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stephen_arvidson's review against another edition
4.0
Teenage Mutant Ninja Turtles Adventures, Volume 2, collecting Issues #5-8 of the Archie series, marks a welcome departure from its original source material: the late-80s TV show. Up until this point, readers have been treated to bland retreads of cartoon episodes from the first two seasons. Thankfully, the torch hath been henceforth passed into the capable hands of Dean Clarrain (actually Steve Murphy in disguise) and Ryan Brown, who together decided that the series could be far more compelling, both conceptually and tonally, serving up original stories, sympathetic characters, and riveting arcs, often with a socially-conscious message. Several mainstay villains would later be abandoned—‘cuz let’s face it, how many times can readers be enthralled by the Shredder and Krang’s bumbling attempts at global domination, or Rocksteady and Bebop’s ham-fisted buffoonery?
TMNT Adventures, Volume 2 introduces new allies—Man Ray, Leatherhead, Wingnut and Screwloose (who would later form the Mighty Mutanimals)—and such otherworldly concepts as the disembodied transdimensional cow’s head christened Cudley the Cowlick. Readers also catch a first glimpse of Stump Asteroid and the Intergalactic Wrestling Federation, the Turtles' gaudy wrestling costumes, and the polluted Earth of the grim future. If you’re a bleeding-heart liberal like me, then you won’t be bothered by the series’ recurrent nods to environmentalist themes and animal-rights morals. If you’re not, then brace yourself for some heavy-handed info-dumps warning you about how unchecked pollution will either destroy the Earth or incur Mother Nature's wrath.
“Something Fishy Goes Down”, Volume 2's inaugural issue, is a rather run-of-the-mill escapade with no discernible twists or turns, a stand-alone story with an anodyne plot worthy of the cartoon series. An eccentric aquarium employee with a hard-on for mantas and a limp tumescence for toxic pollution is accidentally exposed to yet another wayward container of the Shredder’s trademark mutagen, transforming him into a large mutant ray. Man Ray aids the Turtles in foiling Shredder’s terrorist plot against Our Lady Liberty. The storyline is solid yet much too convenient for my tastes, and the ineffectual torpedo that merely ricochets off the Shredder’s submarine is enough to put Michael Bay to tears. On the other hand, this issue is more stirring than any of the previous installments, though it's the weakest of the four stories contained in Volume 2. To Clarrain and Brown’s credit, it’s their first foray of the series, and they really do hit their stride with the next tale.
“Of Turtles and Stones and Mary Bones” not only introduces the character of Leatherhead, but sets up an impending story arc that will culminate in a galactic battle several issues down the road. Jess Hartley, a desperate thief from the bayou swipes a mysterious crystal ball from a swamp witch named Mary Bones. As punishment for stealing the Turnstone, the sorceress uses the powerful orb to transform Harley into an alligator-man. Seizing the opportunity, Shredder fools the gullible gator into ambushing the Turtles. Although Leatherhead’s convenient fall into Shredder’s hideout felt overly contrived, his origin story is satisfying enough, particularly when the witch’s true intentions are eventually made clear.
Artist staffer Jim Lawson briefly stands in for Ken Mitchroney to pencil Issue #7, “Intergalactic Wrestling”, though his bloated and angular depictions of the characters stand in stark contrast to Mitchroney’s more whimsical portrayals. Lawson also employs more exaggerated facial expressions and inflated features, which surprisingly works in this case given the story's drastic change in scenery—from the sewers of New York City to the far-out arenas of Stump Asteroid, where the reluctant Turtles are recruited by aliens in the form of money-loving flora to fight in a cosmic wrestling match. Most of these newly introduced characters are gimmicky—and what the heck's up with the body-building man-duck sporting a banana-hammock?! Issue #7 adds substantively to this TMNT universe, distancing itself even further from the cartoon show, and forging its own continuity with characters exclusive to this series.
Volume 2’s final issue, “Wild Things”, is set amidst a torrential downpour as the Turtles, fresh from their return from Stump Asteroid, are accosted by a humanoid bat-creature named Wingnut and an oversized mosquito named Screwloose. Despite the heavy rains, this flying duo seemingly gets their kicks from hurling rocks at Manhattan skylights. The Turtles make quick work of the alien vandals, but Mr. Stump has big plans for the pair. As Screwloose divulges, Wingnut’s alien race was violently brought to extinction during Krang’s invasion of the planet Huanu. Wingnut’s back-story is surprisingly deep, yet regrettably it’s given only a cursory exam when the potential clearly existed for more expansive arcs. Still, within the confines of this issue, it works perfectly as a motivational factor for the two characters and firmly establishes Krang as a more ruthless threat beyond that of a hackneyed supervillain.
The volume’s key setback for me, though, is the self-containing formula in which new characters are introduced at the onset of each issue but then conveniently tossed aside at the conclusion, thus typecasting these stories as one-offs. But where Teenage Mutant Ninja Turtles Adventures, Volume 2 lacks in functionality it makes up for in gnarly world-building that largely succeeds in distinguishing this series from that of the cartoon. At a glance, the stories are juvenile and the characterizations superficial—perfect for younger audiences—but a deeper analysis reveals some underlying themes and hidden details that adult readers are likely to appreciate.
TMNT Adventures, Volume 2 introduces new allies—Man Ray, Leatherhead, Wingnut and Screwloose (who would later form the Mighty Mutanimals)—and such otherworldly concepts as the disembodied transdimensional cow’s head christened Cudley the Cowlick. Readers also catch a first glimpse of Stump Asteroid and the Intergalactic Wrestling Federation, the Turtles' gaudy wrestling costumes, and the polluted Earth of the grim future. If you’re a bleeding-heart liberal like me, then you won’t be bothered by the series’ recurrent nods to environmentalist themes and animal-rights morals. If you’re not, then brace yourself for some heavy-handed info-dumps warning you about how unchecked pollution will either destroy the Earth or incur Mother Nature's wrath.
“Something Fishy Goes Down”, Volume 2's inaugural issue, is a rather run-of-the-mill escapade with no discernible twists or turns, a stand-alone story with an anodyne plot worthy of the cartoon series. An eccentric aquarium employee with a hard-on for mantas and a limp tumescence for toxic pollution is accidentally exposed to yet another wayward container of the Shredder’s trademark mutagen, transforming him into a large mutant ray. Man Ray aids the Turtles in foiling Shredder’s terrorist plot against Our Lady Liberty. The storyline is solid yet much too convenient for my tastes, and the ineffectual torpedo that merely ricochets off the Shredder’s submarine is enough to put Michael Bay to tears. On the other hand, this issue is more stirring than any of the previous installments, though it's the weakest of the four stories contained in Volume 2. To Clarrain and Brown’s credit, it’s their first foray of the series, and they really do hit their stride with the next tale.
“Of Turtles and Stones and Mary Bones” not only introduces the character of Leatherhead, but sets up an impending story arc that will culminate in a galactic battle several issues down the road. Jess Hartley, a desperate thief from the bayou swipes a mysterious crystal ball from a swamp witch named Mary Bones. As punishment for stealing the Turnstone, the sorceress uses the powerful orb to transform Harley into an alligator-man. Seizing the opportunity, Shredder fools the gullible gator into ambushing the Turtles. Although Leatherhead’s convenient fall into Shredder’s hideout felt overly contrived, his origin story is satisfying enough, particularly when the witch’s true intentions are eventually made clear.
