Several 3D models from the Army Men franchise have appeared over the years. Here’s a compilation of the ones the fandom have and the ones we’re missing…
Here you can find links to download some of the 3D models made or acquired by 3DO. All of them will be made available gradually.
1. Official but non-original Army Men 3D models used in the franchise, purchased to third party by 3DO and used as obtained, or modified by 3DO
Models used by 3DO in the Army Men video games, but which were acquired from third-party 3D model banks, used as acquired or with some modifications. In this case ViewPoint 3D models.
3. New and non-official screen accurate copies of Army Men 3D models used in the franchise made by the Toyverse project
Some of these models are loosely or heavily based on the 3DO models seen on screen. Rather than making exact “screen accuarete” copies, we created these vehicles or characters as versions of themselves after what was seen in Army Men, as a sequel to the characters.
CGI HQ Toyverse OriginalCGI V-Bot Toyverse OriginalCGI Dump Truck Toyverse OriginalArmy Men logo V2 (2000)Remake of M48 Tank Toyverse originalRemake M16A1 Toyverse original
Non-official Original Army Men Toyverse Project 3D models made by the Toyverse project or third party
Some of these models are loosely or heavily based on the 3DO Army Men 3D model style. But also, rather than making an original 3D model, we have adapted 3rd party 3D models. In this case ViewPoint 3D models from the same model batches, also used by 3DO.
Toyverse Original CGI MotocrossToyverse Original CGI characterGymnast Original VP ModelAmazonas V1 Original VP ModelC3-R34L Original VP ModelBiker Original VP ModelFire Modified VP ModelOriginal VP Model (Agent Blue 001)Modified VP Model Sarge post TISLight Blue Artic Modified VP ModelImperial Greys Modified VP ModelUnnamed Colonel Modified VP ModelModified VP Model (zombies)Unnamed Violet General Modified VP ModelOriginal VP Model
The Evolution of Plastic Soldiers in the Army Men Toyverse
Like the clones in Star Wars, Plastic Soldiers are mass-produced with a single purpose: to fight. Fresh out of the mold, they are identical in appearance and function. They have no personal identity, no opinions, and no customization. Their abilities are the same, their uniforms are standard, and their mindset is programmed to obey orders without question.
Initial Uniformity: Born from the Mold
Their existence is purely functional. They are replaceable, interchangeable, and in the chaos of war, individuality is not a priority.
Battlefield Marks: Experience and Change
However, war is unforgiving, and no soldier remains the same after facing the reality of combat. With each mission, Plastic Soldiers begin to develop their own instincts. The scars of battle (cracks in the plastic, burns, improvised accessories) become marks of identity.
Just as the Star Wars clones adopted unique hairstyles, armor modifications, and personal emblems, Plastic Soldiers also find ways to stand out. Some reinforce their weapons with duct tape, others paint symbols on their helmets or adjust their posture, slightly bending their joints to differentiate themselves. These small adaptations become badges of veteran warriors.
The Awakening of Individuality: More Than Just Soldiers
Over time, the standardization of their existence begins to crumble. Those who survive long campaigns develop their own thoughts, question orders, reflect on their purpose, and adopt an identity beyond their initial function.
The Star Wars clones evolved from mere troops to individuals with distinct voices, such as Rex and Cody, who led with autonomy and genuine emotions. In the Toyverse, Plastic Soldiers follow a similar path. Once uniform figures on a battlefield, they become characters with distinct personalities, choosing how to fight, what to preserve, and how to leave their mark.
The Experienced and Enhanced: Beyond Natural Evolution
Not all Plastic Soldiers follow a progression solely based on combat experience. Some, whether through battlefield merit or strategic necessity, are selected for enhancement programs (similar to the Super Soldier project or cybernetic modifications seen in Star Wars with Clone Commando Echo, or even characters like Cable from X-Men and Bucky Barnes, Marvel’s “Winter Soldier).
These soldiers undergo physical and tactical upgrades that elevate them beyond their comrades. Some receive structural reinforcements, advanced armor, or bio-mechanical enhancements that increase their endurance and strength. Others are transformed into hybrids of machine and soldier, integrating advanced communication systems, improved sensors, or even prosthetics with specialized abilities.
However, the cost of these enhancements is not just physical. Like Echo in Star Wars: The Clone Wars Season 7, many of these upgraded soldiers face an identity crisis: Are they still Plastic Soldiers, or have they evolved beyond what they were created to be? Are they tools of war or individuals with their own purpose?
For some, enhancement is a blessing; for others, a curse. Their role in the Toyverse becomes a dilemma between utility and individuality, where war reshapes them not only physically but also spiritually.
Conclusion: Evolution Beyond the Mold: More Than Plastic, More Than Soldiers
A Plastic Soldier’s fate is not set at the time of its creation. Though they are born with a fixed purpose: war, experience gives them something invaluable: identity. Thus, what was once a homogeneous army transforms into a brotherhood of unique warriors, each with their own story sculpted in plastic.
The progression of Plastic Soldiers in the Army Men Toyverse mirrors the journey of Star Wars clones: from interchangeable units to unique individuals with their own stories. But in the case of the enhanced ones, a new element is at play: transformation not only as a result of war but also through deliberate intervention.
From mass-produced warriors to experienced soldiers who choose to forge their own destiny, each Plastic Soldier faces a different path. Whether shaped by battle or by technology that turns them into something more, their evolution defines the true weight of individuality in a world where they were created to be identical, and for war.
“Battleground”: The Day Stephen King Made His Own Army Men Movie
DVD back cover
In 2006, fans of Stephen King’s stories and Army Men enthusiasts were treated to a curious and surprising gem: the miniseries “Nightmares and Dreamscapes”, a TV anthology based on some of King’s most memorable short stories. But within that collection, there was one episode that stood out in a unique way, one that, for those of us who love the Army Men universe, is simply impossible to ignore. And it was the first episode…
That episode is called “Battleground” and it’s basically an Army Men movie, but with Stephen King’s unmistakable touch.
