Posted in Comic Books/Graphic Novels, Deep Dive Reviews

A Turtles in Time Deep-Dive – This Ain’t No Game!

***This year marks the 10-year anniversary of IDW Publishing’s Teenage Mutant Ninja Turtles series. In celebration, we here at Primary Ignition will be looking back at the book as a whole. Or in this case, veering off and looking at a miniseries that showcased numerous talented writers and artists…***

TITLE: Teenage Mutant Ninja Turtles: Turtles in Time #14
AUTHORS: Paul Allor
ARTISTS: Sophie Campbell, Charles Paul Wilson III, Ben Bates, Dan Duncan. “A” covers by David Petersen.
COLORISTS: Bill Crabtree, Jeremy Mohler, Bates, Ronda Pattison
LETTERER: Shawn Lee
PUBLISHER: IDW Publishing
COLLECTED IN: TMNT: The IDW Collection, Vol. 5
RELEASED: June – September 2014

***New around here? Check out Primary Ignition‘s TMNT Deep-Dive Review archive!***

By Rob Siebert
Fanboy Wonder

Adapting video games into any other media, be it movies, TV, or in this case comics books, is tricky. So much of the fun of a video game is in the immersion factor. Being able to interact with and play your way through an entirely different world.

As far as pure fun is concerned, few games can beat 1991’s Turtles in Time from Konami. It was the best of the side-scrolling TMNT beat-em-up games, throwing a smorgasbord of enemies and settings at players. Tried and true locales like the New York City sewers and the Technodrome, and eras as far back as the prehistoric and as far ahead as a star base in 2100. We saw foot soldiers riding dinosaurs, Bebop and Rocksteady dressed as pirates, Krang flying in a spaceship, and finally…Super Shredder. Turtles in Time had it all.

So how do you supplant that story into comic books without losing the joy of being able to ninja-kick through the game yourself? You don’t. You can, however, use the strengths of the medium to present something different, yet still evocative, of the original product.

That’s what IDW does with it’s four-issue Turtles in Time miniseries. Each issue takes us to a different era, spotlights a different Turtle, and has its own artist to provide a different look and feel. As an added bonus, most of the artists had already worked on the main series by this point. But with that in mind, from an artistic standpoint Turtles in Time surprisingly doesn’t feel all that familiar…

Author Paul Allor and artist Sophie Campbell hit the ground running with issue #1, as the Turtles find themselves suddenly thrust into pre-historic times. It’s worth noting that the character responsible for the Turtles’ temporal displacement, an interdimensional time-traveler named Renet, had not been introduced in the main series yet. Issue #1 came out in June 2014, and Renet’s official introduction didn’t come until August. Whoops…

I’ve called Sophie Campbell’s approach to the Turtles “cutesy.” But her work on the main series also had a vulnerable, emotional side to it that made it a great fit for the “Northampton” story arc. This, on the other hand, is pure cutesy. “Northampton” wouldn’t have been nearly as effective had it looked like this.

Still, as with “Northampton,” we have to account for tone. When Campbell worked on the main series, she was helping to tell a four-issue story about a family coming together and healing after a devastating, costly battle. This is a one-off where Michelangelo rides a dinosaur. It’s much more playful, and somewhat akin to the 2012 Nickelodeon series that was airing at the time. So while still cute, Campbell is able to adapt her style to match a story with a much different tone than “Northampton.” Once again, she makes it work.

Also, Raphael also gets a pet dinosaur. So…that’s a thing.

In issue #2, author Erik Burnham and artist Charles Paul Wilson III take us to feudal Japan. Of course, in the IDWverse this is the time period the Turtles and Splinter originally lived in as humans before their murder and reincarnation in the 21st century. There’s a story opportunity gift-wrapped for them there, and Burnham takes advantage of it. Our heroes meet their past selves, Splinter’s human counterpart Hamato Yoshi, and their mother Tang Shen. A little convenient? Sure. But the resulting character moments are worth it. Specifically, Leo blatantly attempting to change the future while Raph acts as the voice of reason. It’s a really nice role reversal. Seeing the Turtles in samurai garb is pretty cool too.

As for Wilson, for me his style is comparable to that of Andy Kuhn. Generally speaking, I’m a fan of his work, but he struggles when it comes to the Turtles themselves. The word that comes to mind when I look at his take (shown above) is…gelatinous. I’ll leave it at that. Everything else, however, looks just fine. The action sequences in particular have a great kinetic energy to them.