Artist staffer Jim Lawson briefly stands in for Ken Mitchroney to pencil Issue #7, “Intergalactic Wrestling”, though his bloated and angular depictions of the characters stand in stark contrast to Mitchroney’s more whimsical portrayals. Lawson also employs more exaggerated facial expressions and inflated features, which surprisingly works in this case given the story's drastic change in scenery—from the sewers of New York City to the far-out arenas of Stump Asteroid, where the reluctant Turtles are recruited by aliens in the form of money-loving flora to fight in a cosmic wrestling match. Most of these newly introduced characters are gimmicky—and what the heck's up with the body-building man-duck sporting a banana-hammock?! Issue #7 adds substantively to this TMNT universe, distancing itself even further from the cartoon show, and forging its own continuity with characters exclusive to this series.
Volume 2’s final issue, “Wild Things”, is set amidst a torrential downpour as the Turtles, fresh from their return from Stump Asteroid, are accosted by a humanoid bat-creature named Wingnut and an oversized mosquito named Screwloose. Despite the heavy rains, this flying duo seemingly gets their kicks from hurling rocks at Manhattan skylights. The Turtles make quick work of the alien vandals, but Mr. Stump has big plans for the pair. As Screwloose divulges, Wingnut’s alien race was violently brought to extinction during Krang’s invasion of the planet Huanu. Wingnut’s back-story is surprisingly deep, yet regrettably it’s given only a cursory exam when the potential clearly existed for more expansive arcs. Still, within the confines of this issue, it works perfectly as a motivational factor for the two characters and firmly establishes Krang as a more ruthless threat beyond that of a hackneyed supervillain.
The volume’s key setback for me, though, is the self-containing formula in which new characters are introduced at the onset of each issue but then conveniently tossed aside at the conclusion, thus typecasting these stories as one-offs. But where Teenage Mutant Ninja Turtles Adventures, Volume 2 lacks in functionality it makes up for in gnarly world-building that largely succeeds in distinguishing this series from that of the cartoon. At a glance, the stories are juvenile and the characterizations superficial—perfect for younger audiences—but a deeper analysis reveals some underlying themes and hidden details that adult readers are likely to appreciate.
stephen_arvidson's review against another edition
4.0
Teenage Mutant Ninja Turtles Adventures, Volume 3, collecting Issues #9-12 of the all-ages Archie series, prefigures another seismic shift from its cartoon counterpart; one in which the series would undertake long-term story arcs in lieu of episodic closure and circular dramaturgy. Volume 2 had undoubtedly hit a snag with its string of one-shot planches and self-contained characters—and not to mention the overly simplistic and shallow storytelling that so often gave way to gaps in narrative logic—but this latest collection from IDW illustrates the efforts by Dean Clarrain and fellow writers to take the series in a decidedly deeper and more serious direction.
The artwork alternates between Jim Lawson’s quirky, stylized technique in Issues #9 & #11 to Ken Mitchroney’s charming and jovial approach in Issues #10 & #12. These two artists couldn’t be more different, and it’s unmistakably clear as one reads these stories back-to-back. Each of Mitchroney’s panels looks amazingly like individual cells from a big-budget animated feature, and younger readers would most certainly favor his softer artwork over Lawson’s. On the other hand, Jim Lawson’s work, which frequently oscillates from detailed to sparse with occasional ebbs in quality, better lends itself to the series' increasingly mature stories. Moreover, the man deserves credit for his consistently badass depictions of the Shredder.
The first of the four collected tales, “Codename: Chameleon”, continues the mutant-of-the-month stories that comprised Volume 2. Here, a well-dressed double agent with a characteristic lazy eye has stolen classified weapons plans from the U.N. The dastardly Shredder covets these plans for himself and, after dispatching Rocksteady and Bebop to capture the dapper mercenary, transforms the spy into a man-sized Chameleon. Using his newfound camouflage abilities the Chameleon escapes, but his harrowing ordeal compels him to destroy the weapons plans for the betterment of mankind. The story is very cut-and-dry and makes no attempt to conceal that fact. The Chameleon character is grossly undeveloped, thereby making his final altruistic act seem baseless and confusing.
“Going Down?” serves as environmentalist fodder as we see Rocksteady and Bebop dumping toxic waste into the sewers, a thoughtless act that has unintended genetic consequences for a large planarian worm swimming amidst the tepid waters. Weeks later, acting on Splinter’s counsel, the Turtles decide to take an active stance against Krang. Whilst in search of the Shredder’s hideout, the Turtles are accosted by an oversized planarian Wyrm and a mutated cockroach-man (formerly a pest exterminator who was unwittingly exposed to the Shredder’s poorly stored mutagen). With its overly contrived plot-points and unconvincing monsters, this story reeks of wasted potential. However, it redeems itself for its rat-teeming segue into the subsequent issue, and the further establishing of Krang as a legitimate warlord as opposed to Shredder’s bickering cohort, and some genuine brotherly interaction between the Turtles—specifically, when a smug Raphael basks in Splinter’s approval of his (Raph) keeping the black wrestling outfit for its strategic value, much to Leonardo’s obvious jealousy. One can’t help but appreciate those little touches.
In “White Light”, the writers thankfully deviate from the hokey one-offs and intellectually-offensive dialogue. Trapped beneath a pile of rubble, Bebop and Rocksteady notice a blinding light before they're spirited away by four Roswell-type aliens. As the story proper ensues, a plague of rats herds the Turtles to the kingdom of the enigmatic Ha’ntaan, better known as the Rat King. The murky monarch points them in the Shredder's direction, where the quartet encounters a formidable Super Foot Soldier. The Turtles are then apprehended by the Sons of Silence and held in suspended animation. As Shredder & Co. gloat over their victory, it proves short-lived when another player enters the fray. My favorite of the four stories, “White Light” really showcases the series’ mythology and sets the stage for the so-called “Final Conflict.” While the use of the Rat King may seem gratuitous to some readers, I applaud the writers’ decision to have Leonardo engage Ha'ntaan in a civil dialogue that ends in a peaceful yet suspicious resolution as opposed to another epic throw-down. Nice to know that Splinter's taken the time to educate his reptilian pupils about the fine art of diplomacy! Jim Lawson’s unique style has begun to grow on me, particularly with his wonderfully creepy depiction of the Rat King, whose appearance in the series is fleeting but leaves a lasting impression.
In “The Lost World”, Volume 3’s concluding issue, the tubular terrapins are rescued by endearing warlord Cherubae (the true form of bayou witch Mary Bones) and bequeathed a campfire account of Krang’s berserker assaults on other planets and of the Turnstone’s true power. But when Cherubae is taken hostage and the Turnstone lost on a devastated planet, the Turtles find themselves in a race against the Shredder to recover the misplaced orb and restore order to the cosmos. But they’ll need help. The big-stakes endgame coupled with a tense cliffhanger, the surprising return of many familiar faces, the merging of various elements from earlier issues into a cohesive story—and let’s not forget Rocksteady’s poetic dream sequence that lends greater depth to his character—collectively denotes the series’ vigorous attempts at more sophisticated storytelling.
