LITMIR.BIZ

       See also Star Bird, Speak & Spell, Armatron

Resembling nothing more than a vehicle from Captain Scarlet and the Mysterons redesigned by Clive Sinclair, Big Trak was controlled, as the presenters of Tomorrow’s World breathlessly related, by that all important ‘silicon chip’.¹ With just a few taps on the keypad, this fully programmable beast could be instructed to move and turn in different directions, fire up its ‘photon canon’ and make a couple of modish electronic noises. It was, of course, used mainly to frighten the family pet. Pretty good value for £20.

      The novelty was that it was ostensibly capable of navigating a path around cumbersome household objects–assuming no-one had actually moved any of them while you were busily punching in the required sequence of movements–usually a case of trial and error. Big Trak worked best when its route avoided shag-pile carpet, inclines and anywhere outdoors. According to the manual, programming distance travelled was calculated in noncommittal units of ‘roughly 13 inches’, while the angle of rotation ‘may not be enough to make the turn you want. Or it may be too much.’ You want vagueness? MB Electronics delivered it in spades (which themselves were probably of wildly indeterminate size).

Used in conjunction with the Big Trak Transporter (yours for only another £15), Big Trak was rumoured to be able to ferry objects around the house–maximum load: ‘about one pound’.² Promised innovations that never materialised were voice synthesis and additional accessories (there was a mysterious unassigned keypad button marked ‘IN’ on the keypad for just this purpose).

Not to be outdone, Kenner Toys came up with Radarc, another twenty-first-century-esque remote-controlled tank. The gimmick with Radarc was that, instead of being programmable, it was operated by ‘muscle control’–a radio transmitter that strapped to your forearm, with buttons on the inside that made contact as you worked your hand and wrist (stop sniggering at the back!).³

      However, with six chunky traction tyres, sticky labels ‘to add exciting detail’ and a camp little signature tune that played before and after every, erm, motion, Big Trak was much coveted and seldom seen–the dictionary definition of toy envy.

1 A 4-bit Texas Instruments TMS1000 microcontroller running at approximately 0.2 MHz, chip fans. That’s just 64 bytes of RAM to you.

2 A fabulously complicated and tortuous process for carrying out otherwise simple household tasks? Clearly this was a toy aimed at men.

3 There was also TOBOR, a robot from Schaper that looked like a cross between R2D2 and Darth Vader, was operated by a ‘transmitter’ that was nothing more than a tin clicker, and was utterly defeated by any carpeted surface.

       Big Yellow Teapot

      It’s big and it’s yellow, but there’s no tea in it

Now-defunct toy manufacturer Bluebird was founded on two very solid principles. Small girls like doll’s houses. Small girls also like plastic tea sets for serving cups of invisible tea to their dollies.¹ Then someone fell into a filing cabinet at the office Christmas party and came up with the bizarre idea of crossbreeding the two. Yes, this was a doll’s house, but made of yellow plastic and shaped like a huge teapot.

      Why was this? No reason was ever given. The house was inhabited by small plastic peg-like people (somewhere between stunted Playmobil folk and Weebles without the wobble) with welded-together legs, all the better to slide them down the chimney or make them ride round and round in the roundabout-cum-teapot lid (the latter 20 seconds of entertainment–lots of fun for everyone’–also forming the most memorable moment of the accompanying ad). This delightful pied-à-terre was furnished throughout with a small quantity of monolithic red and blue teacup chairs and tables, with the further appointment of additional decor simply printed on cardboard walls (where it floated slightly above the floor in an unconvincing fashion).

      See also Weebles, My Little Pony, ‘A La Cart Kitchen’

A rival effort came courtesy of Palitoy, whose Family Treehouse obeyed the same basic design principles and yet had the added bonus of a trunk-based elevator (which presumably attracted a better class of tenant than the average council-estate teapot). Another was Matchbox’s School Boot, adding a whiff of academia to the old ‘woman who lived in a shoe’ routine and thus robbing it of much appeal, although there was at least a variety of playground-themed accessories.² Live-in chimneys and pumpkins caught the tail end of the trend.

      Basically, Big Yellow was a doll’s house for the Duplo generation: those who required everything to be large, unbreakable and safe to chew, yet were still innocent enough to refrain from shoving the little plastic people down (or up) the cat for a change (or indeed, trying to create a teapot tropical monsoon by actually pouring boiling water on them).

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