Like rival hobby company Revell, the mainstay of Aurora Plastics’ line of model kits in the Fifties was scale-model, unassembled replicas of military hardware, although Aurora’s were generally smaller and more affordable than Revell’s. Around 1955, Aurora expanded its line to include plastic figurines of medieval knights, clowns, and traditionally dressed people from around the world (“Guys and Gals of all Nations”).
Meanwhile, in Hollywood, Universal Pictures realized there was still money to be made off of their old monster films from previous decades. Universal packaged films featuring Dracula, the Mummy, the Wolf Man, Frankenstein’s Monster, and other ghouls for broadcast over local TV channels. The local stations created assorted horror hosts to present these films. When the local stations began getting mail from their viewers they were surprised to find that a large percentage of those watching the old monster movies were teenaged or younger. The popularity of these films with children might be explained by the extinction of the horror comic book in 1954 when public opinion and the new Comics Code Authority deemed the horror genre to be inappropriate for children. Children with a taste for horror simply switched from reading comic books to watching “creature features” on their local television stations and maybe picking up a copy of Forrest Ackerman’s Famous Monsters of Filmland. Knowing that their audience was largely made up of young people, the horror hosts softened the horror they presented with touches of humor and ridicule that made the genre seem less threatening to adults, while Famous Monsters gave a behind the scenes look that assured everyone that it was all just made up.
Sometime in early 1961, it suddenly became acceptable to directly market monsters to children (TV stations and Famous Monsters could always argue that adults were the target audience). It started with bubblegum cards like Spook Stories and Horror Monsters, however toy manufacturers were still leary. A hobby company on the cusp of adult and childhood pastimes was an ideal path to full acceptance of monsters in the playroom. Looking to expand its line of figurines beyond little Dutch boys and the Black Knight, Aurora bought the rights to manufacture models of all of the monsters who had appeared in Universal motion pictures. The models created under this license would prove to be Aurora’s most successful line of plastic models ever.
Aurora’s first Universal monster model was a 1/12 scale figure model of Frankenstein’s Monster in 1961. Selling for $1.00, the 7-inch tall figurine sold so well that Aurora had to temporarily suspend production of its other models to keep up with demand. Some buyers may have been disappointed when they opened the box to find the plain white pieces of plastic that needed to be carefully twisted apart before undergoing a process that involved several hours, various paints and brushes, and mind-altering glue fumes. Helping sales, no doubt, was the wonderful artwork on the box by James Bama who would do most of the box top art for Aurora in the Sixties.