The artwork alternates between Jim Lawson’s quirky, stylized technique in Issues #9 & #11 to Ken Mitchroney’s charming and jovial approach in Issues #10 & #12. These two artists couldn’t be more different, and it’s unmistakably clear as one reads these stories back-to-back. Each of Mitchroney’s panels looks amazingly like individual cells from a big-budget animated feature, and younger readers would most certainly favor his softer artwork over Lawson’s. On the other hand, Jim Lawson’s work, which frequently oscillates from detailed to sparse with occasional ebbs in quality, better lends itself to the series' increasingly mature stories. Moreover, the man deserves credit for his consistently badass depictions of the Shredder.
The first of the four collected tales, “Codename: Chameleon”, continues the mutant-of-the-month stories that comprised Volume 2. Here, a well-dressed double agent with a characteristic lazy eye has stolen classified weapons plans from the U.N. The dastardly Shredder covets these plans for himself and, after dispatching Rocksteady and Bebop to capture the dapper mercenary, transforms the spy into a man-sized Chameleon. Using his newfound camouflage abilities the Chameleon escapes, but his harrowing ordeal compels him to destroy the weapons plans for the betterment of mankind. The story is very cut-and-dry and makes no attempt to conceal that fact. The Chameleon character is grossly undeveloped, thereby making his final altruistic act seem baseless and confusing.
“Going Down?” serves as environmentalist fodder as we see Rocksteady and Bebop dumping toxic waste into the sewers, a thoughtless act that has unintended genetic consequences for a large planarian worm swimming amidst the tepid waters. Weeks later, acting on Splinter’s counsel, the Turtles decide to take an active stance against Krang. Whilst in search of the Shredder’s hideout, the Turtles are accosted by an oversized planarian Wyrm and a mutated cockroach-man (formerly a pest exterminator who was unwittingly exposed to the Shredder’s poorly stored mutagen). With its overly contrived plot-points and unconvincing monsters, this story reeks of wasted potential. However, it redeems itself for its rat-teeming segue into the subsequent issue, and the further establishing of Krang as a legitimate warlord as opposed to Shredder’s bickering cohort, and some genuine brotherly interaction between the Turtles—specifically, when a smug Raphael basks in Splinter’s approval of his (Raph) keeping the black wrestling outfit for its strategic value, much to Leonardo’s obvious jealousy. One can’t help but appreciate those little touches.
In “White Light”, the writers thankfully deviate from the hokey one-offs and intellectually-offensive dialogue. Trapped beneath a pile of rubble, Bebop and Rocksteady notice a blinding light before they're spirited away by four Roswell-type aliens. As the story proper ensues, a plague of rats herds the Turtles to the kingdom of the enigmatic Ha’ntaan, better known as the Rat King. The murky monarch points them in the Shredder's direction, where the quartet encounters a formidable Super Foot Soldier. The Turtles are then apprehended by the Sons of Silence and held in suspended animation. As Shredder & Co. gloat over their victory, it proves short-lived when another player enters the fray. My favorite of the four stories, “White Light” really showcases the series’ mythology and sets the stage for the so-called “Final Conflict.” While the use of the Rat King may seem gratuitous to some readers, I applaud the writers’ decision to have Leonardo engage Ha'ntaan in a civil dialogue that ends in a peaceful yet suspicious resolution as opposed to another epic throw-down. Nice to know that Splinter's taken the time to educate his reptilian pupils about the fine art of diplomacy! Jim Lawson’s unique style has begun to grow on me, particularly with his wonderfully creepy depiction of the Rat King, whose appearance in the series is fleeting but leaves a lasting impression.
In “The Lost World”, Volume 3’s concluding issue, the tubular terrapins are rescued by endearing warlord Cherubae (the true form of bayou witch Mary Bones) and bequeathed a campfire account of Krang’s berserker assaults on other planets and of the Turnstone’s true power. But when Cherubae is taken hostage and the Turnstone lost on a devastated planet, the Turtles find themselves in a race against the Shredder to recover the misplaced orb and restore order to the cosmos. But they’ll need help. The big-stakes endgame coupled with a tense cliffhanger, the surprising return of many familiar faces, the merging of various elements from earlier issues into a cohesive story—and let’s not forget Rocksteady’s poetic dream sequence that lends greater depth to his character—collectively denotes the series’ vigorous attempts at more sophisticated storytelling.
stephen_arvidson's review against another edition
4.0
Spinoffs and crossovers are something of a hollowed tradition for the comic-book medium, and when you have a multi-million dollar juggernaut like Teenage Mutant Ninja Turtles such conceits are par for the course. These divestitures are a decidedly mixed bag. When done right, they instill some oft needed flavor and variety without cheapening the reading experience. Alternately, many crossovers and spinoffs are poorly conceived, confusing, and a blatant exploitation of brand loyalty at the expense of quality storytelling. Luckily, that’s not the case for the stories found in Volume 9 of the IDW trades, which collects Issues #38-40 of Archie’s TMNT Adventures and Issue #6 of its sister series, The Mighty Mutanimals—hold up, sir, did you just say #38-40? Didn’t Volume 8 leave off at #31? Sadly, yes, for reasons of political correctness IDW, in their infinite wisdom, decided against reprinting TMNTA #32-37, thereby leaving a gaping hole in the narrative. Hope you have those missing issues on hand. If not, consider tracking ‘em down.
Volume 9 comprises a three-part crossover collectively titled “United We Stand, Divided We Fall”, along with a didactic filler story to tide over fans until the next big multi-issue arc. “United We Stand” immediately follows the events of MM #5 (which, regrettably, was never reprinted) and is the culmination of everything The Mighty Mutanimals has been building toward since the start of the series proper—and the ragtag rebel team would align itself with the Ninja Turtles a few more times under Dean Clarrain’s direction, including the short-lived Merdude spinoff. “Part One” (#38) opens in the midst of battle, with most of the Mutanimals lying unconscious and Leatherhead holding his own as bullets fly overhead. Without the first five entries of MM, nor the aforementioned TMNTA issues that IDW sidestepped, unwary readers will feel as if they’ve walked in on a movie an hour after it started. Readers possessing the original prints will be less disoriented and have no trouble discerning the new players and their respective motivations.
Still seeking to bring about the world's end, the dastardly Null makes an overdue return after forming a new alliance, this time with the Four Horsemen of the Apocalypse. As readers will see, this scumbag is literally pulling no punches when it comes to the female of the species; and to further augment his demonic powers through commission of vile misdeeds Null has captured gunslinger Kid Terra and a leopard-skin-clad adventuress named Juntarra, mother of Jagwar (the de facto leader of the Mutanimals). Juntarra is frequently shown unleashing a barrage of Symbol Swearing—enough to make Negan blush. As the Mutanimals are beaten to a pulp by Null’s robo-skeletons, the Turtles, Splinter, and Ninjara enter the fray with the help of a beautiful shape-shifter named Azrael. As it happens, the hollow-cheeked androids are merely the appetizer. Before our heroes can catch their breath, three hulking monstrosities emerge from the burning rainforest. Controlled by means of puppetry, War, Famine, and Pestilence prove an unstoppable force with the ability to distort reality to their whims. But when the plankton-chips are down, it’s the pint-sized Screwloose who shifts the tides in favor of the good guys. Mike Kazaleh’s pencilling in MM #6 is ungainly and childlike; his depictions of the Four Horsemen are just a bit too whimsical and cutesy. On the other hand, TMNTA #38 and #39 succeed largely thanks to sheer drama and Chris Allan’s visually compelling artwork, yet an all-too convenient deus ex machina mars an otherwise gripping climax. Dean Clarrain paints himself into a corner by pitting the heroes against unbeatable foes with no reasonable means of escape. Despite a disappointing finale and a rather goofy middle section, “United We Stand” is a triumphant piece of storytelling with hard-edged battle sequences, formidable foes, and a crossover that’s both organic and effective.