Burnham stays on for issue #3, as Ben Bates returns to draw the Turtles on a pirate ship in the 18th century. As with Campbell, Bates’ work takes on a different tone for Turtles in Time. Less so because of his pencils, and more his colors. The palette is lighter and the look is a bit sketchier, which adds up to a windswept, sea-blown vibe. Combined with the largely white backgrounds he uses to depict the open sky, it highly effective.

From a writing perspective, I was impressed with how Burnham incorporated Krang as the hidden leader of the evil pirates. At editorial’s request, he also snuck the IDW origin of a TMNT legacy character on to the last page. Beyond that, between issues #2 and #3 Burnham is able to give us two very different stories. Issue #2 has its comedic moments, but airs on the dramatic side, while issue #3 is a lot more fun and comedic. Particularly with Michelangelo, who wins his pirate comrades over with his version of an “inspirational” speech.

Out of all the artists working on Turtles in Time, the name I was most excited to see was Dan Duncan’s. His work on the first 12 issues of the main series is some of the best the property has ever seen. Coming into the fourth issue of Turtles in Time, I was hoping for more of the same with the unique flavor of it being in a futuristic setting. Ronda Pattison, the colorist he worked with on the main series, being along for the ride only seemed to sweeten the pot.

The performance Duncan turns in is superbly creative, with Turtles that are as expressive as ever. But it’s not quite as evocative of those first issues as I’d hoped. Oddly enough, this issue once again looks like it was inspired by Nickelodeon show. It makes you wonder how much these creative teams were influenced by it, if at all. Still, Duncan has the tall task of drawing a Manhattan strictly populated by mutants, all of which he had to design himself. So this issue in and of itself is a tremendous achievement.

Issue #4, written once again by Allor, introduces us to an elderly Donatello. With his brothers now gone, he refuses to take part in a rebellion against an America ruled by the Foot clan. Donatello is an interesting choice for that role, as given the choice of all four Ninja Turtles, I doubt he’d the one many would bet on as the sole survivor of an apocalyptic scenario. It makes perfect sense, though, if you think about it. And of course, having Don meet an older, more jaded version of himself makes for great character development, which would soon be reflected in the main series.

When you get right down to it, Turtles in Time is perfectly skippable. It doesn’t add anything integral to the main series, and is just a fun little romp through different time periods. The latter, however, is also its greatest appeal. It takes the Turtles out of their element and lets a variety of talented people play around with them. Much like the video game, it’s an exercise in creativity and fun. At the end of the day, it’s hard to hate on that.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Comic Books/Graphic Novels, Deep Dive Reviews

A TMNT #2128 Deep-Dive – Broken Home

***This year marks the 10-year anniversary of IDW Publishing’s Teenage Mutant Ninja Turtles series. In celebration, we here at Primary Ignition will be looking back at the book as a whole. For some, this has emerged as the definitive version of the TMNT. Here is why…***

TITLE: Teenage Mutant Ninja Turtles #2128
AUTHORS: Kevin Eastman, Tom Waltz
ARTISTS: Mateus Santolouco, Eastman
GUEST ARTISTS: Dan Duncan, Andy Kuhn, Ben Bates, Sophie Campbell
COLORIST: Ronda Pattison
LETTERER: Shawn Lee
PUBLISHER: IDW Publishing
COLLECTED IN: TMNT: The IDW Collection, Vol. 3 (shown right)
RELEASED: April 2013 – November 2013

By Rob Siebert
Fanboy Wonder

One of the really amazing things to me about this stretch of TMNT issues is that the series is still relatively young at this point. . When issue #21 came out, the book was only in its second year. And yet, Tom Waltz, editor Bobby Curnow, and the rest of the TMNT crew had such a solid handle on these characters and their world that even at that early juncture they were able to tell one of the more ambitious and impactful stories the property has ever seen. This, my friends, is “City Fall.”