!!! SPOILER ALERT !!!
From this point forward, we reveal key plot details about the episode. If you haven’t seen it and want to enjoy it fully, we recommend watching it first and then returning to this article.
The Plot: Miniature War, Terror on a Human Scale
The story follows Jason Renshaw (brilliantly played by William Hurt), a cold and meticulous hitman who, after eliminating the founder of a powerful toy company, returns to his luxury apartment.
What he doesn’t imagine is that the founder’s mother, seeking revenge for her son’s death, sends him a very special package: a box of toy soldiers… but these are no ordinary toys.
Inside is a fully armed platoon of plastic soldiers, fully mobile, ruthless, and deadly, accompanied by miniature vehicles, jeeps, attack helicopters, and portable artillery. What follows is a brutal, relentless battle where the soldiers do everything possible to kill Renshaw, using real military tactics adapted to their scale, while he, a professional hitman, fights to survive in what becomes a life-or-death war… inside his own spectacular apartment.
No Dialogue, Pure Visual Storytelling
One of the most striking aspects of this episode is that it has absolutely no dialogue. Not a word. Everything is told visually, through actions, expressions, and clever staging. This was no accident: it was a deliberate decision by director Brian Henson (yes, the son of Jim Henson, creator of The Muppets).
As Henson explained in interviews, he chose not to use any spoken lines to preserve the purity of the story, focusing solely on the tension, the fight, and the brutality of the encounter. This choice turns “Battleground” into a deeply immersive experience… almost like a cinematic experiment made for television. And no need of translation to any language!!!.
Production: Perfect Blend of Practical Effects, Miniatures, and CGI
Filming took place mainly in Australia, where the crew built an almost exact replica of the protagonist’s apartment on an enormous elevated set. This allowed the camera to capture every angle — even from below — creating a strong sense of scale both for the human and the plastic soldiers.
The mix of practical effects (miniatures, small-scale, plastic soldier suits, explosions) and CGI was considered top-notch for its time. The little Army Men are incredibly detailed, with precise movements, military discipline, body language and gestures that bring them to life (because their plastic faces show no emotions).
Recognition and Awards
Without a doubt, “Battleground” was the most successful and celebrated episode of the miniseries. It was nominated for three Emmy Awards, including Outstanding Visual Effects, and rightfully so. The care put into every frame, how the soldiers use tactics, cover, formations, and vehicles, is truly impressive.
The Plastic Army as the Perfect Villain
What makes this episode so fascinating (especially for Army Men fans) is how it takes the classic elements of toy soldiers (vehicles, weapons, miniaturization) and turns them into a legitimate, lethal, and fully believable threat within its own internal logic.
These soldiers are not cartoonish: They are perfectly organized, disciplined, and ruthless. They use grenades, missiles, helicopters, artillery and light vehicles with terrifying efficiency, proving that size doesn’t matter when the will to fight is absolute.
Similarities with Army Men: Not Few at All
For any fan of the Army Men franchise, watching this episode feels like seeing a hyper-realistic live-action version of what we always imagined when playing with our plastic figures. There are assault strategies, defense tactics, reconnaissance, siege and even encirclement maneuvers.
But beyond aesthetic similarities, the core idea connecting both works is the same: when toys come to life within their own universe, they stop being harmless objects and become players in their own war drama.
In Army Men, the troops are protagonists with agency. Here, they are villains with a clear goal and an efficiency bordering on the supernatural.
Bonus Facts and Curiosities
The original story was published in Cavalier (1972) and later in Night Shift (1978).
The director added the opening assassination scene to give more characterization to Renshaw on screen.
The adaptation includes an extra Rambo-style commando figure, serving as a mini-epilogue before the final nuclear detonation.
A fun Easter egg appears: the famous Zuni doll from Trilogy of Terror can be seen, a tribute to screenwriter Richard Christian Matheson and his father Richard Matheson.
There’s also a Soviet animated version from 1986, called Srazhenie (“Battle”), using rotoscoping while keeping the core plot intact.
Differences from the Original Short Story (King’s Short Story / TV Episode)
Protagonist’s Name:
John Renshaw / Jason Renshaw (played by William Hurt).
Opening Scene:
Wakes up after the assassination / Shows the assassination in real-time.
Dialogue:
Includes brief spoken lines / Completely silent, no dialogue.
Final Scene:
Immediate nuclear explosion / Elevator fight with a commando, then nuclear blast.
Easter Eggs:
None / Zuni Doll (from Trilogy of Terror).
Length and Pacing:
Around 10 pages, highly condensed / 55-minute episode with expanded development.
Epilogue: When Horror and Toy Soldiers Collide
“Battleground” is a short, precise masterpiece that mixes horror, action, and dark humor with impeccable execution. For Army Men fans, it’s more than just a wink… it’s an alternative version of our fantasy world, darker, more brutal, and stripped of the comedy or adventure that usually surrounds the Toyverse.
A story where small doesn’t mean weak. Where harmless becomes lethal. And where the battlefield fits (quite literally) inside an apartment.
“Battleground” is a narrative experiment that fuses small-scale military strategy with suspense and terror. It may not be the heroic vision of Army Men, but it captures that same warlike fantasy from another angle: that of the relentless adversary who won’t hesitate to annihilate.
For the Army Men community, it’s a dark tribute (and just as tactical) as our own plastic wars.
Recommendation:
Not only essential for King or horror fans… this episode is a masterclass on how to turn the small into genuine strategic horror. Absolutely unmissable for Army Men fans and anyone who ever dreamed of their toy soldiers coming to life… and fighting for real.
