Portal de Periódicos da CAPES

Toy Wars: The Epic Struggle between G.I. Joe, Barbie, and the Companies That Make Them

1999; Johns Hopkins University Press; Volume: 23; Issue: 2 Linguagem: Inglês

10.1353/uni.1999.0018

1080-6563

Jan Susina,

Digital Games and Media

Reviewed by: Toy Wars: The Epic Struggle between G.I. Joe, Barbie, and the Companies That Make Them Jan Susina (bio) G. Wayne Miller. Toy Wars: The Epic Struggle between G.I. Joe, Barbie, and the Companies That Make Them. New York: Times Books, 1998. Anyone interested in contemporary children’s culture—and by that I simply mean children’s toys and media—ought to read this compelling study of the toy industry. Focusing primarily on Hasbro, the largest toy company in the world with corporate headquarters in Providence, Rhode Island, G. Wayne Miller traces the economic evolution of the American toy industry from small, family-run businesses to Fortune 500 corporations. Miller’s detailed case study quickly puts to rest all those warm-hearted versions of toy companies that have appeared in family films such as Big or Toys; the world of G.I. Joe and Barbie is a place of profit margins, strategic planning, corporate restructuring, and hostile takeovers. Just as John Newbery realized that he could sell a ball or pincushion with copies of A Little Pretty Pocket Book (1774), children’s publishing became an intersection of art and commerce; so the world of contemporary toys combines the world of play and the realm of corporate profit. Given the growing importance of children’s culture, those working in the area of children’s literature need to be aware of the growing influence of children’s toys and media on the sort of books that are being marketed for children. Children’s books compete with toys, television, films, and videos for children’s time and dollars, and these narratives are increasingly affecting children’s publishing. Significant critical texts such as Marsha Kinder’s Playing with Power in Movies, Television, and Video Games from Muppet Babies to Teenage Mutant Ninja Turtles (1991), Ellen Seiter’s Sold Separately: Parents and Children in Consumer Culture (1993), and Stephen Kline’s Out of the Garden: Toys and Children’s Culture in the Age of TV Marketing (1993) have brilliantly mapped out this aspect of children’s culture. Far less successful is the poorly researched Kinderculture: The Corporate Construction of Childhood, edited by Shirley R. Steinberg and Joe L. Kincheloe (1997). In Playing with Power, Kinder introduces the concept of the children’s commercial supersystem as a network of intertextuality that is constructed around a figure or group of figures from pop culture that cut across several modes of image production, appealing to diverse markets, which are targeted by different strategies and foster collectability through a proliferation of related products (122–23). Think Teletubbies or Rugrats. [End Page 300] Miller’s book-length study provides a fairly comprehensive examination of a children’s supersystem with the rise and fall of G.I. Joe, the first and best known action figure, which Kinder’s chapter on Teenage Ninja Turtles or Seiter’s on Little Pretty Pony can only touch on. While Miller lacks the theoretical grounding of Kinder or Seiter, his access to Hasbro archives and interviews with the key executives of the company make his study an important case study, revealing the practices of the highly secretive and intensely competitive world of toy companies. Like M. G. Lord’s carefully researched Forever Barbie: The Unauthorized Biography of a Real Doll (1994), which makes an appropriate companion volume to Toy Wars, Miller concentrates on a single toy company and its signature toy whose personality has come to be identified with the company that produces it. Hasbro is the main focus of Miller’s book and the signature toy is G.I. Joe, while for its rival, Mattel, it is Barbie. These two toy figures have crossed paths more than once. One of Hasbro’s attempts to compete against Barbie in the fashion doll category was with Sindy, a strikingly similar-looking doll. So similar that in 1988 there was an injunction against Hasbro to stop sales of Sindy in England due to patent infringement, which resulted in the two dolls being undressed in court and measurements of their respective busts, waists, hips, and legs taken and compared by the judge. With more than $11.4 billion in annual sales from their flagship product, Mattel...