Volume 9’s closing issue, “1492”, offers a sobering window into the darker side of colonial history after a temporal overlap whisks the Turtles, Splinter, and Ninjara back 500 years to the precise moment that Christopher Columbus discovered the New World—if you don’t count Leif Ericson, of course. After the team befriends a group of Arawakan natives on the Caribbean shores, a white evilacular Columbus rolls up in his Spanish caravels, patting himself on the back for finding a new route from the west to the east. Coveting proof of his expedition’s success, the Italian explorer orders Donatello be taken back to the Santa Maria where the terrapin is made to listen to a lengthy monologue about Columbus’s love affair with gold. While the rest of the team clashes with roughneck Conquistadors, an eerie earth spirit called The Other educates Don (and the readers) on how Columbus wasn’t the protagonist America paints him to be, but rather a marauding imperialist who brought disease and death upon the indigenous peoples. While “1492” seems intended as a counterpoint to the spurious American tradition that is Colombus Day, Dean Clarrain’s bumbling use of The Other feels extremely heavy-handed. As smear campaigns go, this would have been more successful without the long-winded lecture. Still, I give Clarrain credit for trying. As to the aesthetics, inker Brian Thomas deserves props for his splendid shadow-work during Don’s imprisonment scenes in the oil-lamp-lit brig; however, colorist Barry Grossman really phoned it in this issue, repeatedly mixing up Mikey’s and Raph’s bandanas and giving Wingnut’s upper back a fleshy Caucasian color. Although appealing and accessible, this time-travel tale misses the mark in places—and that ethereal eel-like creature is borderline creepy, enough to give Marty McFly some real nightmare fuel to sweat over!
Volume 9 comprises a three-part crossover collectively titled “United We Stand, Divided We Fall”, along with a didactic filler story to tide over fans until the next big multi-issue arc. “United We Stand” immediately follows the events of MM #5 (which, regrettably, was never reprinted) and is the culmination of everything The Mighty Mutanimals has been building toward since the start of the series proper—and the ragtag rebel team would align itself with the Ninja Turtles a few more times under Dean Clarrain’s direction, including the short-lived Merdude spinoff. “Part One” (#38) opens in the midst of battle, with most of the Mutanimals lying unconscious and Leatherhead holding his own as bullets fly overhead. Without the first five entries of MM, nor the aforementioned TMNTA issues that IDW sidestepped, unwary readers will feel as if they’ve walked in on a movie an hour after it started. Readers possessing the original prints will be less disoriented and have no trouble discerning the new players and their respective motivations.
Still seeking to bring about the world's end, the dastardly Null makes an overdue return after forming a new alliance, this time with the Four Horsemen of the Apocalypse. As readers will see, this scumbag is literally pulling no punches when it comes to the female of the species; and to further augment his demonic powers through commission of vile misdeeds Null has captured gunslinger Kid Terra and a leopard-skin-clad adventuress named Juntarra, mother of Jagwar (the de facto leader of the Mutanimals). Juntarra is frequently shown unleashing a barrage of Symbol Swearing—enough to make Negan blush. As the Mutanimals are beaten to a pulp by Null’s robo-skeletons, the Turtles, Splinter, and Ninjara enter the fray with the help of a beautiful shape-shifter named Azrael. As it happens, the hollow-cheeked androids are merely the appetizer. Before our heroes can catch their breath, three hulking monstrosities emerge from the burning rainforest. Controlled by means of puppetry, War, Famine, and Pestilence prove an unstoppable force with the ability to distort reality to their whims. But when the plankton-chips are down, it’s the pint-sized Screwloose who shifts the tides in favor of the good guys. Mike Kazaleh’s pencilling in MM #6 is ungainly and childlike; his depictions of the Four Horsemen are just a bit too whimsical and cutesy. On the other hand, TMNTA #38 and #39 succeed largely thanks to sheer drama and Chris Allan’s visually compelling artwork, yet an all-too convenient deus ex machina mars an otherwise gripping climax. Dean Clarrain paints himself into a corner by pitting the heroes against unbeatable foes with no reasonable means of escape. Despite a disappointing finale and a rather goofy middle section, “United We Stand” is a triumphant piece of storytelling with hard-edged battle sequences, formidable foes, and a crossover that’s both organic and effective.
Volume 9’s closing issue, “1492”, offers a sobering window into the darker side of colonial history after a temporal overlap whisks the Turtles, Splinter, and Ninjara back 500 years to the precise moment that Christopher Columbus discovered the New World—if you don’t count Leif Ericson, of course. After the team befriends a group of Arawakan natives on the Caribbean shores, a white evilacular Columbus rolls up in his Spanish caravels, patting himself on the back for finding a new route from the west to the east. Coveting proof of his expedition’s success, the Italian explorer orders Donatello be taken back to the Santa Maria where the terrapin is made to listen to a lengthy monologue about Columbus’s love affair with gold. While the rest of the team clashes with roughneck Conquistadors, an eerie earth spirit called The Other educates Don (and the readers) on how Columbus wasn’t the protagonist America paints him to be, but rather a marauding imperialist who brought disease and death upon the indigenous peoples. While “1492” seems intended as a counterpoint to the spurious American tradition that is Colombus Day, Dean Clarrain’s bumbling use of The Other feels extremely heavy-handed. As smear campaigns go, this would have been more successful without the long-winded lecture. Still, I give Clarrain credit for trying. As to the aesthetics, inker Brian Thomas deserves props for his splendid shadow-work during Don’s imprisonment scenes in the oil-lamp-lit brig; however, colorist Barry Grossman really phoned it in this issue, repeatedly mixing up Mikey’s and Raph’s bandanas and giving Wingnut’s upper back a fleshy Caucasian color. Although appealing and accessible, this time-travel tale misses the mark in places—and that ethereal eel-like creature is borderline creepy, enough to give Marty McFly some real nightmare fuel to sweat over!
stephen_arvidson's review
4.0
Over the course of the first twenty issues of Archie’s Teenage Mutant Ninja Turtles Adventures, the bodacious terrapins have encountered a number of fellow anthropomorphs that would eventually form their own dynamic faction. Conceived at a time when superhero team spin-offs were all the rage, the Mighty Mutanimals is the culmination of everything the Adventures series has been building toward since it began writing for itself back in Issue #5. As allies to the Turtles, the Mutanimals were a group of eco-terrorists who cudgeled legal whaling operations and only incidentally spared humanity from Armageddon, an indirect result of battling pollution, deforestation, and ozone depletion. While the TMNT quartet has remained a close-knit family from the get-go, the Mighty Mutanimals, conversely, is an assemblage of preexisting characters a la The Avengers that would’ve proven lackluster as solo acts. Volume 6 of the IDW trades collects Issues #21-22 of TMNTA and the concurrent three-issue mini-series of Mighty Mutanimals that was released in the summer of ’91.