Fun Fact:
The latest game released by the franchise, Army Men: Mobile Ops, used the image of one of the soldiers from this production as the main image of the game’s main menu (we don’t know if it was used legally or not).
When James Gunn (now the creative head of DC Studios) was recently asked what he believed had hurt Marvel, his words were both honest and damning: “Too much content. Not enough planning. It killed them.” His remarks, aimed at the overextension of Marvel Studios in the wake of Avengers: Endgame, could just as easily describe what happened to the Army Men franchise in the early 2000s.
Back in the late ’90s, Army Men stormed the gaming world with a simple yet irresistible premise: toy soldiers brought to life in an imaginative, war-torn plastic world. The original titles stood out with charming aesthetics, quirky humor, and solid gameplay. But the publisher, 3DO, quickly turned that initial success into a production frenzy. From 1998 to 2003, they pushed out over a dozen Army Men titles—a pace that left little room for refinement or reinvention.
Back in the heyday of 3DO’s rapid-fire release strategy, even those of us in the The Army Men videogames channel were caught off guard. Titles arrived so frequently that not even the fans seemed fully aware of what was launching (or when). By the time a new game crossed our radar, it was often already out in the wild, too late. In an industry where annual sports releases were considered the norm, Army Men shattered expectations by flooding the market with an unrelenting stream of entries. No amount of pre-release buzz could keep up. The public wasn’t just underprepared: they were overwhelmed.
Much like Marvel’s recent deluge of films and Disney+ series, 3DO’s Army Men games began to feel rushed, repetitive, and disconnected. Without a clear long-term narrative or gameplay evolution, fans began to lose interest. By the time fresh ideas were needed most, the brand had burned out… and 3DO filed for bankruptcy in 2003.
James Gunn’s criticism of Marvel’s strategy (greenlighting projects without finished scripts and saturating the audience with underdeveloped content) perfectly echoes the pitfalls of 3DO. Both cases show how creative properties, no matter how beloved, can collapse under the weight of rushed schedules and corporate overreach.
The Lesson? Sustainability in storytelling matters more than ever. The audience craves meaningful worlds, not just more content. In the age of ever-growing universes (cinematic, gaming, or otherwise) the smartest path forward is one paved with vision, patience, and purpose. Part of what was missing in those years was the breathing room—a chance for the audience to anticipate, absorb, and get excited. Great franchises don’t just drop content; they build moments. But with Army Men, there was rarely time to prepare the public or give each title its spotlight. Without that crucial window to inform and engage players, even solid ideas were lost in the noise.
The Truth Behind the Famous “In-Game Screenshots” of the First Army Men Games
There are phrases that have become part of gaming folklore. One of the most common (and persistent) is:
“It was from a beta version…” —said with the tone of someone convinced they’ve uncovered a hidden development secret.
But when it comes to Army Men, many of those promotional screenshots were not beta versions of anything. In fact… they weren’t even screenshots.
Slightly modified screenshot of PS1 Army Men: World War used in ads all over the internet at the time
What Looked Like In-Game… Wasn’t
Back in the golden age of 3DO, when Army Men was just beginning to take shape as a franchise, the creative team had a challenge: They needed a visual way to pitch the idea before the game was even fully designed.
Veteran developer Michael Mendheim, who played a crucial role in conceptualizing the Army Men universe, would put together digitally composed images to present the tone and feel of the project.
These images were a mix of:
Independently rendered 3D models.
Partial engine screenshots, when available.
Added effects like smoke, fire, and lighting.
And of course, a healthy dose of Photoshop.
They were never meant to be real gameplay footage: they were visual mockups, created to evoke the style, mood, and action the final product was aiming for.
Slightly modified screenshot of N64 Army Men: Sarge’s Heroes used in ads all over the internet at the time
Although with minor modifications to the images, these are surely from the Army Men: Sarge’s Heroes engine for the Nintendo 64, but before going through the final version for the N64, it was actually a beta version of the levels and functions, not very different from the final version.
When Marketing Takes Creative Liberties
What’s interesting is that, even though the developers understood these images were purely conceptual, 3DO’s marketing team used them in advertisements as if they were actual in-game screenshots.
These images showed up in:
Magazines
Game boxes
Promotional flyers
Manuals
And even official press kits
The result? Players thought that’s how the game would look. And while that wasn’t exactly true… it worked. The hype exploded. The visual concept of Army Men (green plastic soldiers fighting battles in real-world environments) instantly captured players’ imaginations, long before the games were even finished, even a few years before 1998 Army Men.
Unmodified screenshotScreenshot with extra objectsAdding compression noise……to blend the new objects convincinglyThe added objects highlightedOther uses for fake screenshots (video thumbnail)
The Speculation That Never Died
Even today, many fans still insist that those images came from early builds or beta versions of the games.
You’ll still hear comments like:
“This must be from a lost prototype…”
Or comments like:
“They had to downgrade the graphics later due to hardware limitations.”
And while it’s true that Army Men underwent plenty of visual changes during development (and yes, they had to scale things down to run on systems like the PlayStation 1 and Nintendo 64) those promo shots were not captured from actual working versions of the game.
People who worked with Photoshop or 3D Studio Max back then can clearly recognize the techniques used in these composites. If anything, they were stunning examples of concept art disguised as gameplay.
In a way, we wish they were real beta shots… it would’ve added an extra layer of mystique to the franchise’s development history. But no, it was just clever marketing. Fake… but effective.
Modified screenshots of the “supposed” Army Men 3D beta version for PS1, used in promotional content all over the internet at the time
Deception or Strategy?
