G.I. Joe was the first comic book I ever collected on a monthly basis. From the very first issue, I was immediately sold by the over-the-top characters, the enjoyable group dynamic, and the slick, futuristic military hardware.
The Snake Eyes figure has strong joints. It was easy to hit a variety of action-oriented poses.
When “Silent Interlude” hit newstands in March of 1984, it was a revelation. A one-shot story featuring fan-favorites Snake Eyes and Scarlett, the book also introduced readers to the enigmatic ninja, Storm Shadow.
More than anything else, however, the book distinguished itself by being a story told completely without text. No words. No speech balloons. No narration in little square boxes. Only the art of scribe Larry Hama and Steve Leialoha.
It was an approach to storytelling that hearkened to the days of silent film. It had likely been done before in comics, but to a 13-year-old with a vivid imagination, it was a catharsis.
“Silent Interlude” was the story that brought Snake Eyes to the forefront of the G.I. Joe mythology. His history, his relationship with Storm Shadow, and the simple revelation that G.I. Joe’s silent commando was, in fact, a ninja – everything about him, really. Why the mask? How did he become so scarred? Why does he never speak? The mystery of Snake Eyes was a legend that captivated fans to an extent matched only by that of The X-Men’s Wolverine.
Flash forward nearly 30 years. I grew up. So did comic books. They’ve burst from the confines of their pulpy pages and leapt onto the silver screen, gaining a fervent global audience that no ostracized fanboy would have deemed possible two decades ago. And the subsequent revisions of comics characters’ costumes in those films have been reflected in their graphic literature counterparts.
Enter Sideshow Collectibles, and their Snake Eyes and Timber Sixth-Scale Figure Set.
When Sideshow Collectibles acquired the license to produce sixth-scale figures of G.I. Joe characters, they promised a very real-world interpretation of those fantastic characters from both Joe and Cobra. And they’ve consistently delivered in a way that, by and large, still lends the occasional nod to the fantastic origins of each character.
The tactical gear on the figure leaves the impression that it can be removed, blown up to six times its current size, and worn by a real commando. This is the first figure that I’ve owned since the original Snake Eyes was released by Sideshow, so it’s my first experience with any of their simulated molle kit. (I’m not even sure what other figures, if any, can boast this feature.) Just as the actual gear can be customized to the individual soldier, this sixth-scale rendering is very effective as a modular means of attaching the included accessories. I enjoyed playing with it before finally settling on a suitable distribution of Snake Eyes’ gear.
And the gear is extensive. Multiple clips for each of three guns, half a dozen grenades for the grenade launcher, a sidearm (with silencer), two frags, a pair of gas grenades, a positively frightening tactical knife, and Snake Eyes’ customary ninja sword are all easily distributed anywhere on the tactical belts (within reason).
I was particularly impressed with the quality of the TAD gear messenger bag. Also equipped molle-style, it’s a convincing bit of costumery that really helps to sell the figure.
The black tactical sweater is a fine work, and really adds an element of realism to the figure. Especially the forearm “pads” and the functioning zipper. I can tell a lot of thought went into its crafting.
There are two heads with this figure, one of which features the slitted visor that has become the iconic look for Snake Eyes over the years. But the inclusion of the classic head, fully-sculpted with a real-world pair of goggles (attached to the head with a fabric strap) was a real selling point for me. The sculpted heads are both very solid, and help to sell that illusion of reality more so than a fabric mask would.
Now, onto Timber…
I was a bit skeptical of Timber. Historically speaking, exposed joints on any sixth-scale figure have ruined the illusion for me. Add to that the frustrations inherent with sculpted fur, and I foresaw a recipe for consternation.
I wasn’t completely wrong. The joints are exposed, and the fur is sculpted, of course. But after working and playing with the Timber figure for a while, I reminded myself of something very important: To sell the illusion of any sixth-scale figure, the poser needs to have a working knowledge of a body’s ability to move in real life. Once I’d started thinking about how a dog is supposed to look, it became easier for me to work with the wolf. With a decent pose established, providing a convincing silhouette, the joints became easier to overlook.
The only real difficulty comes from the figure’s weight. Timber is a heavy beast. All of that added mass has a tendency to overload some of the joints in my sample, especially if the weight isn’t properly distributed to provide good balance. My Timber toppled several times before I started to get it right, and I was ultimately able to hit several stable poses with him. (Given the complexities of a dog’s physiology over that of a human, I’m impressed at the variety of possible poses available here.) It’s an exercise in patience, but given practice, the figure works.
Overall, this is a strong offering from Sideshow. It’s currently the only Joe figure in my sixth-scale arsenal, but it definitely has me eyeing several others. The pair will likely have their own shelf in one of my Detolfs. I already have designs on a mountain environment for them.
Toys Will Be Toys 