In the first of five tales, “Space Junk Face Funk Cyber Punk Thief”, an incensed woodsman is unwittingly transformed into a cyborg after being struck by a broken USSR satellite that fell from orbit, bringing with it a nonlethal radioactive canister. Calling himself Vid Vicious, this pathetic Sex Pistols reject kidnaps April O’Neil in a misguided effort to deliver a soapbox message about mankind's calamitous impact on the ailing environment. Shredder makes an unexpected return, having somehow escaped incarceration following Issue #13. When you think about it, though, with such woefully lame villains as Captain Mossback (Issue #17) and Vid Vicious, it’s a wonder the Turtles weren’t secretly pining for a comeback gig by their chrome-plated arch-nemesis. Poorly conceived villain aside, this plodding story is further marred by a gratuitous cliffhanger. Byron Vaughns’ artwork is more zany and exaggerated than Ken Mitchroney’s; at times, it’s immoderately simplistic, particularly in wide shots. And yet, to Vaughns’ credit, there’s an undeniable energy in his animated style that somehow manages to serve the story, though just barely.
“Rat Trap” picks up where the previous issue left off, as the Shredder makes his escape with a floppy disc containing Donatello and Vid Vicious (don’t ask). The remaining team members are forced to follow the proverbial bread crumbs to an Acme Traps factory where Shredder has constructed an elaborate maze to ensnare the heroes. Alas, that’s the sort of harebrained scheme the cartoon-series Shredder would’ve concocted. Good thing Krang is no longer around to berate Saki on this overall embarrassing display. Shredder thankfully proves himself a more capable foe in later issues. On the plus side, Raphael returns from his adventures in the newly launched Mighty Mutanimals series, single-handedly dispatching the Shredder in overtly convenient fashion. Issue #22 comes courtesy of Gene Colan's proficient pencils. The legendary Daredevil artist employs his patented high-caffeine panel angles and chirascuro lighting to give each page a vibrant, cinematic flow. Occasional anatomy quirks notwithstanding, Colan’s art exudes a certain compositional grace and rhythm; his approach to the Turtles is more serious and realistic compared to Ken Mitchroney’s whimsical style.
We come now to the three-part miniseries of The Mighty Mutanimals. Resuming where TMNTA #19 ended, a meteor has crashed on the Amazonian beach near Man Ray, Jagwar, and Dreadmon. The achondrite suddenly cracks open unleashing a swarm of alien larvae—Queen Maligna’s hellish spawn. Meanwhile, Raphael and Mondo Gecko have stowed away on Scul and Bean’s spaceship after the Turtles and Splinter are rescued from Null’s fiendish clutches, thanks to some fleet-footed vermin. Elsewhere, the ruthless Maligna orders the executions of Stump and Sling for running interference during “The Final Conflict”—but hold the phone; it’s Leatherhead, Wingnut, and Screwloose to the rescue! United, the Mutanimals are able to withstand Maligna’s initial onslaught, but it’s only a matter of time before the Queen herself arrives on Earth. In the midst of battling an alien armada, Jagwar and Dreadmon treat us to their origin stories, and the dangling plotline involving the former’s mislaid mother has potential for a compelling story-arc in future MM tales. Despite its hasty resolution, this miniseries largely surpasses expectations. Deftly paced and featuring scores of action sprinkled with moments of genuine comic relief, this trio of issues maintains the tradition of the best TMNT stories. Artist Ken Mitchroney presents his usual quality offerings throughout this three-parter, though the ink-work in the middle story is a little rough around the edges. Raphael proves an effective guest star, not only for his quick sarcasm and willingness to throw a punch, but his presence serves twofold in keeping the series tied to the TMNT universe and reigning in readers who might otherwise take a pass on The Mighty Mutanimals. Kid Terra, who ultimately saves the day (in an altogether contrived manner), merits much acclaim for his character's tremendous evolution, one that's bookended by a bittersweet denouement that sees Terra imploring forgiveness from an immutable Man Ray. The book’s penultimate page depicts the victors engaging in blissful celebration as Kid Terra stands quietly alone in the background. There’s no question the Eastwoodian gunslinger will continue to seek atonement for his past sins.
In the first of five tales, “Space Junk Face Funk Cyber Punk Thief”, an incensed woodsman is unwittingly transformed into a cyborg after being struck by a broken USSR satellite that fell from orbit, bringing with it a nonlethal radioactive canister. Calling himself Vid Vicious, this pathetic Sex Pistols reject kidnaps April O’Neil in a misguided effort to deliver a soapbox message about mankind's calamitous impact on the ailing environment. Shredder makes an unexpected return, having somehow escaped incarceration following Issue #13. When you think about it, though, with such woefully lame villains as Captain Mossback (Issue #17) and Vid Vicious, it’s a wonder the Turtles weren’t secretly pining for a comeback gig by their chrome-plated arch-nemesis. Poorly conceived villain aside, this plodding story is further marred by a gratuitous cliffhanger. Byron Vaughns’ artwork is more zany and exaggerated than Ken Mitchroney’s; at times, it’s immoderately simplistic, particularly in wide shots. And yet, to Vaughns’ credit, there’s an undeniable energy in his animated style that somehow manages to serve the story, though just barely.
“Rat Trap” picks up where the previous issue left off, as the Shredder makes his escape with a floppy disc containing Donatello and Vid Vicious (don’t ask). The remaining team members are forced to follow the proverbial bread crumbs to an Acme Traps factory where Shredder has constructed an elaborate maze to ensnare the heroes. Alas, that’s the sort of harebrained scheme the cartoon-series Shredder would’ve concocted. Good thing Krang is no longer around to berate Saki on this overall embarrassing display. Shredder thankfully proves himself a more capable foe in later issues. On the plus side, Raphael returns from his adventures in the newly launched Mighty Mutanimals series, single-handedly dispatching the Shredder in overtly convenient fashion. Issue #22 comes courtesy of Gene Colan's proficient pencils. The legendary Daredevil artist employs his patented high-caffeine panel angles and chirascuro lighting to give each page a vibrant, cinematic flow. Occasional anatomy quirks notwithstanding, Colan’s art exudes a certain compositional grace and rhythm; his approach to the Turtles is more serious and realistic compared to Ken Mitchroney’s whimsical style.
We come now to the three-part miniseries of The Mighty Mutanimals. Resuming where TMNTA #19 ended, a meteor has crashed on the Amazonian beach near Man Ray, Jagwar, and Dreadmon. The achondrite suddenly cracks open unleashing a swarm of alien larvae—Queen Maligna’s hellish spawn. Meanwhile, Raphael and Mondo Gecko have stowed away on Scul and Bean’s spaceship after the Turtles and Splinter are rescued from Null’s fiendish clutches, thanks to some fleet-footed vermin. Elsewhere, the ruthless Maligna orders the executions of Stump and Sling for running interference during “The Final Conflict”—but hold the phone; it’s Leatherhead, Wingnut, and Screwloose to the rescue! United, the Mutanimals are able to withstand Maligna’s initial onslaught, but it’s only a matter of time before the Queen herself arrives on Earth. In the midst of battling an alien armada, Jagwar and Dreadmon treat us to their origin stories, and the dangling plotline involving the former’s mislaid mother has potential for a compelling story-arc in future MM tales. Despite its hasty resolution, this miniseries largely surpasses expectations. Deftly paced and featuring scores of action sprinkled with moments of genuine comic relief, this trio of issues maintains the tradition of the best TMNT stories. Artist Ken Mitchroney presents his usual quality offerings throughout this three-parter, though the ink-work in the middle story is a little rough around the edges. Raphael proves an effective guest star, not only for his quick sarcasm and willingness to throw a punch, but his presence serves twofold in keeping the series tied to the TMNT universe and reigning in readers who might otherwise take a pass on The Mighty Mutanimals. Kid Terra, who ultimately saves the day (in an altogether contrived manner), merits much acclaim for his character's tremendous evolution, one that's bookended by a bittersweet denouement that sees Terra imploring forgiveness from an immutable Man Ray. The book’s penultimate page depicts the victors engaging in blissful celebration as Kid Terra stands quietly alone in the background. There’s no question the Eastwoodian gunslinger will continue to seek atonement for his past sins.