Today, in the era of frame-by-frame breakdowns and mandatory “not actual gameplay” disclaimers, this kind of tactic would get you dragged online in seconds. But in the ‘90s, with a franchise as visually unique as Army Men, it was a legitimate (and successful) marketing tool.
Some might call it deceptive. Others see it as an effective way of presenting an evolving creative vision.
Either way, those images weren’t beta builds, they weren’t unreleased versions, and they weren’t screenshots from a hidden dev console.
They were Photoshop. Plain and simple. And in context… they were brilliant.
What Does This Say About the Toyverse?
Like many good stories in the Toyverse, this one also carries a lesson. Just as molded toys become soldiers with names, stories, and purpose, a fake image can become the spark that brings an entire world to life.
Those visuals (however artificial) were the first real representations of the Army Men franchise. Before missions, before bugs, before battlefield chaos… there was a carefully crafted picture. And it worked.
Heavily fake screenshots of Portal Runner (PS2) where they used heavy 3D CGI models to make concept screenshots that 3DO used in promotional content on magazines and all over the internet at the time
Bonus: Where to See These Images Today?
Many of these fake-but-iconic visuals still survive today in:
Archived game magazines (GamePro, EGM, etc.)
Scanned promotional material
Original manuals
The official 3DO websites via the Wayback Machine
Heavily fake screenshots of the “supposed” Army Men Sarge’s Heroes 2 for PS2, used in promotional content on magazines and all over the internet at the time
In the game’s different media promotional contents, these screenshots were used to show off the game in its Playstation 2 version. In reality, they are composites using partial images of the game’s actual stages generated in a different engine or stage editing program, along with CGI models of the protagonists and a lot of added effects, something impossible to do for the Playstation 2. These were most likely images made as concept art of how the game should have looked for its development.
And of course, at ArmyMen.com.ar, where fans are still collecting and preserving all official documentation and rare media.
True BETA with minor modifications
The last 3DO game wasn’t exempt from 3DO tactics. Although these are real in-game images from the game engine (Zero Engine), they have minor additions, such as some soldiers, tanks, and explosions. And these, as they didn’t report, are images from the actual beta, up to the point where 3DO worked on it, before Global Star Software took over and finished the game.
Epilogue: Not Real Gameplay, But Still Part of the Game
And óo players ever got to take control of Sarge.Because sometimes, a fake image contains a very real truth: The spirit of a franchise that helped shape an entire generation’s imagination.
This are some of our own “fake” promotional images. We usually use them for our video thumbnails… but from now on we’ll be using them to promote older 3DO games a little… excessively.
Although the information about the project is classified so as not to reveal the story, what we can do is talk a little about the development process.
Using TEN Engine, a new updated Tomb Raider Level Editor, we are going to develop a second part of Portal Runner. With no need of more introduction, here we go with some of the development notes for future reference.
Tomb Engine test / Showcase:
During the presentation of the project idea with our collaborators, we made a demonstration of how it works and how to work in Tomb Engine (TEN)
In the graphics we can see the simple geometry of a stage, the texturing and then the lighting. None of this is a final product, just an early test.
Level Design:
In Portal Runner 2 we will visit new scenarios, but also several places and worlds already known, therefore we will imitate the designs of other games.
Level Textures:
We are going to extract and use textures from old games, to imitate the look and feel of those games. But there is a problem, at least with the textures of the Playstation 1 games, which are mostly 32px, while the old Tomb Raider ones are 24px (or 48px). Well, they are 8px X 4 = 32 and the TR ones are 8px X 3 = 24. That is, multiples of 4 when in TR they are multiples of 3, therefore they have to be converted to multiples of 4 without changing the appearance, because then when putting them next to other textures the image limits can noticeable.
Army Men 3D Texture (x32)Army Men 3D Texture (upscaled to x48)
For now, the textures will remain as they were originally, but manually enhanced with the “nearest” resampling method. We will only add a few new variants. But as soon as we see that they work well, we may remaster them.
Major Mylar’s initials are MM (he uses them on his badge). Major Malfunction’s initials are also MM. Major Gooding was Lord Malice, so in “Major Malice” we can also find MM. Which member of the 3DO team that designed some of the games has those initials: Michael Mendheim.
But before you think anything of it, this is just a joke, we’re not theorizing anything 👀. But here’s what it’s all about… and this is the fun part.
When the Fans Write the Story
Across pop culture history, fan enthusiasm has often rewritten the destinies of fictional characters—turning minor roles into legends, saving doomed figures from oblivion, and reshaping entire franchises.
Theories in fandoms are exciting for a number of reasons:
Creativity: They allow fans to use their imagination to fill in gaps in the official story, creating new narratives and possibilities.
Connection: They foster a sense of community, as fans discuss and debate their theories, sharing their enthusiasm and passion.
Deepening: They help fans explore the story’s universe further, uncovering details and connections that may not be apparent at first glance.
Interactivity: They make the fan experience more interactive, as fans don’t just consume content, but actively contribute to it.
By the way, it has been proven that some theories in other fandoms were so plausible and amazing to the creatives behind that fandom’s franchise, that they ended up making these fans’ “dreams” come true.
How passionate audiences became co-authors of the narrative
Here are some instances where fan theories or requests influenced the creators to make changes or additions to the story:
Peter Parker in “Iron Man 2”: This theory suggested that a young boy wearing an Iron Man mask at the Stark Expo, who is saved by Iron Man, was actually Peter Parker. Tom Holland, who plays Spider-Man, confirmed this theory in an interview, stating that the boy was indeed Peter Parker.