Kevin Eastman, one of the co-creators of the Ninja Turtles and their world happens to pencil and ink issue #21. Eastman can be credited with the creative spark that launched a global juggernaut, having famously doodled a “ninja turtle” for friend and eventual TMNT co-creator Peter Laird in the early ’80s. Fast-forward to the early 2010s, and Eastman has top-billing on this new, ever-expansive TMNT comic book. My understanding is that to this day Eastman acts more as a consultant for the series than anything else, pitching in on story, character design, and drawing variant covers for each issue. Despite all he’s given us over the years, in my estimation he shouldn’t be the first name mentioned when talking about all the success this series has had. I’d absolutely rather have him aboard than not, as he’s obviously very creative with years of expertise to offer. He also gives the series a certain credibility for die-hards like me who are forever in his debt. But let’s keep Eastman’s role in the proper perspective as we move forward…

For those familiar with Eastman’s art, TMNT #21 is more or less exactly what you’d expect, and perhaps even hope for: Something in the vein of a classic Eastman and Laird TMNT issue. It’s dark (though not grim), though as expected Ronda Pattison’s colors accent things beautifully. It’s got the trademark scratchy texture, and the figures are a little bit blocky in that Eastman sort of way. It’s a nice artistic interlude in an issue that ultimately serves as the calm before the proverbial storm of “City Fall.”

Issue #22 marks the beginning of what wound up being a pretty extensive run for Mateus Santolouco as the artist for TMNT. Santolouco is very talented, and as we’ll soon see brings us no shortage of memorable moments. But for yours truly, the success or failure of a TMNT artist largely hinges on the way they draw the Turtles themselves, and I’ve never been a huge fan of how Santolouco draws the boys in green. They’re very expressive and emotional, which is a great thing. (For evidence, look no further than Raphael’s “acting” in issue #22.) But the way Santolouco proportions the bandanas on the Turtles’ heads has always bothered me. That, and the certain puffy “inflatable” quality he sometimes brings to their frames. Indeed, Santolouco turns in a career performance on “City Fall.” But that’s not to say it’s a flawless one.

The first chapter of “City Fall” sees Casey Jones abducted by the Foot. Fast-forward several pages, and Shredder does something genuinely shocking: He stabs Casey in the stomach in front of the Turtles and Splinter (shown below). It’s drawn and colored for maximum impact, and is one of the images that immediately come to mind when I think of “City Fall.” The red background packs a hell of a punch when you turn the page. Even the sound effect they use is enough to make you shudder.

By this point in the series, Shredder was already well established as a villain. But in “City Fall” he ups his game and truly earns his status as the Turtles’ arch rival. Not just because of what he does to Leo (more on that in a moment), but because of the sheer cunning and viciousness he displays in these pages. Here is a man who’s trying to conquer an entire city, and destroy the Turtles’ family in the process. More over, he’s flat out stabbing people to get what he wants. He makes damn effective use of those gauntlets. We see what he does to Casey, and later on we see him straight-up murder someone with them. This guy is playing for keeps.

The stabbing of Casey turns out to be part of a ploy to capture Leonardo. Kitsune brainwashes Leo, turning him against his family and into the waiting arms of his new master, the Shredder. The subsequent hallucination sequence, which is given several pages in issue #23, sees a number of familiar faces tag in for portions of the artwork: Dan Duncan, Andy Kuhn, Ben Bates, and Eastman. There’s also Sophie Campbell, who we’ll see more from in future issues. Story-wise, it’s not the most logical thing in the world. But it does manage to be powerful, as everything Leo values come crashing down around him.

Thus, we’re introduced to who the IDW crew would dub behind the scenes as, “Dark Leo.” Years later, Santolouco would say in an interview (see the back of issue #94) that Dark Leo ultimately isn’t that different from the Leo we know. He makes some interesting points…

“Leo is disciplined. A real soldier if you will. Once you change who he is responding to, you change his relation to the world around him. In essence he is still the same person, loyal and faithful to his duty as second-in-command of a ninja clan or army.”

We get what may very well be the book’s dramatic highlight in issue #24. Splinter attempts to bargain with Old Hob for Leo’s location. Of course, it’s a trap. Splinter and his remaining three sons wind up confined in a shipping container with Shredder and a small army of his Foot minions. It’s here that we get the big reveal (shown left): Leonardo has turned against his family. It’s an edge-of-your seat sequence, and your stomach drops when you see all that awaits our heroes.

