Every Day Is Like Wednesday

The very strangest thing about the second meeting between Kevin Eastman and Peter Laird's Teenage Mutant Ninja Turtles and Bob Burden's Flaming Carrot, given how unusual the characters and their comics tended to be—especially those of the Carrot, which are most often described as "absurdist" and "surreal"—is just how normal it is. 

Burden's storyline involves a freak storm, lost expeditions, mysterious jungle creatures, ancient ruins and aliens which, yeah, taken altogether might sound rather weird, but are really positively run-of-the-mill for superhero comics, of which this essentially is. It is, quite surprisingly, a perfectly ordinary superhero comic, in which one of the title characters just happens to be wearing a huge burning carrot mask and flippers.

The often more gonzo Flaming Carrot sort of fades into the large cast here—he is but one of the half-dozen or so of Burden's Mysterymen who team up with the Turtles—and he functions more-or-less like the comic relief. In perhaps his most out-there action, as his fellows gird themselves for an onslaught by the mysterious jungle creatures, the Carrot sets up a lemonade stand, complete with a wooden board for a sign and an asking price of a nickel, explaining to Michaelangelo that their opponents are probably thirsty.

Of course, because these are the Mysterymen, they almost all have an element of the weird or silly about them, even if Burden plays most of them perfectly straight, only Screwball vying with the Carrot for the comic relief role (Which he does mostly through donning silly costumes at a few points, although there is a brief appearance by his pet shoelace).

In a brief introduction on the inside cover of the first of the miniseries' fist issue, Mirage's Michael Dooley explains that this particular crossover was set in motion by Kevin Eastman years ago (Before 1991, when the Turtles appeared in Burden's Flaming Carrot Comics at Dark Horse one wonders, or was it around the same time...?) and that, at various points, the comic had been planned as a giant-sized annual, a two-part black-and-white miniseries and even a 150+ page epic before they settled on this final format, a full-color, four-part miniseries.

I wonder if any of that behind-the-scenes tinkering accounts for how relatively "normal" the comic ends up being, most of the expected silliness, toned-down as it may be, coming in the first issue, and the rest of the adventure reading more-or-less like something one could find in a DC or Marvel comic. 

I also wonder if it explains the art credits at all. Mirage stalwart Jim Lawson draws all four covers and is credited with pencils and inks on the first two issues (even though it's abundantly clear about six pages worth of that second issue aren't actually drawn by him), while Neil Vokes draws the entirety of issues three and four (and those six pages in #2). 

Meanwhile, Mary Kelleher provides the letters, and first Mary Wooding and then Eric Vincent the colors.

Before we look at the contents of the story, let's orient ourselves at where, exactly, we are in the grand scheme of things. The first issue was released in November of 1993, and the series was shipped monthly through February of 1994.

By that point, Turtlemania was in full swing, the cartoon show launching in 1987, the toy line in 1988, Archie Comics' ongoing Adventures series in 1989 (after a miniseries in '88) and the first two movies had unspooled in 1990 and 1991. 

At Mirage, the original 62-issue 1984-1993 black-and-white series launched by Eastman and Laird had just concluded, and the first issue of what would end up being the short-lived, full-color volume two had just launched, the series now being written and pencilled by Lawson (Volume two, for those who haven't read it, was just collected by IDW this year as Teenage Mutant Ninja Turtles: The Mirage Years (1993-1995)). 

As for the Carrot, he was still appearing in his own erratically published Flaming Carrot Comics at Dark Horse (issue #30 had published in December of 1992, while #31 wouldn't be released until 1994). 

When the story opens, narration boxes tell us that huge, devastating storms have wracked the Americas, and the Turtles are on some sort of relief mission with a U.S. military operative named Colonel Blade, who looks like a pretty generic army guy as Lawson draws him, save for the cavalry sword hanging by his side (Which Donatello will later get to use in battle).

They are riding in a blimp, but this doesn't seem to be the Turtle-branded blimp from the cartoon and toy line, just an ordinary blimp (As for where it came from, at one point Donatello calls it "spoils of war" from some previous, off-panel conflict with a "Mr. Cadaverous and his league of Blue Santas", which sounds rather Bob Burden-y).

As they are unloading aid in the fictional country of San Baloona, Blade is called into a meeting with an member of the American diplomatic staff, and then he and the Turtles get a new mission (Here, if the Turtles' existence isn't widely, publicly known, it's also not a complete secret, as Blade seems to have made their acquaintance somewhere earlier...remember, when it comes to the Mirage Turtles, it's often best not to think too much about continuity). 

That mission? Apparently the storms and an attendant earthquake have revealed a bizarre ancient ruin, and the last few teams that were sent to explore it had disappeared. Now, Blade, the Turtles and a generic-looking scientist are going to investigate.