Rex in “Return of the Jedi”: Fans speculated that the bearded Rebel trooper seen on Endor in “Return of the Jedi” was actually Captain Rex from “Star Wars: The Clone Wars” and “Star Wars Rebels.” This theory gained traction when “Star Wars Rebels” confirmed that Rex fought in the Battle of Endor. However, the character in “Return of the Jedi” was originally named Nik Sant, and while the theory is popular, it remained a bit complicated for some time, because was not officially confirmed by all sources. But later Dave Filoni itself confirmed it on X, and this was confirmed in “Galaxy of Adventures” animation and in a newly released Star Wars children’s book titled: “I Am A Clone Trooper”.
Desperate Housewives: Fans were so vocal about wanting Mike and Susan to end up together that the show’s creator, Marc Cherry, changed his original plan. He had intended for Mike to marry Katherine, but fan demand led him to pair Mike with Susan instead.
Pirates of the Caribbean: Fans were eager to see Keith Richards, who inspired Johnny Depp’s portrayal of Jack Sparrow, appear in the films. Due to this overwhelming demand, the writers included Richards as Captain Teague.
Lord of the Rings: An unnamed elf in “The Lord of the Rings” films became a fan favorite and was given the name Figwit (Frodo is great — who is that?). Due to the character’s popularity, director Peter Jackson gave him a speaking role in “The Return of the King”.
Supernatural: The character of Castiel was originally intended to be a short-term character, but fan enthusiasm led to him becoming a series regular.
Brooklyn Nine-Nine: Fans shipped the characters Jake and Amy so strongly that the writers decided to develop their relationship into a central storyline.
These examples show how powerful fan voices can be in shaping the stories they love. But in other occassions, fandoms saved doomed character from death. Here are some of those examples and a few more of characters saved from oblivion:
Vegeta: Another powerful example of fan influence comes from Dragon Ball Z. The character Vegeta was originally intended to be a one-time villain, a Saiyan invader to be defeated and discarded. However, his overwhelming popularity among fans convinced Akira Toriyama to keep him in the story. Vegeta went on to become not only a central character but also a fan-favorite anti-hero with one of the richest development arcs in anime.
Harley Quinn: Originally introduced as a one-off henchwoman in the 1992 Batman: The Animated Series, Harley Quinn’s unexpected popularity led to her official inclusion in DC Comics canon. Today, she’s one of the most iconic female characters in the DC Universe. Born from animation, adopted by the fans, and cemented by demand.
Daryl Dixon: Created exclusively for the TV show of The Walking Dead, Daryl doesn’t exist in the original comics. He was meant to be a short-term character, but fan love kept him alive… and growing. He became a central figure throughout the series and now headlines his own spin-off, a testament to pure fan-driven evolution.
Castiel: Initially planned as a temporary character for a few episodes in Supernatural, Castiel became so beloved by the fandom that he remained a core part of the show for over a decade, deeply entangled in its mythos and emotional arcs.
Agent Phil Coulson: Introduced in the Marvel Cinematic Universe as a minor S.H.I.E.L.D. agent in Iron Man (2008), Coulson’s charm struck a chord with fans. He reappeared across several MCU films, became a fan favorite, and eventually starred in the long-running series Agents of S.H.I.E.L.D. after dying in the first Avengers movie. A character saved from death and elevated from background filler to franchise connective tissue.
Spike: What began as a secondary villain in Buffy the Vampire Slayer, evolved into a fan-favorite antihero. Spike was slated for a short run, but fans demanded more. Writers responded by developing his character across multiple seasons, turning him into a tragic, romantic, and unforgettable icon of the show.
This is yet another case where fan reaction reshaped the narrative, not through direct petitions or theories, but through sheer enthusiasm that creators could not ignore.
Jackpot!
On other occasions, the fandom simply came up with their theories about something that would be a reality later and that had already been thought of, end even executed, by the creators of the franchises. We have the examples of:
Jon Snow is a Targaryen: In “Game of Thrones,” fans speculated that Jon Snow was not Ned Stark’s illegitimate son but the child of Lyanna Stark and Rhaegar Targaryen. This theory was confirmed in the series, revealing Jon as Aegon Targaryen.
Stan Lee in the MCU: Before it was confirmed, Marvel Cinematic Universe (MCU) fans theorized that Stan Lee, the creator of many Marvel characters, was playing the same character in all his cameos. This was confirmed in “Guardians of the Galaxy Vol. 2,” where he is seen talking to the Watchers.
Palpatine’s Return: In the “Star Wars” saga, some fans speculated that Emperor Palpatine didn’t actually die in “Return of the Jedi.” This theory came true in “The Rise of Skywalker,” where Palpatine returns as the main villain.
Snoke’s Identity: In “Star Wars: The Force Awakens,” fans speculated about the true identity of Supreme Leader Snoke. While many theories were incorrect, the revelation that Snoke was a creation of Palpatine in “The Rise of Skywalker” was anticipated by some fans.
Bruce Willis is Dead in “The Sixth Sense”: Fans speculated that Bruce Willis’s character was dead the whole time in “The Sixth Sense.” This theory was confirmed in the movie’s twist ending.
The Identity of the Man in the Iron Mask in “The Flash”: Fans of “The Flash” theorized that the Man in the Iron Mask was Jay Garrick, the original Flash from the comics. This was confirmed in the season 2 finale.
The Joker’s Identity in “Batman: Arkham Knight”: Before the release of “Batman: Arkham Knight,” fans speculated that the Arkham Knight was actually Jason Todd, the former Robin. This theory was confirmed in the game.
The True Nature of Westworld: In the TV series “Westworld,” fans theorized that the park was actually on another planet or in a different time period. It was later revealed that the park is on a distant planet.
The Real Villain in “WandaVision”: Fans speculated that Agatha Harkness was the true villain behind the events in “WandaVision.” This theory was confirmed when Agatha revealed herself.
These cases show that sometimes, fandom isn’t just an audience: it’s a creative force. In the same way, Army Men fans have their own theories, headcanons, and alternate timelines. The microverse is always expanding… and who’s to say fans aren’t the architects of its future?