In the grand scheme of things, Leo isn’t under Shredder and Kitsune’s control for that long: About five issues. But his brief conversion to the dark side and the events surrounding it create a ripple effect that touches virtually every area of the book. Not only does Splinter make a faustian deal with Old Hob, but Raph goes on a violent rampage looking for answers, a jealous Karai creates her own mutant henchmen, Casey Jones’ father becomes the villainous brute Hun. The sheer scope of “City Fall” is massive. So massive in fact, one can argue it starts to become a problem.

Almost from its inception, Teenage Mutant Ninja Turtles was accompanied by Teenage Mutant Ninja Turtles Micro-Series, a set of character-based one-shots published periodically to supplement the main book. Naturally, new characters and developments started popping up in those books that began to impact the main series. Whenever something like this would happen, the IDW team would simply include a caption box referencing whichever issue was being alluded to. No harm, no foul. The trouble is, there are so many characters and plot threads converging in “City Fall,” it starts to feel like we aren’t getting the full story without reading the supplemental material in Micro-Series.

The character of Hun is the most egregious example. In issue #25, Casey’s father Arnold Jones is devastated after learning that his son has been stabbed. Then in issue #27 he shows back up as Hun, the massive and muscled leader of the Purple Dragons street gang, just in time to have a showdown with Casey in issue #28. Arnold Jones’ transformation into Hun and all the circumstances surrounding it? That was all in the Hun-dedicated issue of TMNT Villains Micro-Series.

Mind you, the main series continues to cite the Micro-Series issues, and if you’re reading the IDW Collection books, said Micro-Series issues are included. But not everyone has the fortune of reading this series via those collections. The simple truth is, for better or worse, you need the Micro-Series issues to see the full tapestry of “City Fall.”

Bebop and Rocksteady, two staples of the ’80s cartoon, also make their IDW debut here, and like Hun are greatly supplemented by their own Micro-Series issue. By and large they’re exactly as we remember them, and I wouldn’t have it any other way. My only complaint about their big entrance? The head of Rocksteady’s sledgehammer is too small. It barely looks bigger than his fist. He’s a big dude. Let him have a big hammer.

I maintain that not all, but many of the best TMNT stories are, at their core, about family. Such is the case with “City Fall.” Yes, it is about a super villain making a massive power grab, brainwashing a mutant turtle in the process. But I think it’s also a story about what happens to people when a family becomes broken. Some, like Donatello and Michelangelo, remain steadfast in the face of heartbreak. Others, like Splinter and Raphael, give into their darker and uglier impulses. Some families, like the Turtles, are fortunate enough to heal and come back stronger. Others, like Casey and Arnold Jones, remain fractured and in fact grow further apart.

When you look at it that way, “City Fall” could just as easily have been called “Family Fall.”

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Comic Books/Graphic Novels, Deep Dive Reviews

A TMNT #1320 Deep Dive – Classic Characters, New Layers

***This year marks the 10-year anniversary of IDW Publishing’s Teenage Mutant Ninja Turtles series. In celebration, we here at Primary Ignition will be looking back at the book as a whole. For some, this has emerged as the definitive version of the TMNT. Here is why…***

TITLE: Teenage Mutant Ninja Turtles #1320
AUTHORS: Kevin Eastman (Story), Tom Waltz (Story & Script)
ARTISTS: Andy Kuhn, Ben Bates
COLORIST: Ronda Pattison
LETTERER: Shawn Lee
PUBLISHER: IDW Publishing
COLLECTED IN: TMNT: The IDW Collection, Vol. 2 (shown right)
RELEASED: August 2012-March 2013

By Rob Siebert
Fanboy Wonder

Open Teenage Mutant Ninja Turtles #13, and it’s evident a pretty big change has occurred. It’s very much the same series. But it looks very different.

Issue #12 had been Dan Duncan’s last as regular penciller (Though he would continue to do cover art for the IDW Collection TMNT books.). His were large shoes to fill, as he’d been with the series since its beginning. He’d introduced us to almost all the characters (not counting the ones introduced in the TMNT Micro-Series issues) and their world. Throw in that he just happens to be one of the best to ever draw the Ninja Turtles, and virtually any artist to pick up the pencil in his wake would have a daunting task ahead of them.

The responsibility ultimately fell on Andy Kuhn, who for the record, is quite good. That’s evidenced by his scenes between Shredder and Karai, Baxter Stockman and the Utroms, and his renderings of Slash later on. But the transition between Duncan’s take on the Turtles and Kuhn’s toothy, inky renderings of the boys in green is a jarring one. As such, his work in TMNT is an acquired taste. Still, he’s more than capable of telling compelling stories in his own right.

