' and their Diva Citizenship is key in shaping their respective series' stories. In both cases, they function within their worlds' power structures as "girl superheroes" saving their worlds.

//BIBLIOGRAPHY//

Hager, Lisa. "'Saving the World Before Bedtime': The Powerpuff Girls, Citizenship, and the Little Girl Superhero." //Children's Literature Association Quarterly// (2008): 62-78. Rpt. in //Project Muse: Scholarly Journals Online//. N.p.: n.p., n.d. N. pag. Project Muse: Scholarly Journals Online. Web. 29 Apr. 2010.

"The Powerpuff Girls." //Wikipedia, the Free Encyclopedia//. Wikimedia Foundation, Inc., 28 Apr. 2010. Web. 29 Apr. 2010. [].

"Robotech Infopedia." //Robotech.com//. Harmony Gold USA, Inc., 2007. Web. 29 Apr. 2010. [].


 * //"What would Heilman & Donaldson say about ROBOTECH?"//**

In their essay "From Sexist to (sort-of) Feminist: Representation of Gender in the Harry Potter Series," writers Elizabeth Heilman and Trevor Donaldson apply academic gender critique to J. K. Rowling's HARRY POTTER novels. In coming to their conclusion that the novels regularly reinforce patriarchal values (although a minor shift in a feminist direction is demonstrated in later novels), they examine a number of evidential tracks. Two of these were: "gender by the numbers," and group-characterized females. In ROBOTECH's case, the general fan impression of its characters in regards to gender representation is that it is balanced, and maybe even female-centric; the series also features gendered "group characterizations." Those parallels beg the questions: Is ROBOTECH, in fact, gender neutral or female-centric? And how are the gendered groups characterized?

Heilman and Donaldson bring out: "In order to reveal dominant conventions, feminist theories of children's literature have pursued multiple levels of analysis, beginning with female representations in literature. How much narrative space is devoted to males?" (141). So, is ROBOTECH gender neutral, perhaps even female-centric? A count of the main characters throughout the //whole// series sheds light on this question: of the main characters, 23 are male and 18 are female. Based on this headcount, ROBOTECH is male dominant. But what about the //individual// parts of the series? Again, a count of the main characters sheds light on this: "Macross Saga" features 10 male and 8 female characters; "The Masters" 8 male and 4 female; and "New Generation" 5 male and 6 female. Although it is notable that one of the three parts -- "New Generation" -- is female dominant, the fact is that the other two are male dominant. Looking at the protagonists of the three parts sheds further light on the question: the hero of "Macross Saga" is Rick Hunter, a male; the hero of "The Masters" is Dana Sterling, a female; the hero of "New Generation" is Scott Benard, a male. Counter to patriarchy's "male centered" value, Dana Sterling in "The Masters" is commendable in subverting expectations within the context of a 1980s "boy" cartoon, but the reality is that *as a whole* ROBOTECH is male centered.

On the subject of group-characterization, Heilman and Donaldson say: "Certain traits [...] are presented in groups. [...] This repeated grouping reinforces a tendency for readers to interpret females as types, rather than as individuals" (150, 51). How are gendered groups characterized in ROBOTECH? "Macross Saga" features two gendered groups. The Bridge Bunnies are three "giggly, emotional, gossipy, and anti-intellectual" (Heilman 150) support crew members. The fact that their occupations are supporting (secretarial) in nature, their designation ("Bridge Bunnies") is derogatory, and their personalities are stereotypical smacks of patriarchy. So, too, the portrayal of the Zentraedi Spies, three "tough, dumb [...] non-dominant" (alien) adult males; they function as a group representation of patriarchy's "working class masculinity" (Heilman 156). These groups stand in contrast to the non-traditional nature of the majority of the main characters -- both male and female -- whose characterizations regularly challenge patriarchy's norms.

Due to the conflicted nature of ROBOTECH in regards to patriarchal values, by its nature a stronger case could be made that ROBOTECH is more gender neutral and feminist than the Harry Potter universe. That said, though, it is nonetheless apparent that sexist idealogy still runs throughout the whole of ROBOTECH. So, is it patriarchal or is it subversively feminist? Perhaps it's both, and perhaps it's neither.

//BIBLIOGRAPHY//

Heilman, Elizabeth E., and Trevor Donaldson. "From Sexist to (sort-of) Feminist: Representations of Gender in the Harry Potter Series." //Unknown//. N.p.: n.p., n.d. 139-61. Print.

"Robotech Infopedia." //Robotech.com//. Harmony Gold USA, Inc., 2007. Web. 22 Apr. 2010. [].


 * //"What would Beavis & Charles say about ROBOTECH?"//**

Similar to video games, action cartoons are primarily appreciated by boys. In the 1980s, this was especially the case. The Atari and ColecoVision game systems of the day had contemporaries in the form of cartoons like TRANSFORMERS and G.I. JOE. Released during that same era was ROBOTECH. The ROBOTECH cartoon, like its peers, featured traditionally boy-centric fare like giant transforming robots and elite military men, but -- unlike its peers -- it also featured traditionally girl-centric fare like romance, domesticity, and pop-stardom. Reflecting on the reactions of boys and girls to this cartoon in a patriarchal society parallels Catherine Beavis and Claire Charles' claims regarding boy/girl reactions to THE SIMS video game.

ROBOTECH was primarily marketed as a "boy" cartoon. The relics it spawned during its original airing (1985-1987) demonstrate this: model kits, comic books, action figures, role-playing games, and science-fiction novelizations. But it also spawned a line of Barbie-esque dolls, paper-doll books and a pop-music album -- relics primarily targeted at girls. Based on past and present fan interactions (gleaned from old fanzines and current internet fan communities), the ROBOTECH fanboys of the era seemed to focus most of their fannish energy on the robots and thrilled to the military fighting, whereas the fangirls seemed to focus on the character-interaction story elements, the show's fashion sensibilities and the plot-specific musical-performances.