But in our case we are just connecting unfinished dots with factual possibilities, within the possibilities of the Army Men universe (which we call Toyverse) and trying to fix the inconsistencies that plague the entire saga in a convincing way, which will also require the generation of convincing images, since many times “A picture is worth a thousand words”.
The best enemies ever molded: friends!
Did anyone notice how many traitors there were in the Green ranks alone? The Green Colonel in Army Men 2, H.F. Blintz turning into King Plurtz the First in Army Men RTS, Major Godding turning into Lord Malice in Sarge’s War and Sarge Hawk himself turning into Major Malfunction in (right) Army Men: Major Malfunction.
Another plausible theory (within this theory) is that the AWOL Green Colonel and Blintz knew each other, or at least talked about the same crazy stuff.
We’re going to tie all of this together in a convincing way, adding Major Mylar betraying Plastro in Army Men 2 (talking about the same crazy stuff). But we’ll leave that to the narrative of our project.
Sarge is Sarge Hawk?
A much discussed theory with a simple answer: there is no official answer, and there never will be one. 3DO don’t want to answer the question because they wanted us to believe they are the same, but it was OBVIOUS they are visually very different (the voice of Jim Cumming tried to be the same than the original Sarge). And if there was one answer today, it is unlikely to be genuine.
The reality is that Sarge Hawk and the whole Sarge’s Heroes era was a “soft reboot” where 3DO wanted (without saying so) that people believe that it was the same protagonist, so as not to lose that initial push of the first games. Something like those franchises where the actor changes without any explanation of why, like the 007 films: each film is usually just a stand alone installment, although later there was a series of films where the stories were a continuation (although this did not impact much on the story of each film). But when the 007 franchise changes actors, they simply continue creating films without specifying if it is about the same individual, if in fact the agents are different people who are named as such and finally, there is not even a real temporal progression. This writer’s theory is that different agents are called 007 as they die or retire. This can be seen in Daniel Craig’s latest film, where another female agent is called 007 because Craig’s character was missing ad considered MIA (or AWOL).
So there you have the answer. As far as we are concerned, it’s not about what we believe, but about what we want to do. And we have a GREAT answer to this question that will satisfy everyone… you’ll see!
What do you think?. If you have any good theories, leave them in the comments!
P.S.: Because of this last theory and the statement: “The best enemies ever molded: friends!” we want Hawk to fight the copies of him an his friends of the Bravo Company Commandos. The same for the female protagonist being a Tan version of Hawk’s girlfriends, Vikki.
Historically, the Army Men franchise is full of cultural references from literature, film and television… and we are not going to be left behind of this habit.
Since many of us in the Army Men Toyverse project are fans of Sci-Fi, war and action films in general, we take references from here and there, not only visual, but from the personality of a character being based on an iconic popular character, to certain sounds or weapons based on popular sound pieces.
We think that in the Army Men Microverse the toys themselves adopt and personify characters, as if they were children in a game, and that personality they adopt becomes the purpose that drives and defines them.
Army Men known references
Army Men: Green Rogue:
The introduction of the Omega Soldier in Army Men Green Rogue is almost a copy-paste of the storyboarding of the scene where Arnold Schwarzenegger’s T-800 appears in Terminator 2: Judgment Day
Terminator 2: Judgement Day T-800 introduction into the story
Army Men: Green Rogue Omega Soldier introduction into the story
The previous suspense, the tempo, the metallic beat music sound typical of the Terminator franchise and the nudity of the character, among other details, are totally based on these introductory scenes of the films of this franchise. For this reason one of the frames of reference for Omega’s personality will be Arnold’s T-800.
T-800 Arrival in The Terminator movie
T-850 Arrival in Terminator 3: Rise of the Machines
Army Men: Sarge’s Heroes
Army Men: Sarge’s Heroes game cover
Kelly’s Heroes movie poster
Sarge’s Heroes is an obvious reference to Kelly’s Heroes, the film of the same name. In fact, each member of Bravo Company has a very different personality and appearance from each other, and each member has a different specialty. The same thing happens with Kelly’s men. Besides, everyone is crazy… in their own way.
The Red Baron and the Beige Baron
Manfred Albrecht von Richthofen, known as the “Red Baron” or “Baron Von Richthofen”, was a German fighter pilot during the human’s World War I. He is considered the ace of aces of war because he managed to shoot down eighty enemy airplanes. The obvious parallels with Baron Von Beige don’t need much clarification, but it has nothing to do with the Red Baron’s personality, except that he was an honor fighter equivalent to the English gentlemen he fought against. The Beige Baron has equal respect for his enemies, like Captain Blade and instead of finishing off his opponents, he just knocks them down and leaves them a Beige scarf as his trademark. Therefore Von Beige is not a murderer, but an avid fighter who likes to compete against other great pilots.
During the First World War, pilots were considered to be medieval knights “riding” the skies, and that rivals recognized each other as such when they crossed paths on the battlefield. Certain pilots had the habit of giving the military salute to their opponents when passing each other during a reconnaissance mission, but that solemn salute was soon replaced by a much more practical gesture within the context of a total war, although perhaps less chivalrous: the aviators began to carry guns (and use them).
One of the reasons World War I pilots wore scarves was not to be thrown at downed enemies (although they got used to doing it), was the combination of open cockpits and open engine oil systems, which used castor oil. Many early aeronautic engines used an open oil system, in which, instead of circulating the oil, it was dripped out of the engine and replenished from a reservoir, since being rotary engines, the castor oil used It was thrown in all directions, even towards the pilot. Ingesting castor oil not only tastes disgusting, but can also cause quite catastrophic effects on the digestive system. A silk handkerchief filtered out most of the castor oil.
