What’s better than one ongoing series? Two ongoing series! TMNT Universe #1 from IDW Publishing hits this week, seeking to match the standard set by the mainline title.
After their battle with Kitsune, the Turtles and their allies regroup for a relaxing, family gathering. Or at least that’s what Michelangelo has been lead to believe…
Warning: Contains spoilers
Nickelodeon’s Teenage Mutant Ninja Turtles returned to airwaves this Sunday (a nice birthday gift for yours truly) in an episode titled “City At War.” While the episode was great on its own merits, it failed to meet this writer’s expectations based on the name alone. The episode did a lot to set up the show’s new status quo, with the Shredder’s absence leaving a vacuum for the city’s organized crime, but that’s all it did. It’s disappointing because “City At War” is one of the greatest story arcs in the Ninja Turtles’ lore. Published from 1991 to 1992, this 13-part epic closed out the first comic volume in grand fashion under the vision of co-creators Kevin Eastman and Peter Laird with art by the great Jim Lawson.
After being exiled to Northampton in TMNT #10, the Turtles did return to New York in the famed story arc from issues #19-21. However, they would immediately retreat back to their “second home” in Massachusetts, where they would remain through issue #49. And then, issue #50 was released. The cover art called back to Teenage Mutant Ninja Turtles #1, signaling the return to darker, more serious storytelling. Upon returning to New York, the Turtles discover a city on the brink of war, with the Shredder’s death (back in TMNT #21) resulting a power vacuum between various factions of the Foot.
The main conflict is not one between the Turtles and the various groups vying for power, but rather among themselves and if they should even become involved. The two primary stances in the argument are voiced by (unsurprisingly) Leonardo and Raphael. Initially, Raph believes that they are responsible and should take action to prevent matters from escalating any further. Leonardo, on the other hand, shows uncertainty. Initially he believes that this is not really their fight, but later he argues that if he and his brothers are to intervene, they must go beyond what Raphael is proposing and become full-fledged guardians of the city against all crime.
This difference of opinion is notable for several reasons. The Leo vs. Raph dynamic is typically portrayed as explosive, with each other diametrically opposed on all fronts. However, Eastman and Laird use this moment to demonstrate not only their mutual respect, but their growth and maturity since their debut issue in 1984. Leo is not quick to dismiss Raph, and vice versa. Their dialogue is long winded, but lacks the vigor and undertones of animosity as one might expect. There is a back-and-forth nature to their conversations, which results in more collaborative decision-making by the brotherly quartet.
The Turtles are not the only characters to undergo significant character development during “City At War.” While the Turtles have ventured back to the familiar confines of New York City, Casey Jones and April O’Neil have gone completely separate ways; April is now living with her sister in Los Angeles, CA while Casey unexpectedly finds love in the Rocky Mountains. While out west, April tries her hand at a number of jobs, never once feeling comfortable in any role. Her journey to the West Coast mostly serves to give her a psychological break before confronting her problems back east head on. Casey, on the other hand, makes a new life for himself as he and a local woman named Gracie fall in love and build a life for each other. As is the case for the Turtles, Casey and April undergo a significant maturation that is fitting for the series’ sendoff, but is also ripe for storytelling opportunities that will be mined in later volumes.
Splinter, the Turtles’ sensei and father figure, undergoes his own trials during this arc. When the story begins, he is still in the forests of Massachusetts in deep meditation. He eventually awakens, drawn back to the city as his sons were. Making his way through a decaying urban landscape, he eventually suffers a broken leg after falling into a smokestack. Literally, he endures a personal crucible of psychological torment at the hands of the Rat King… or so he thinks. Its a fascinating sequence that weaves into the narrative throughout the arc’s thirteen issues, during which we see Splinter broken down to the point where he embraces his raw, feral nature. This deconstruction allows Eastman and Laird to rebuild Splinter’s character into one that is stronger and more resilient than before.
“City At War” also introduces readers to Karai. Though she has been given varying origins over the franchises many iterations, she is introduced here as the leader of the Foot’s Japanese operations. Her strength, both physically and mentally, makes her a great foil for the Turtles. However, the trait that gives them the most trouble is her strong code of honor. She encapsulates all that the Foot were supposed to represent, rather than the perversion they had become under the Shredder. In her quest to restore honor to the Foot’s New York operations, she presents the Turtles with an offer that turns their world upside down: help her faction of the Foot and never be bothered by the organization again.