Thus, given that ROBOTECH featured both traditionally "boy" and "girl" interest sets, it's no surprise that boys and girls in a patriarchal society would focus on that which they gender-identify with. Similarly, Beavis and Charles found that children's game-play of THE SIMS reflected and reinforced patriarchal gender-norms: "[T]he boys' experience and subversion of domestic space centered on creating a fantasy world characterized by chaotic [... and] exaggerated [...] lifestyles. While the girls constructed situations that mirrored order and 'reality' a little more closely [...]" (365).

Naturally, it's not surprising that due to ROBOTECH's duel-gendered nature it was fertile ground for enabling fans to subvert their own gendered expectations. Based on the same fan interactions highlighted earlier, it's notable that certain fanboys were equally thrilled by ROBOTECH's character interactions, fashion sensibilities and musical performances; certain fangirls were equally thrilled by the giant robots and military-style action sequences; and some in both groups chose to consume relics marketed to their "opposite" gender. One particular ROBOTECH character, Lancer -- universally popular with both male and female fans -- encapsulates this subversion: he was not only a military man commandeering both a transforming motorcycle and fighter plane, but a pop-singer drag queen known as "Yellow Dancer." Reflecting on THE SIMS and video games in general, Beavis and Charles noted that "options for subversion [are] built into the game [... Kids savor] the opportunities for subversion" (361, 365).

In its time, ROBOTECH and its associated relics never rose to match the success and marketability of its contemporaries. It was gender-norm atypical, different and subversive, and memorable to those who discovered and appreciated it. It was and is a true "cult classic."

//BIBLIOGRAPHY//

Beavis, Catherine, and Claire Charles. "Challenging Notions of Gendered Game Play: Teenagers playing The Sims." //Discourse: Studies in the Cultural Politics of Education// 26.3: 355-67. Print.


 * //"What would Inness say about ROBOTECH?"//**

Like other "boy" cartoons of the 1980s, ROBOTECH had an action-figure line of toys. But unlike its contemporaries' lines (ex. HE-MAN & THE MASTERS OF THE UNIVERSE and G.I. JOE: A REAL AMERICAN HERO), ROBOTECH's was unique in featuring a notable number of female characters. Whereas HE-MAN had She-Ra and G.I. JOE had Scarlett -- "token" female characters -- ROBOTECH had significant, "essential" female characters.

The ROBOTECH action figures released in 1985 by Matchbox were modeled after the hugely successful G.I. JOE figures of the time -- 3 3/4 inches tall; packaged on "character cards" that included a character biography and a listing of other figures in the line; accessorized with a gun and helmet, and/or some other character-specific item(s); and engineered so as to be placed within higher-priced line-specific vehicles as "pilots." Although Matchbox's ROBOTECH vehicles were highly regarded for their quality and playability, the same can't be said about their ROBOTECH action figures, which were low in quality and lacked playable poseability (i.e limited toy-joint articulation). Due to this, as the decade progressed -- and even into the early 1990s -- it wasn't uncommon to come across ROBOTECH action figures at dramatically reduced prices or in clearance dump-bins at toy stores.

It's also possible, though, that the very nature of the ROBOTECH action-figure line resulted in its lack of popularity/marketability. As Sherrie Inness brings out in "'It's a Girl Thing': Tough Female Action Figures in the Toy Store":

"A two-tier system exists[; ...] hundreds of male [action figures] are available at [...] major toy store[s ...] A few females might appear, but [...] female action figures can be a hard sell to males. [...] For a[n action figure] toy line [...], which is marketed primarily to males [...], including females risks that boys might not purchase the toys [...]" (87).

As previously noted, the ROBOTECH action-figure line featured a sizable number of female characters in its ranks. Of the 22 available characters -- both "hero" and "villain" figures -- six were female. This may not seem significant; but when just the "heroes" are considered: Five out of 11 -- nearly half -- are female. Along with their male comrades, they, too, were accessorized with a gun and helmet (the only exception being pop-singer character, Lynn Minmei, who came with a microphone and helmet). Truly, the ROBOTECH action-figure line -- in the context of its lingua franca (Inness 81) -- was a paradox.

Despite ROBOTECH and its action figures' limited marketability, its brand and its toys did touch the lives of many young fans who discovered and latched onto this largely overlooked series. As Inness says:

"When we think about the gender-segregated universe of children's toys [and cartoons], including action figures, it is easy to assume the worst. [...] There is no doubt that such stereotyped gender roles have a tremendous influence, but we also have to remember that children can be subversive [...]" (90, 91).

And that was surely the case with ROBOTECH. Both fanboys and fangirls purchased and played with these action figures; boys played with girl characters/figures and girls played with boy characters/figures. Female characters in leadership roles in the military inspired more than a few female fans to pursue a career in the military; scientist characters inspired male and female fans to pursue a career in the sciences; and a transgender character even inspired one male fan to embrace his bisexual identity. As demonstrated by its action-figure line, it can be said the ROBOTECH was a 'boy and girl thing,' and challenged and shaped gender-expectations for a small-but-devoted generation of 80s cartoon/toy fans.

//BIBLIOGRAPHY//

Inness, Sherrie A. "Chapter 3: 'It's a Girl Thing': Tough Female Action Figures in the Toy Store." //Unknown//. N.p.: n.p., n.d. 75-94. Print.

"Robotech by Matchbox." //Action Figure Archive//. Action Figure Archive, 2010. Web. 26 Apr. 2010. [].