stephen_arvidson's review against another edition
4.0
As readers may or may not know, Teenage Mutant Ninja Turtles Adventures started out as dull retreads of the popular Fred Wolf cartoon before branching into original stories. After the series was handed over to Dean Clarrain (Stephen Murphy) and Ryan Brown, readers were treated to a string of hokey one-shots intended to give an added thrust behind a massive line of Playmates toys. But the title was further retooled to make the stories more serious; the palette was darker, and such bumbling mainstays as Krang were eventually put on a bus—to use the classic TV trope—and replaced with the likes of Null and Verminator-X. From that point on, the tone became less humorous.
Collecting Issues #41-44 of TMNTA and #7 of its sister series, The Mighty Mutanimals, Volume 10 of the IDW trades opens with what appears to be a trunk story that was reconditioned as a frame tale told by Raphael after his foxy girlfriend remarks on an advertisement for the Museum of Natural History. Scripted by Doug Brammer and penciled by Ken Mitchroney when the latter was still a full-time artist on the series, “…And Deliver Us from Evil” (#41) sees the return of the mutated mammoth thought to have perished in a prior encounter with Gang Green (see TMNT Meet Archie). After the prehistoric creature washes up in the East River and inadvertently frightens the local homeless population, the Manmoth is somehow apprehended by a pair of stooges working for an eccentric curator. The flaky scientist, Dr. Selena Davis, is revealed to have cloned the Manmoth from hair strands recovered months earlier. The Turtles and April soon catch wind of the creature’s reappearance and race to its aid. A battle erupts between the Manmoth and its engineered doppelganger that literally brings the house down. With Adventures taking on a decidedly darker tone, this awkwardly scripted story feels like a throwback to the series’ sillier, carefree days—even the Turtle Van and April’s signature yellow jumpsuit are back in bloom; a stark reminder of just how much the series has evolved. Artist Chris Allan hands in a hasty prologue in an effort to validate this recycled heap that, ultimately, will sit well with some readers but not so much with others.
The second issue heralds from The Mighty Mutanimals spinoff, in which Man Ray and his fellow Glublubs venture into a purportedly haunted ocean valley. As Ray searches the ruins of Null’s underwater vessel he’s cold-cocked by a cybernetic, shark mutant calling himself Armaggon. With the manta hero subdued, the fiendish thresher appears to have the upper hand. However, a one-eyed French merman named Jacques gets the drop on Armaggon and turns the tides with a timely assist from one of the Glublubs. Armaggon is revealed to be a highly evolved, hyper-intelligent shark from the distant future and whose sophisticated brain allows him to exist in different periods of time. Man Ray reenters the fray but not in time to prevent Jacques from being pulled into a temporal black hole by Armaggon. A brooding Man Ray returns to the surface, uncertain as to the Merdude’s fate. The Armaggon story-arc resumes in TMNT Adventures with no further involvement by Man Ray or the Mutanimals. Despite being as a preface to the upcoming Future Shark Trilogy, this issue seems like a needless addition to the Mighty Mutanimals series and only underscores the title’s dependence on TMNT Adventures. The utterly random appearance of Armaggon and Merdude seems too slipshod, and with the exception of the time-slip that first appeared in TMNTA #36, there’s little to no groundwork underpinning these characters. Mike Kazelah’s whimsical, cartoon-esque style complements the Merdude’s peculiar character, but at the same time undermines Armaggon as a formidable foe. Sparse detailing and nonexistent backgrounds don't make for the best visual appeal, either.
Issues #42-44 comprise the Future Shark Trilogy, an epic story-arc often cited as the launchpad for the best run of TMNTA stories. This unexpectedly dark tale catapults TMNT Adventures to an entirely different level, charting a darker path away from the goofy, ‘cowabunga!’ days and into a daring realm of quality storytelling. Elder versions of Donatello and Raphael materialize before our present-day heroes with grim tidings. Armaggon—the Future Shark with a silly name—has formed an alliance with Shredder and Verminator-X (last seen in TMNTA #36—but you wouldn’t know that from reading the IDW reprints). Future-Raph recounts an underwater street fight against Armaggon that quickly goes to hell in a handbasket. Shredder finally manages to pull off some competent villainy, and in a stunning turn of events Future-Leo and -Mikey are taken captive while Future-Raph loses an eyeball after taking an exploding missile to the face! Chris Allan’s action sequences are shocking in their brutality—and you better believe that’s blood rising out of Raphael’s vacant eye socket! With no time to lose, the younger Turtles, Splinter, and Ninjara are whisked forward in time to a dystopian New York where global warming and a catastrophic rise in sea level depict a terrifyingly bleak future (Because let's face it, no TMNTA script would be complete without Dean Clarrain’s sneaky leftism). Though initially introduced as a feline-cyborg with a pointless axe to grind, Verminator-X is revealed to have once been a brilliant colleague of Future-Don’s, working tirelessly to solve a deadly rat crisis plaguing the flooded cities. And speaking of rats, this three-parter marks the return of Ha’ataan, better known as the Rat King (last seen in TMNTA #11). No longer a neutral player, the Rat King seeks to exact vengeance on Future-Don and uses his telepathic abilities to manipulate Splinter and turn the beloved sensei against his sons. The panels in which Splinter savagely pummels Mikey are a shock to the system. The Future Shark Trilogy is a definite game-changer for the title but by no means flawless. Lapses in time-travel logic ride rough-shod over the Shredder’s continuity, for which serious fans will undoubtedly take issue.
Collecting Issues #41-44 of TMNTA and #7 of its sister series, The Mighty Mutanimals, Volume 10 of the IDW trades opens with what appears to be a trunk story that was reconditioned as a frame tale told by Raphael after his foxy girlfriend remarks on an advertisement for the Museum of Natural History. Scripted by Doug Brammer and penciled by Ken Mitchroney when the latter was still a full-time artist on the series, “…And Deliver Us from Evil” (#41) sees the return of the mutated mammoth thought to have perished in a prior encounter with Gang Green (see TMNT Meet Archie). After the prehistoric creature washes up in the East River and inadvertently frightens the local homeless population, the Manmoth is somehow apprehended by a pair of stooges working for an eccentric curator. The flaky scientist, Dr. Selena Davis, is revealed to have cloned the Manmoth from hair strands recovered months earlier. The Turtles and April soon catch wind of the creature’s reappearance and race to its aid. A battle erupts between the Manmoth and its engineered doppelganger that literally brings the house down. With Adventures taking on a decidedly darker tone, this awkwardly scripted story feels like a throwback to the series’ sillier, carefree days—even the Turtle Van and April’s signature yellow jumpsuit are back in bloom; a stark reminder of just how much the series has evolved. Artist Chris Allan hands in a hasty prologue in an effort to validate this recycled heap that, ultimately, will sit well with some readers but not so much with others.