This is perplexing to the four reptiles, as the creative team challenges the very conceit of the series which they set up back in Issue #1 (albeit rather loosely). Splinter has trained them for a lifelong battle against Oroku Saki, who was dispatched not once (TMNT #1), but twice (TMNT #21). And though the Foot no longer appears to be a problem to them, they are conflicted due to their loyalty. To Raphael, aligning themselves with the Foot is an affront to Splinter, no matter the reason. The others grapple with this proposition too, but it is Leo who once again steps forward, asserting that they should take Karai up on her offer.
The others’ agreement with him (despite reservations) marks a significant step in their maturity as characters. This is four brothers collectively deciding to forge their own path in life, rather than continue on one prescribed to them by a parental figure. They make note that the battle they have been fighting has not been theirs, but Splinter’s. The struggles they have endured against the Foot were borne from Splinter’s thirst for vengeance, not theirs. It is here where the TMNT, for all intents and purposes, become the “MNT”. In making this decision, the make the transition from boys to men, albeit mutated, green turtle-men. Though they still hold Splinter in high regard, they are not tied to his decision making.
Of course, no discussion of “City At War” is complete without mentioning the outstanding work of Jim Lawson, who for many is the definitive Ninja Turtles artist, surpassing Eastman and Laird. This is arc is an emotionally taxing journey for all characters, and that above all else is where Lawson excels. Whether it’s Casey’s roller coaster journey, or April’s introspective trip to California, readers are aware of each character’s emotional state regardless of the situation.
Lawson’s work with character’s emotions is rivaled only by his page composition. He packs an incredible amount of detail into every single panel without making pages feel overcrowded or disorienting. This works in those quieter, narrative driven sequences, but is most effective during moments of big action. With a story titled “City At War,” it delivers bombastic and brutal action sequences. The stories in this volume of the series has had its silly moments, but their have always been high stakes, and the violence is not without consequence. This thread continues throughout this story arc, leaving the reader with a lasting impression.
“City At War” holds up as a defining piece of TMNT lore decades after it was originally published. If the current animated series manages to take cues from this epic over the course of the current season, then Turtle fans should prepare for something special. In the meantime, those that are unable to track down the story in comic book form should look into its 3-part adaptation from the 2003 animated series. But while that 3-episode arc is a wonderful adaptation of the Mirage comics (as is most of the 2003 series), nothing can truly capture the magic of the comic series.
Whenever a new iteration of Teenage Mutant Ninja Turtles debuts, it is immediately held to the standard of what came before. Each new video game has failed to live up to the standard set by Turtles in Time on Super Nintendo. New cartoons are compared to the 1987 series (even though the 2003 version is arguably superior). The 1990 feature film is the benchmark each cinematic release since has failed to match. And for comics, everyone is quick to point to Teenage Mutant Ninja Turtles #1 published by Mirage Studios back in 1984. This would be perfectly fine if not for one small problem: that first issue by Kevin Eastman and Peter Laird is the story of least importance in the entire TMNT canon.
Before you pull out the pitchforks, let me preface this by saying that I am not downplaying the significance of this issue. Without it, everything that is Turtles fandom today would not be here. However, in breaking down the specifics of that very first issue and comparing it to everything that has come since (including issue #2), the titular characters are pretty unrecognizable to even the most hardcore of fans.
Upon reading TMNT #1, the difference in the Turtles’ temperament from other mediums in instantly noticeable. Specifically, they lack any distinct character traits which differentiate one from another. Raphael’s abrasive personality is nonexistent. Michelangelo lacks his immature but humorous charm. Donatello is not the brainy intellectual he is commonly depicted as. Leonardo is identifiable as the leader, if only because it looks cool to have a turtle with twin swords as the frontman. As it turns out, Leonardo is the only one whose character traits translate beyond the first issue, as he offers his sword to Shredder so that he can die with honor.
Speaking of Shredder, Oroku Saki is not the fully evil warlord that he is shown to be in later installments. Though he may be corrupted by power, his feud with the Turtles is by no means as malevolent as in later incarnations. Here, the Turtles are on the hunt for Saki at the behest of Splinter, who wishes to avenge his Master Yoshi. Interestingly enough, Saki’s actions in killing Yoshi are somewhat justifiable, as Saki’s brother died at Yoshi’s hand. There is not a simple black vs. white here, but different shades of gray which makes the Turtles actions less noble in retrospect.