Compelling stories continued to be the M.O. for TMNT as it entered its second year of publication. As we discussed last time, the best Ninja Turtles stories often center around themes of family, both the ones we’re born with and the ones we choose. That continued to be the case in issues #13-16 as Waltz and the TMNT crew took an in-depth look at the different, and not always so good, paternal relationships on display. We had Casey Jones and his drunk, abusive father. We had Shredder’s strict, often harsh relationship with Karai (though he’s technically her grandfather). One can even make an arguement for Baxter Stockman and Slash.

But of course, the preeminent paternal dynamic in this book is between Splinter and the Turtles. Historically, Splinter in his many incarnations has had one prominent character trait: He’s wise. As such, writers have focused more on the Turtles when it comes to character development. But these issues, #14 in particular, give Splinter an added layer that I don’t think any of us were expecting.

When Casey Jones comes to April’s apartment having been beat up by his dad once again, Resident hothead Raphael goes into a rage. He sets out to teach Arnold Jones a lesson, and is unknowingly followed by Splinter. After Raph has roughed up Casey’s father, Splinter arrives on the scene and shockingly puts a blade to Jones’ throat. He asks, “Would you have me execute this man, my son?” Naturally, this brings Raph out of his angry fit.

Splinter goes on to say that as a young man he, like Raph, was once prone to intense anger, and even a thirsts for revenge. Thus, father and son are able to relate to one another in a new way. We even see later on that Splinter’s anger issues have not subsided completely…

As we’ve seen the IDW team do with so many other classic TMNT characters, this move doesn’t change the essence of Splinter. Rather, it adds a new layer to what was already there. It allows him to keep doling out wisdom and fatherly advice, while reminding us that Splinter is wise for a reason. He’s fought many of the same battles as his sons, and faced many of the same demons. This move gives Splinter credibility, as opposed too simply making him a fountain of platitudes.

The artistic highlight of Kuhn’s four-issue run comes in issues #15 and #16 with what I’ll call the “church fight.” The Turtles find an underground rec room at an abandoned church, and hope to set it up as a base. There they run into Slash, a mutant snapping turtle created at Stockgen using an “impure” dose of mutagen. Ergo he’s wild and far more animalistic than our heroes.

The fight with Slash takes place in the dark, with the only light source being flashlights. It’s here that Kuhn is truly in his element. He turns the book into a horror show. Slash has never looked more menacing or terrifying than in some of these under-lit shots. Colorist Ronda Pattison’s contributions to this sequence can’t be understated. She creates a dim, hazy yellow glow that perfectly compliments the inky blackness of Kuhn’s shadows.

Let’s also talk about Woody, a side character introduced early in the series who works at a pizza place. He gives the Turtles their pizza fix via a friendship with Michelangelo. Woody’s introduction into the book was charming, but seemingly random. Even in a world as detail rich as IDW’s TMNT, did we really need to know where the Turtles got their pizza from? Maybe not. But the book ultimately wound up better for it.

In issue #15, shortly after one of Mikey’s pizza runs, Woody gets attacked by Slash. Toward the end of issue #16, he abruptly breaks off their friendship. Juxtaposed with some dialogue from Splinter explaining the nature of Mikey’s kindness and sensitivity, we get a heartbreaking few panels in which he finds a note from Woody and then departs in tears (shown above). A heart-wrenching moment coming from a character who seemingly meant very little at the start.

That’s the thing about Michelangelo in the IDWverse: He’s not just a party dude. He’s a sensitive guy. So once again, we see the layering of a classic character. The reason Mikey’s emotions often come off so big is because he feels them in a big way. We aren’t altering or subtracting, we’re simply adding…

Heading into issue #17, Kuhn tags Ben Bates in on the pencils and inks. Bates has a more traditional take on the Turtles, in that they’re more in line with what someone like Kevin Eastman or Jim Lawson might turn in. They’re a little bit shorter, with faces that are expressive and nicely proportioned. His work here actually made him into one of my favorite artists on the series.