The second issue heralds from The Mighty Mutanimals spinoff, in which Man Ray and his fellow Glublubs venture into a purportedly haunted ocean valley. As Ray searches the ruins of Null’s underwater vessel he’s cold-cocked by a cybernetic, shark mutant calling himself Armaggon. With the manta hero subdued, the fiendish thresher appears to have the upper hand. However, a one-eyed French merman named Jacques gets the drop on Armaggon and turns the tides with a timely assist from one of the Glublubs. Armaggon is revealed to be a highly evolved, hyper-intelligent shark from the distant future and whose sophisticated brain allows him to exist in different periods of time. Man Ray reenters the fray but not in time to prevent Jacques from being pulled into a temporal black hole by Armaggon. A brooding Man Ray returns to the surface, uncertain as to the Merdude’s fate. The Armaggon story-arc resumes in TMNT Adventures with no further involvement by Man Ray or the Mutanimals. Despite being as a preface to the upcoming Future Shark Trilogy, this issue seems like a needless addition to the Mighty Mutanimals series and only underscores the title’s dependence on TMNT Adventures. The utterly random appearance of Armaggon and Merdude seems too slipshod, and with the exception of the time-slip that first appeared in TMNTA #36, there’s little to no groundwork underpinning these characters. Mike Kazelah’s whimsical, cartoon-esque style complements the Merdude’s peculiar character, but at the same time undermines Armaggon as a formidable foe. Sparse detailing and nonexistent backgrounds don't make for the best visual appeal, either.
Issues #42-44 comprise the Future Shark Trilogy, an epic story-arc often cited as the launchpad for the best run of TMNTA stories. This unexpectedly dark tale catapults TMNT Adventures to an entirely different level, charting a darker path away from the goofy, ‘cowabunga!’ days and into a daring realm of quality storytelling. Elder versions of Donatello and Raphael materialize before our present-day heroes with grim tidings. Armaggon—the Future Shark with a silly name—has formed an alliance with Shredder and Verminator-X (last seen in TMNTA #36—but you wouldn’t know that from reading the IDW reprints). Future-Raph recounts an underwater street fight against Armaggon that quickly goes to hell in a handbasket. Shredder finally manages to pull off some competent villainy, and in a stunning turn of events Future-Leo and -Mikey are taken captive while Future-Raph loses an eyeball after taking an exploding missile to the face! Chris Allan’s action sequences are shocking in their brutality—and you better believe that’s blood rising out of Raphael’s vacant eye socket! With no time to lose, the younger Turtles, Splinter, and Ninjara are whisked forward in time to a dystopian New York where global warming and a catastrophic rise in sea level depict a terrifyingly bleak future (Because let's face it, no TMNTA script would be complete without Dean Clarrain’s sneaky leftism). Though initially introduced as a feline-cyborg with a pointless axe to grind, Verminator-X is revealed to have once been a brilliant colleague of Future-Don’s, working tirelessly to solve a deadly rat crisis plaguing the flooded cities. And speaking of rats, this three-parter marks the return of Ha’ataan, better known as the Rat King (last seen in TMNTA #11). No longer a neutral player, the Rat King seeks to exact vengeance on Future-Don and uses his telepathic abilities to manipulate Splinter and turn the beloved sensei against his sons. The panels in which Splinter savagely pummels Mikey are a shock to the system. The Future Shark Trilogy is a definite game-changer for the title but by no means flawless. Lapses in time-travel logic ride rough-shod over the Shredder’s continuity, for which serious fans will undoubtedly take issue.
stephen_arvidson's review against another edition
4.0
Despite its abrupt cancellation two decades ago, Teenage Mutant Ninja Turtles Adventures remains the definitive TMNT incarnation due in large part to its lengthy continuity. The series was quite unremarkable in the beginning, its maiden issues little more than bland retellings of the Saturday morning cartoon, a mere cash-grab. But Adventures quickly became its own thing, adding layers of depth to established characters well beyond anything the TV series would do. While the stories collected in Volume 5 of the IDW trades—specifically, Issues #17-20—still bear a kid-friendly tone, there’s a certain indefinable maturity that manages to strike a comfortable balance for adult readers.
Volume 5’s opening chapter, “Fight the Power,” brings to a close the South American tour, a story-arc which served to introduce many of the anthropomorphic characters that would later form the Mighty Mutanimals. On a return-voyage to America, the Turtles and Man Ray make a pit-stop on a derelict brig where Man Ray educates our heroes on the endangered Kemp Sea Turtle. Shortly thereafter, April and Man Ray notice some nearby shrimp-trawlers have failed to use Turtle Extruder Devices on their nettings, an illegal act that infuriates the latter and prompts the team into action. The stories featuring Man Ray tend to be the most didactic, skewing heavily toward environmental themes—so much so that his early appearances are allusive of those Captain Planet PSAs from the '90s. There’s no question that Man Ray holds the ecosystem in high regards; his consuming obsession with protecting and preserving marine wildlife and habitat has occasionally incited fits of rage whenever he witnesses pollution or human indifference to the environment. Ray's character ultimately lacked dimension and functioned more as a mouthpiece for topical eco-fodder. “Fight the Power” is a sanctimonious filler story about environmental awareness; and the lame one-shot villain, Captain Mossback, is a silly Ahab pastiche that Raphael and Man Ray are content to stand idly by as the crippled scoundrel almost drowns after toppling into the sea.
In the second issue, “Mondo Metal,” the Turtles and April part ways with Man Ray in New Orleans as he swims off to investigate some strange glowing meteors that landed in the ocean. Hitching a train ride back to New York City, the team is lured to Shredder’s former hideout by boisterous metal music—here the creative staff gets innovative by inserting authentic sheet-music and lyrics in the page gutters—where they discover a garage band has set up a practice space. The lead guitarist, Mondo (with his pet gecko latched to his shoulder), executes some thunderous histrionics that rouses some agitated Foot Super Soldiers (Maybe they prefer classical?). The Turtles intervene, but Mondo is exposed to Shredder’s patented mutagen, transforming him into the gecko-human hybrid, Mondo Gecko. The story amounts to another flavorful mutant-of-the-month, but we get the sense that a larger plot is bubbling to the surface. Although Mondo is a likeable character, there’s something crassly commercial about him—he plays guitar, skateboards, and speaks in cool lingo. He’s an amalgamation of hip ‘90s clichés that border on "Poochie" syndrome (Fans of The Simpsons will grasp the "Poochie" reference).
Issue #19, titled “The Man Who Sold the World,” builds upon past stories reaching as far back as Issue #5. All those scattered mutant-of-the-month installments that introduced various members of the Mighty Mutanimals are now paying dividends as this ragtag team of mutant allies comes together to thwart Queen Maligna, whose planetary invasion was foreshadowed in Issue #12. The nihilistic industrialist Null is seen hammering out a deal with Maligna’s minions, Skul and Bean, a nefarious arrangement that will pave the way for Earth’s enslavement. Null is revealed to be a Lex Luther-esque mastermind with budding devil-horns that go a long way to imply the demon lurking beneath his corporate visage. On a rooftop the Turtles and Mondo debate the significance of several meteors buzzing a nearby skyscraper—until they’re accosted by Kid Terra. The Clint-Eastwood wannabe attempts to warn them of Null’s scheme, but Raph hastily subdues him. Terra’s evolution is interesting enough. On the one hand, he conspired with Null to commit heinous crimes against humanity and he murdered Man Ray’s friend Bubbla. Kid’s honest attempt at redemption challenges the readers’ sense of forgiveness as much as it does the characters’. Artist Garrett Ho debuts in this issue, and although his character conceptions are not as fluid or endearing as Ken Mitchroney’s, Ho manages to keep the Ninja Turtles on par with their established look from the animated series.