Meanwhile, back in the states, various Mysterymen are sitting around in their headquarters when they get a purple alert. They too are being assigned to investigate the site the various research teams that have gone missing, an assignment that comes via a man on a monitor they seem to know, who got it from the Pentagon.

There's a brief roll call in which most of the involved Mysterymen sound off and get a little sentence-or-two explanation—The Flaming Carrot, for example, is called "a simple minded Batman"—and then they all pile into their big, triangular plane "The Wing" and head for the jungle. (The Mysterymen involved here are, in addition to the Carrot and Screwball, Mister Furious, The Spleen, The Shoveler, Mystic Hand, Bondoman, Star Shark and The Zeke, if you're curious.)

In the jungle, the Turtle team has had their first encounter with what seems to have wiped out the earlier explorers, strange little humanoid creatures that resemble children on fire, only their flame is green rather than red. They are impervious to bullets—and there are a lot of bullets being fired in this story—and when Leonardo swings a sword at one, it is only temporarily cut in half, the top half plopping neatly back on the bottom half, the creature seemingly unaffected.  

When the Mysterymen arrive at the beginning of the second issue, the Turtles fan out to receive the mysterious newcomers, and Burden actually honors the traditional superhero team-up ritual, wherein the various parties initially fight one another before discovering they are actually allies.

Here that means Raphael versus The Shoveler (who, for all intents and purposes, seems to just be a regular-looking middle-aged guy who happens to wield the legendary lost shovel of King Arthur) and Donatello versus The Mystic Hand (whose superpower is that his hands can leave his wrists to fly around under his mental command, as long as he can see them). 

Despite Raph being an actual ninja, The Shoveler defeats him in their battle, but the fights don't go on too long, as Flaming Carrot eventually emerges from the jungle to set everyone straight: "Don't you guys recognize a Teenage Mutant Ninja Turtle when ya see one?!"

They then all come up with a plan to fight and defeat the little green flame men, creating a huge bonfire and using green flares to color it green, thus attracting swarms of them, which they then gun down (They are vulnerable to gunfire, it turns out, provided you hit the right through their "heart", a little blobby bit in the middle).

Vokes takes over art chores with about six pages left to go in the second issue and draws the rest of the series. His style differs quite drastically and notably from Lawson's, although in terms of design, the character who seems to change the most is Blade, who gets bigger and burlier, his eyes squinting and a big ever-present cigar appearing.

Shortly after the start of the third issue, most of the green fire guys are killed, our heroes turning fom guns to water as a weapon when they begin to get overwhelmed (and here the Carrot's lemonade does come in handy). One fire guy is captured alive and relates its story. Apparently, they maintain the mind of the victim they consume, and so this one has that of a U.S. soldier named Sykes.

Exploring the ruins of the newly revealed city, our heroes find buildings with no doors or windows, all built of some sort of strange plastic and, eventually, a giant wolfman in some sort of suspended animation tube, which they go ahead and release. 

The wolfman is initially hostile, battling Mister Furious, until it notices they both wear Freemason rings and retreats for a bit. Meanwhile, Bondoman, Mystic Hand and The Spleen, guarding the Wing, are attacked by strange phantom-like creatures that spit some sort of freezing ray.

Ultimately, eventually, the wolfman gains the ability to speak—by consuming the captive green flame guy with Syke's mind in it—and he relates the origins of the city, which is basically a riff on the ancient aliens theory. 

He was one of its inhabitants, all of whom came from a variety of races that dwell in the sun, and their civilization eventually fell to a civil war. The city was hidden and he was put in suspended animation, but now that the city is revealed it is beckoning some bad aliens, of which the phantoms with the freeze-spit are among, and so the wolfman decides to mechanically lower the city again, thus sparing Earth from invasion.

And that's it, a double-page splash centering around Blade, with the Turtles, Flaming Carrot and the Mysterymen all gathered around him ending the story.

All in all then, a few gags aside, it's pretty much a straight superhero story, and after Vokes spells Lawson, it even looks less like a weird indie effort than a traditional, if maybe slightly more cartoony, super-comic. 

The tale's ordinariness is only accentuated when contrasted with the previous Burden written and drawn TMNT/FC crossover...or earlier Flaming Carrot comics. 

For example, the Dark Horse-published Flaming Carrot Omnibus, wherein I so recently the first crossover, opened with 1984's Flaming Carrot Comics #1, which also featured the Carrot combatting alien invaders. 

In that particular story, which was entitled "Road Hogs From Outer Space", the aliens were Martians, and they had come to Earth because long ago, before they had perfected space travel, an unscrupulous "shyster" among them had sold plots of land on Earth to his fellow Martians, the deeds for which were passed down generation to generation. After they invented space travel, these Martians came to Earth to claim that land their ancestors had bought.