Issues #17-20 take us directly into space opera territory, as the Turtles are accidentally transported to Dimension X and find themselves caught in a war between General Krang’s forces and the Neutrinos. At the center of the conflict is the android Fugitoid, whom Krang believes holds the secret to constructing his ultimate weapon, the Technodrome.

For TMNT buffs, it’s all very familiar. Fugitoid has been part of TMNT lore since the early days of the comic books, has been adapted into various media. The Technodrome, meanwhile, was a staple of the ’80s cartoon, as were the Neutrinos. It’s not necessarily surprising to see the Neutrinos, but it’s interesting that they made it in so quickly and relatively unchanged. Then again, without the zany hairstyles they’re not really the Neutrinos are they?

This four-issue Dimension X story is the first time Krang, who’s been a fixture in the book since early on, really takes center-stage as the primary villain. There’s a lot to like about IDW’s take on a character who, in the ’80s cartoon, was often played for laughs. First and foremost is how he’s drawn and designed. Kuhn and Bates both draw utroms (the alien species Krang belongs to) very well. But they each go out of their way to make Krang himself look ruthless and sinister. That’s not a small feat, as he’s essentially just a pink blob with tentacles. Also, gone is the colorful and flamboyant robot body Krang wore in the cartoon. What we get here is something that looks much more mechanical, not to mention dark and foreboding. We’re reminded that Krang is a warlord, and very much someone to be feared.

He’s got big, bad plans too. This series repurposes the Technodrome as giant terraforming device to forcefully change Earth’s atmosphere to that of Krang’s destroyed home planet, Utrominon. By virtue of scope alone, at this early point in the series Krang may have been outperforming Shredder on the bad guy scale.

On that topic, one thing that impressed me from a writing perspective was that while they’re not the primary villains, Shredder, Karai, and the Foot Clan still have a presence during these issues. They don’t hog the spotlight away from the main story, but we also don’t go too long without seeing them. By the time we get to the Dimension X storyline, Karai has taken on a more proactive role in a very organic way. Make no mistake about it: There’s an art to keeping all these characters and plot threads relevant to the larger story of the series. To a large extent, TMNT has proven itself to be a masterclass in how to keep all those proverbial plates spinning.

When I look at these eight issues together, the word that comes to mind is versatility. Traditionally, the Ninja Turtles are written and portrayed as all-ages action-adventure characters with a knack for comedy. We get all those ingredients here. But we also get a horror element mixed in with Slash, and then a very strong dose of science fiction courtesy of Krang and the Neutrinos. There’s also a touch of YA romance mixed in there via April O’Neil and Casey Jones. What that tells me is that these characters and their universe are far more versatile than the general public will ever give them credit for. What this IDW comic book series does is expand on that potential in long form, and in a way no other medium has even come close to.

How fitting that the Turtles owe that expansion to the very art form in which they were born: Comic books.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Comic Books/Graphic Novels

A Teenage Mutant Ninja Turtles: Micro-Series, Vol. 1 – Mildly Sexualized Mutant Snow Fox

Teenage Mutant Ninja Turtles Micro-Series, Vol. 1TITLE: Teenage Mutant Ninja Turtles: Micro-Series, Vol. 1

AUTHOR: Brian Lynch, Tom Waltz
PENCILLERS: Franco Urru, Andy Kuhn, Valerio Schiti, Ross Campbell. Cover by David Peterson.
COLLECTS: Teenage Mutant Ninja Turtles: Micro-Series #1-4
FORMAT: Softcover
PUBLISHER: IDW Publishing
PRICE: $17.99
RELEASED: June 20, 2012

By Rob Siebert
Editor, Fanboy Wonder

As a child of the ’80s, there are few books I’m enjoying more than IDW’s Teenage Mutant Ninja Turtles, which combines elements from the nearly all incarnations of the TMNT. In addition to the monthly ongoing series, IDW is publishing several Micro-Series issues which run alongside the events of the book. Each issue spotlights a single character, and provides some extra insight as to how their minds work. This book collects the first four Micro-Series issues, each of which focuses on one of the boys in green.

This book is a little tough to get a grip on because each issue takes place at a different point in the story being told in the ongoing TMNT series, with different locations and different characters. From a collection standpoint, I find it a little odd that these issues weren’t collected with Tom Waltz and Dan Duncan’s TMNT issues, so the story could be told in a less confusing, more linear fashion. I suppose it offers an advantage in that the fluctuating artwork lends itself to the different perspectives of the characters. But including these issues with the ongoing story might have increased their level of exposure, as this material really isn’t necessary for the enjoyment of the regular series.