The last issue, “Sun and Steel,” follows Leo, Mikey, Don, Splinter, and April in the wake of Null’s escape (with Raph and Mondo stowed away on Skul and Bean’s spaceship). Police helicopters swarm the scene, prompting our remaining heroes to fade into the crowded Chinatown streets. Moments later, they come across a curio shop engulfed in flames and an Asian fireman’s selfless act of bravery is overshadowed by his sudden transformation into a colossal yellow dragon (the result of a smashed Chinese flask containing a vaporous mutagen). Bill Wray’s first foray in TMNT Adventures is a mixed bag. In the opening pages, the Turtles are strangely reminiscent of their initial toy design—with gritted teeth and pupil-less eyes. But Wray’s grasp of the characters quickly improves as they don unlikely disguises to blend in with the keen-sighted denizens (who fail to even bat an eye at the man-sized rat walking amongst them). To Wray’s credit, though, his badass depictions of Chu’s Warrior Dragon are phenomenal and make up for his earlier indiscretion.
One final note: it seems that IDW spared every expense in reproducing these books, for the quality is egregiously lacking. The flimsy covers and bare-bones presentation leave a lot to be desired. The stories are printed on rag-linen paper that’s notorious for smudging and bleeding through to the other side of the page. And then there’s the faded coloring and other printing problems that make the final product an eyesore at times; for instance, this volume shows several panels in which the Turtles are sporting mismatched colors. These defects are shamefully indicative of a company trying to publish comics as cheaply as possible.
Volume 5’s opening chapter, “Fight the Power,” brings to a close the South American tour, a story-arc which served to introduce many of the anthropomorphic characters that would later form the Mighty Mutanimals. On a return-voyage to America, the Turtles and Man Ray make a pit-stop on a derelict brig where Man Ray educates our heroes on the endangered Kemp Sea Turtle. Shortly thereafter, April and Man Ray notice some nearby shrimp-trawlers have failed to use Turtle Extruder Devices on their nettings, an illegal act that infuriates the latter and prompts the team into action. The stories featuring Man Ray tend to be the most didactic, skewing heavily toward environmental themes—so much so that his early appearances are allusive of those Captain Planet PSAs from the '90s. There’s no question that Man Ray holds the ecosystem in high regards; his consuming obsession with protecting and preserving marine wildlife and habitat has occasionally incited fits of rage whenever he witnesses pollution or human indifference to the environment. Ray's character ultimately lacked dimension and functioned more as a mouthpiece for topical eco-fodder. “Fight the Power” is a sanctimonious filler story about environmental awareness; and the lame one-shot villain, Captain Mossback, is a silly Ahab pastiche that Raphael and Man Ray are content to stand idly by as the crippled scoundrel almost drowns after toppling into the sea.
In the second issue, “Mondo Metal,” the Turtles and April part ways with Man Ray in New Orleans as he swims off to investigate some strange glowing meteors that landed in the ocean. Hitching a train ride back to New York City, the team is lured to Shredder’s former hideout by boisterous metal music—here the creative staff gets innovative by inserting authentic sheet-music and lyrics in the page gutters—where they discover a garage band has set up a practice space. The lead guitarist, Mondo (with his pet gecko latched to his shoulder), executes some thunderous histrionics that rouses some agitated Foot Super Soldiers (Maybe they prefer classical?). The Turtles intervene, but Mondo is exposed to Shredder’s patented mutagen, transforming him into the gecko-human hybrid, Mondo Gecko. The story amounts to another flavorful mutant-of-the-month, but we get the sense that a larger plot is bubbling to the surface. Although Mondo is a likeable character, there’s something crassly commercial about him—he plays guitar, skateboards, and speaks in cool lingo. He’s an amalgamation of hip ‘90s clichés that border on "Poochie" syndrome (Fans of The Simpsons will grasp the "Poochie" reference).
Issue #19, titled “The Man Who Sold the World,” builds upon past stories reaching as far back as Issue #5. All those scattered mutant-of-the-month installments that introduced various members of the Mighty Mutanimals are now paying dividends as this ragtag team of mutant allies comes together to thwart Queen Maligna, whose planetary invasion was foreshadowed in Issue #12. The nihilistic industrialist Null is seen hammering out a deal with Maligna’s minions, Skul and Bean, a nefarious arrangement that will pave the way for Earth’s enslavement. Null is revealed to be a Lex Luther-esque mastermind with budding devil-horns that go a long way to imply the demon lurking beneath his corporate visage. On a rooftop the Turtles and Mondo debate the significance of several meteors buzzing a nearby skyscraper—until they’re accosted by Kid Terra. The Clint-Eastwood wannabe attempts to warn them of Null’s scheme, but Raph hastily subdues him. Terra’s evolution is interesting enough. On the one hand, he conspired with Null to commit heinous crimes against humanity and he murdered Man Ray’s friend Bubbla. Kid’s honest attempt at redemption challenges the readers’ sense of forgiveness as much as it does the characters’. Artist Garrett Ho debuts in this issue, and although his character conceptions are not as fluid or endearing as Ken Mitchroney’s, Ho manages to keep the Ninja Turtles on par with their established look from the animated series.
The last issue, “Sun and Steel,” follows Leo, Mikey, Don, Splinter, and April in the wake of Null’s escape (with Raph and Mondo stowed away on Skul and Bean’s spaceship). Police helicopters swarm the scene, prompting our remaining heroes to fade into the crowded Chinatown streets. Moments later, they come across a curio shop engulfed in flames and an Asian fireman’s selfless act of bravery is overshadowed by his sudden transformation into a colossal yellow dragon (the result of a smashed Chinese flask containing a vaporous mutagen). Bill Wray’s first foray in TMNT Adventures is a mixed bag. In the opening pages, the Turtles are strangely reminiscent of their initial toy design—with gritted teeth and pupil-less eyes. But Wray’s grasp of the characters quickly improves as they don unlikely disguises to blend in with the keen-sighted denizens (who fail to even bat an eye at the man-sized rat walking amongst them). To Wray’s credit, though, his badass depictions of Chu’s Warrior Dragon are phenomenal and make up for his earlier indiscretion.
One final note: it seems that IDW spared every expense in reproducing these books, for the quality is egregiously lacking. The flimsy covers and bare-bones presentation leave a lot to be desired. The stories are printed on rag-linen paper that’s notorious for smudging and bleeding through to the other side of the page. And then there’s the faded coloring and other printing problems that make the final product an eyesore at times; for instance, this volume shows several panels in which the Turtles are sporting mismatched colors. These defects are shamefully indicative of a company trying to publish comics as cheaply as possible.
alittlebithopeful's review against another edition
adventurous
funny
hopeful
lighthearted
relaxing
fast-paced
3.5
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