And what of the supporting cast? Even though everyone has been asked “Which Turtle are you?” the supporting players are a big part of the TMNT’s mass appeal. Even if you don’t find a Turtle to identify with, there’s likely someone that can fill that role. However, Teenage Mutant Ninja Turtles #1 is a rather sparse adventure. There’s no Casey or April. The Utroms and Triceritrons aren’t around. Ditto for Fugitoid, Leatherhead, or Slash. The Purple Dragons do show up, but their leader, Hun, is MIA. There’s no Bebop or Rocksteady. No Karai. All of these characters have been a part of the Ninja Turtles’ most memorable adventures, But in their first appearance, they are nowhere to be found.
First appearances have a history for being rather unimportant in the grand scheme of things. No one is clamoring for more of “The Case of the Chemical Syndicate” from Detective Comics #27. “The Mystery of the Human Thunderbolt” from Showcase #4 doesn’t resonate because of it’s mind-blowing narrative. These comics are significant because they feature the first appearances of Batman and The Flash, respectively. Teenage Mutant Ninja Turtles #1 may not be a terribly important issue when it comes to developing the Turtles into the heroes we know and love today. However, without that first issue, these characters wouldn’t exist at all, and that is nothing to sneeze at.
DO YOU THINK TMNT #1 IS CRUCIAL TO TURTLES CANON?
“The Drip” begins in the latest issue of Teenage Mutant Ninja Turtles: Adventures. Donnie’s attempt to return Splinter to his human form doesn’t go as planned. In the backup feature, the Turtles dabble with the idea of coming out of their shells…
TMNT: Amazing Adventures #13 Review
There is an old saying that every comic is someone’s first. And while most publishers focus their efforts on the core comic market (18-40 year old men), they fail in luring in new readers at a younger age. While the cost of comics is certainly a factor, there also happens to be a dearth of material that is equally appealing and suitable for younger readers. TMNT: Amazing Adventures manages to strike that balance. In issue #13, readers are treated to the start of a new arc that captures the look and feel of the current Nickelodeon show – complete with zany antics.
The main feature by Matthew K. Manning and Chad Thomas has an entry point that is familiar to both younger and older fans of the franchise: Donatello is working on a means to return Splinter to his human form. Its a noble cause which enables readers to quickly invest themselves in the story’s outcome. Manning writes Donnie as dedicated and overworked to the point of fatigue, which instantly sells the character’s devotion to both his work and his father figure.
This sequence also lends itself well to Thomas’ skills as a storyteller. If the pages were void of any dialogue, readers would still be able to comprehend the plot because of the dynamic and expressive nature of his art. The expressiveness of the art is crucial in the execution of an integral TMNT characteristic: humor. There are some well placed bits of physical comedy throughout the story that land well because of pacing as dictated by Thomas’ layouts.
Sadly, the pacing as a whole is uneven. As strong as it is in the early pages, Manning and Thomas falter towards the conclusion. The fantastic comedic timing and methodical pace evaporates, resulting in a sloppy, rushed sprint to the cliffhanger. As an adult, I had to re-read the final pages several times to fully comprehend it – I can only imagine how difficult it might be for a child to fully grasp the ending. Its an unfortunate end after a promising start that can hopefully be rectified in the next issue.
Contrarily, the backup feature by Caleb Goellner and Buster Moody is a delight from start to finish. Moody’s linework is darker and less refined than that of Thomas. As a result, the artwork has an aesthetic that marries the look from the television series with the original comics by Kevin Eastman and Peter Laird. The script by Goellner strikes the right balance of sincerity and goofiness to endear itself to all readers, as the Turtles attempt to start up a garage band. Not only do the Turtles don their outfits from the infamous Coming Out of Their Shells Tour, but they manage to draw the ire of Shredder by simply annoying him with their loud rock music. Shredder is essentially the cranky old man who is mad at the neighborhood kids, and it is extremely satisfying.
Teenage Mutant Ninja Turtles: Amazing Adventures #13 suffers from an uneven opening chapter to “The Drip.” However, the backup feature is a raucous, campy, and all-around satisfying adventure that emphasizes the “teenage” part of “Teenage Mutant Ninja Turtles.” Its a side that comic readers don’t get to see very often, and when it is exploited it is a refreshing experience.