Cajun Joe Colonel
“Cajun Joe’s mansion” was written in the back of the mission list, or description of some kind about missions, in the poster of an Army Men PC special edition, product of a partnership of 3DO with Ubisoft, which led us to the lyrics of a song, called “Cajun Joe (The Bully Of The Bayou)”, a “Country” 60′ style song that coincides in some sort of way with the Gray Colonel mission, like the terrain where the mission take place, the Bayou land.
Colonel Blintz, Lord Malice, Major Malfunction and a Green Colonel
Both the former Colonel Blintz, later called “Blintz” or “King Plurtz One” from Army Men RTS and the Green Colonel from Army Men 2, were clear references to the character of Colonel Walter E. Kurtz from the movie Apocalypse Now. In some very diluted way, the plot of both games, RTS & 2, was based on the primary idea of this movie: hunt down the renegade Colonel because he is out of control or knew a lot, and that is considered dangerous…
Even Lord Malice was also partially based on this character, and Sgt. Hawk goin evil when he became Major Malfunction. Or at least the game’s plot was. Only at the end of the game we found out that Malice was Gooding and Hawk was Malfunction (when in the movie the identity of the villain is known from the beginning). All of them were good men that went crazy.
The points to take into consideration for our Army Men concept artists:
Sarge Hawk Vitruvio Army Men Concept Art
At first the Army Men must look like real soldiers, realizing later during the that they are actually miniature.
Any childish item, like a teddy bear, should look fierce and terrifying. A serious threat, although it may seem harmless at first for the player to take it lightly.
They should look like real little toys, plastic soldiers. There are details impossible to achieve on a certain scale, which make the plastic soldier 3D models look small.
Conceptual art is an artistic and simplified sketch in which the conceptualization or idea is more important than the drawn/conceptualized art. Ideas prevail over their formal or sensitive aspects so that the artistic aspect of the concept takes a back seat, favoring the speed of production time of the idea, also reducing the mental process of understanding the idea.
Sarge Hawk vs Ants
By dispensing with the complex creation of the final product before it is approved, so much time is not wasted on visual pieces that could not be approved. Therefore these sketches accelerate the idea production process. Regardless of the technique, material or form used to represent it is not something strict.
Before reaching the final choice of an idea, there may be several previously rejected conceptual pieces, and even this process can go through several steps, such as a very simple concept, which then evolves into a more complete and complex one (which is still a conceptual piece). After a concept art is approved, the chosen idea moves on to the actual production of the final product.
Classic Concept Art from 3DO
Characters from pencil to CGI
In the case of a video game, sketches are always the step prior to designing the 3D CGI character. In this case, we can see how the drawing evolves into 3D modeling, or how the 3D modeling evolves into the drawing? Both cases represent a back-and-forth of creative feedback.
A step prior to the final Vikki design…The final design!
Our Pencil Character & Vehicles Concept Art
This Army Men expanded universe project, which we call “Toyverse,” requires the same steps and methodologies to achieve similar results, which resemble the old Army Men in both design and visual identity. So here are some examples…
Concept Art, from basic pencil lines to the complex tridimensional idea: In this case a Mad Max or Vigilante 8 modified Die-cast battlecar.
… and a Super Soldier in full combat armor.
Penny from Army Men Strike, form 3.
Turtle tank full color concept art.
From Sketch to Complete Concept Art
The process of creating an illustration does not end with the first stroke. Every visual piece goes through different stages of transformation, maturation, and refinement. What begins as a set of loose lines on paper can evolve into a complex digital scene with depth, color, textures, and three-dimensional elements.
Below, we explore step by step how a simple idea becomes a finished work of art.
The Creation of a Forgotten Jungle
The process of this piece begins with the carnivorous plant, first conceived as a basic sketch with guiding lines. The initial strokes, just a skeleton of geometric shapes, captured the essence of its silhouette: the twisted stem, the oversized mouth, and the sharp teeth. Little by little, the drawing was refined until it gained volume, detail in the leaves, and a posture that conveys tension and aggressiveness. This creature became the central axis of the composition.
From Sketch to Complete Artwork: The Creative Journey of a Digital Illustration
With the base defined, the work progressed to the construction of the narrative environment: a dense jungle crossed by a river or spring flowing through the center of the scene. The vegetation grew in complexity: scattered flowers, trees with exposed roots, and an ancient temple made of massive stone blocks, hidden among the undergrowth. This drawing stage served to establish the visual structure of the piece, defining the relationship between the elements and the balance of the composition.
Slide from one image to another to compare
Slide from one image to another to compare
The next step was digital painting, where the setting gained life and atmosphere. Through layers of color, a humid, dark, and greenish environment was created, typical of a dense and oppressive jungle. The contrast between filtered light and deep shadows added depth and drama, enveloping the carnivorous plant and the temple in a mysterious ambience.
The piece evolved even further with the incorporation of a 3D model of the Spitfire of Flight Lieutenant Ruggels. Far from standing out as an external object, it was integrated into the visual narrative.
The fuselage was damaged by bullet holes, evidence of its violent fall.
Moss and vegetation had grown over its surface, symbols of the relentless passage of time.
The dents and metallic wear reinforced the idea of a war relic abandoned in the jungle.
In the post-production phase, plants in the foreground and overlapping vegetation were added to the 3D model, softening its outline so that it blended with the pictorial style of the illustration. Adjustments of color, texture, and line ensured that all the elements coexisted within a unified aesthetic.
The final result is a piece that tells a story without words: the confrontation between man’s destructive force and the resilience of nature. What began as simple sketch lines transformed into a cinematic and conceptual scene, where time, the jungle, and the remnants of the past interact in a visual balance full of mystery.