TMNT Micro-Series: Raphael, AlopexRaphael is up first, in what is probably the most notable issue here. Shortly after Raph is reunited with his brothers in Change is Constant, he and Casey Jones are out on patrol. They run into a humanoid arctic fox named Alopex, who initially portrays herself as the victim of a bizarre experiment. But eventually we learn that’s not quite the case. In addition to the debut of our mildly sexualized mutant snow fox here, we also see a pair of familiar looking cretins: Bebop and Rocksteady in human form. This obviously indicates that we’ll be seeing the return of the beloved dimwitted duo in the near future. We also get a brief look at their boss…three guesses who that is. My biggest complaint with Raph’s part of the book is that the debut of Alopex and the return of Bebop and Rocksteady steal the spotlight from him. The story is supposed to be about how he has a sentimental side despite his tough exterior. But that’s not what we come away thinking about. It’s a strong issue, but maybe not for the reasons it wanted to be.

Next we go to Michelangelo, who’s out to have some fun on New Year’s Eve, but stumbles on to a heist. What’s cool about this issue is that it really plays up Mike’s individuality, and his desire to have fun like a normal teenager would. Instead of constantly running drills like Leo, training like Raph, or tinkering with machines like Don, he wants to live his life a little more. This story tells us there’s really nothing wrong with that kind of individuality, and we see Mike realize that the only person (or Turtle, I guess) that he needs to be to find success is himself. Andy Kuhn’s art isn’t normally the type I would enjoy on a Ninja Turtles story. But given Mike’s light-hearted demeanor, it works here.

TMNT Micro-Series: DonatelloWe then move to Donatello. A lot of writers tend to let Don’s role as “the brain” eclipse any other potentially interesting aspect of his personality. That’s not the case here. Brian Lynch and Tom Waltz (who actually wrote the script here) portray Donny as someone whose interests often isolate him from his brothers, who don’t share them at all. He finds some camaraderie and companionship through the anonymity of the internet, where he finds out about a gadget convention and decides to attend. When he finds Baxter Stockman causing trouble, Don and his “internet arch enemy” have to save the day. Valerio Schiti’s art really stands out in this book, as it’s the cleanest and most stripped down compared to the rest. I like the way the internet is used in this story and how Don, like a lot of people, used it as a way to reach out and express himself in ways he can’t at home. It added a new level of depth to his character that I haven’t seen explored before.

The most emotional story in this collection belongs to Leonardo. The issue takes place shortly after Splinter is kidnapped by Old Hob. Now, much like we saw in the original Kevin Eastman/Peter Laird issues, the Turtles must find their lost father. While searching for Splinter, Leo is attacked by countless Foot soldiers (yet another echo from Eastman and Laird), and must fight to survive. As he’s fighting, he flashes back to his childhood, and recalls his mother’s murder at the hands of Oroku Saki (Remember, in this continuity the Turtles and Splinter were originally human before being murdered by the Foot Clan, and reincarnated in their mutant form). As such, Leo snaps and we get a bit of insight as to TMNT Micro-Series: Leonardowhy he’s so dedicated to his family and his training. Ross Campbell’s Turtles are shorter and more stout than what we’re used to seeing from Dan Duncan. But the style works well in its own right. During a few key moments he even diverts from the use of white slits for the Turtles’ eyes in order to give Leo a bit more of an expressive face. The fight between Leo and the Foot is also really suspenseful and well choreographed. It really builds to a fever pitch, making for a sequence fitting for the Turtles’ best fighter.

The book also has a few nice nods to the ’80s cartoon that I really enjoyed as a longtime fan. Mike calls himself a “party dude,” Don’s screen name is duz_machines_84. Little things like that are fun.

While this book is frustrating in how it picks up at various points in the ongoing series, the character development it provides for Leo, Don and Mike is undeniable. Raph didn’t necessarily have a moment like that, but given the extra of attention he always seems to get compared to the others, he’ll survive. If you’ve ever given the Turtles as individuals this much thought, you’ll enjoy this book.

RATING: 8/10

Images 1 and 2 from 4letter.net. Image 3 from thetechnodrome.com.

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