Full Color 3DO Character Concept Art
Some full-color pieces from a variety of Army Men games. Concept art and some images are character concepts, others are simply promotional images.
Army Men Strike Concept Art
Army Men Air Attack 1 & 2 Concept Art
Some of the ideas that want to be tested in helicopter games are interesting. They probably all would have been achieved in Air Attack 3, maybe?
Making Concept Art a reality
Remember those great Concept Art pieces? Well, we started making them a reality (sort of).
There are some ideas in Concept Art pieces that never became reality (or, in fact, most of them never did). So here we’ll show you the process of how we make them a reality, one way or another.
Concept ArtCGI recreationConcept ArtCGI recreationConcept ArtA more developed drawing, half CGI
Storyboards
The Army Men franchise used a lot of storyboarding for the CGI animations of the games’ cut scenes, but also for the in-game animations of Sarge’s Heroes 1 and 2 for the Nintendo 64 (made with the game engine).
Army Men: Sarge’s Heroes Storyboard
To put it simply, storyboards, at least in this case, look like comic book adaptations of movies, but with instructions and guidelines for animation. For example, where a character is at the beginning of a shot, and where they are at the end. They are a series of graphic instructions that serve as a rough draft or basis for later animation. Keep in mind that different teams did different jobs, so those who drew the storyboards (drawn by hand) were somewhat like scriptwriters for the animation department.
Army Men Air Tactics Storyboards
The entire storyboard for the CGI animated images of Army Men: Air Tactics. Scanned and inserted into digital text files.
One of the scanned conceptual storyboards, a step prior to inserting them into the digital text files.
Army Men (1998) storyboards
Storyboards made for the original Army Men game, but used later in World War for PS1 or simple not used.
How do we interpret these Storyboards?
In the case of finding Conceptual Art of the original Army Men games, before the Heroes saga, we would need more information as it is in black and white, which would not allow us to interpret what colors each one is. The following is an example:
Others ways of making Storyboards & Concepts
Example of photo montage
Both Army Men Revolution and our animations will take place in environments based on real places. Therefore, here is a simple example of a Storyboard made with photographs:
Example of montage with image editing or Photoshop
The following is a conceptual representation of how the Heroes would function, for Sarge’s Heroes, in its early stages of development.
The heroes were supposed to have a more prominent role, functioning as companions during battles, following the protagonist’s movements but contributing their weapon skills (e.g., Scorch with his flamethrower, Riff with his bazooka).
It was even considered to be a kind of turn-based game, like some RPGs of the time.
This style of concept art is made up of CGI renders, Photoshop, etc., to ensure maximum fidelity to the idea of how the video game should look.
The stoves that are activated to burn the enemy or the magnifying glasses, for practically the same thing.
In this case a conceptual example of calling an airstrike
These examples could even showcase different UI designs, and as in this case, graphically illustrate some of the desired special mechanics that hardly ever made it into the final product. But dreaming is cheap!
How they wanted the PS2 game to look? Sarge’s Heroes 2
Edited images composites of CGI 3D models, scenarios in a HD definition (maybe the map editor or 3D editing program too) and a lot of added effects.
Army Men: Sarge’s War Artwork
How to make a depressing, dark, and gritty Army Men: Sarge’s Heroes? Immerse everything in realistic war environments, like those of World War II Europe: everything destroyed, ruined, and with noisy, dirty, and stained textures.
More than Storyboards and Character Concepts
Back in the late 1990s and early 2000s, right at the dawn of digital design, due to a shift in generational change, processing speed, and lower computer power, hand-drawn artwork was the fastest way to conceptualize practically everything.
Army Men User Interface (Graphical User Interface, GUI or UI) hand drawn concept art
Army Men Level Design
Army Men Hand Drawn Level Design
And in fact, some hand-drawn artworks, later digitized and painted on the computer, ended up included in games, such as Sarge’s Hero designs in the bios of the first game of the same name.
In short, from character, vehicle and object design, to dynamic concepts for animation, graphic representations of the story’s narrative, the design of the games’ menu graphic interfaces, to the design of the playable scenarios… concept art (at least in those days) was the backbone of the graphic/visual design of the Army Men adventures, the words and ideas represented visually, which previously began being printed on paper.
Curiosities and Trivia:Toy Story movie Concept Art from the Plastic Soldier scenesSources for this article:
Weapons will work in a very particular way in the Army Men Toyverse. They will work normally in the worlds they come from, but will stop working in other worlds, or will be nerfed at least. This way we ensure that the seemingly weak plastic weapons can compete against the new metal weapons. And we also make sure that you must use swords, axes, hammers, bows, arrows or your fists, in the Medieval World. So in every world you must behave “in-universe”.
That is, the world you visit is influenced by you and your elements (external elements), breaking its nature and rules. Therefore, this world you visit will seek to correct that anomaly in some way, by nerfing or disabling you and your weapons or equipments.
Functionality and materiality, not composition
The materials composition are not modified, but the shapes of some objects are, as is the case of Vikki and her bow in Portal Runner. These unique and exceptional cases allow us to make visual skins change, depending on the universe being visited. But it’s not discarded that in some way the materials may also change in the future, or that some world may produce this effect.
Composition is the proportion of the different constituents of the material (chemically and physically different). Structure, on the other hand, refers to the spatial distribution, orientation and association of the constituents. Characterizing a material is determining the parameters necessary to identify and describe it. In simpler words, it is impossible for a world different from where a weapon comes from, to transform its plastic into metal. But you can modify a banana-shaped plastic weapon to an apple-shaped one, always maintaining the same composition and proportion. The characteristics for the most part, although this can change radically to the point that, for example, a bow becomes a bayesta (which is almost the same, just seen differently by the Army Men).
The Army Men Videogames Website, home of the Army Men Toyverse
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