These aliens could swim through the ground like humans could swim through water, they had ray guns that turn their victims' heads into balloons and they threatened to eat the feet of any human who didn't vacate their land. And, of course, they loved driving automobiles "with great enthusiasm" but had "no concept of traffic regulations." (Hence the title.)

The Carrot, fresh from the hobo encampment in which he was then living, manages to drive them off when he saunters into the alien city they have established on Earth, sat down with them and started talking. When he mentions the income tax, they take to their rockets and flee the Earth.

Perhaps that specific kind of crazy is kind of hard to maintain for too long...

Unlike so much of pre-IDW TMNT from Mirage, Image and Archie, this particular miniseries has never been collected. Based on its quality, I don't think that's necessarily a tragedy, but, had I not been around and paying enough attention to buy it upon its original release, I would certainly want to read it in trade now, out of curiosity, if nothing else.

Maybe IDW will manage to collect it along with the earlier Flaming Carrot crossover into a trade someday, though...

The Flaming Carrot! Cartoonist Bob Burden's bizarre superhero parody character debuted in a 1979 magazine and, after the 1981 self-published one-shot Flaming Carrot Comics, would go on to carry a series of black-and-white comics from publishers Aardvark-Vanaheim, Renegade Press and Dark Horse Comics throughout the '80s and '90s (In the 21st century, he would reappear at Image Comics). Despite being completely representative of the contents, the cover of Flaming Carrot Comics, the first installment of the three-part TMNT crossover (that's it at the top of the post), isn't too terribly dramatic. Far better is the opening splash page, featuring the Carrot and Raphael racing across a rooftop together, the Carrot's intentionally ironic narration discussing his intention to make something of one of the much more popular, much more successful Teenage Mutant Ninja Turtles.And what is Iron City's hometown hero The Flaming Carrot doing in New York City, anyway? Well, as will eventually be revealed, he and his fellow Mysterymen have heard rumors of a big crime of some sort being planned there by their enemies The Vile Brotherhood, and so they have come to investigate (The Mysterymen, by the way, are a misfit team of oddball superheroes like Mister Furious, The Shoveler, Screwball, The Spleen and Bondoman and more; you may have seen some of them in the weird, Flaming Carrot-less 1999 film, Mystery Men. Sometimes the team's name is one word, sometimes two. I'm going to stick with one word, which seems to be used most often in these comics, and was the way it was spelled in the title of Burden's book about the team).

I feel weird about Kickstarter, the crowd-funding site that some comics folks use to bring their projects to life, instead of going the traditional route of securing a publisher. 

I've backed a couple projects there before (some Jim Lawson comics, Mystery Science Theater 3000*) and been pleased with the results, so I'm not, like, opposed to it or anything, I just think it's weird when certain creators or certain projects show up there, given the fact that they seem like they should be the exact sorts of comics that publishers should be fighting one another to publish, rather than something that the creators have to turn to crowd-funding to produce. (That said, I suppose it just might be a weird prejudice of mine against crowd-funding as a publication model; perhaps there are reasons Kickstarter is more appealing to a creator than working with a publisher, I don't know. I didn't ask any of these creators.)

Case in point? Jeff Smith, the Eisner and Harvey-winning cartoonist extraordinaire whose resume includes Bone, RASL, Tuki: Save the Humans, Shazam! The Monster Society of Evil and Little Mouse Gets Ready, an artist who was on the pointy end of the spear of getting comic books in libraries and re-popularizing comics for kids again, is seeking to publish his early, pre-Bone (proto-Bone, in his words) college comic strip, Thorn, which used to run in the Ohio State University school paper The Lantern when Smith was a student there. (I've seen some of these in the 2008 book Before Bone, published in conjunction with his Wexner Center for the Arts show Jeff Smith: Bone and Beyond, and they're pretty fascinating to read in the context of the Bone that later saw print). 

One would think an artist of Smith's stature would have his pick of publishers, but Thorn: The Complete Proto-Bone Comic Strips 1982-1986 and Other Early Drawings is on Kickstarter. Again, maybe this is Smith's first choice, and he didn't even consider going with a publisher, but it strikes me as...wrong that a major publisher wouldn't want involved with the project, as relatively niche as it might be. 

As of this writing, there are 16 days left to go on the campaign. For $30, you can get a trade paperback version of the book, for $75 you can get a hardcover. 

If you've been a regular reader of EDILW for a long time now, you probably know my love of Kelley Jones' art knows no bounds, and little has excited me more than getting a new Kelley Jones comic, especially a new Kelley Jones Batman comic. In fact, I'm so fond of Kelley Jones that if Kelley Jones walked up to me on the street and asked me for, say, $50, I'd gladly give it to him. So obviously I was onboard with a Jones-related Kickstarter.

And this one looks like a doozy, as it also involves Dracula and cartoonist Matt Wagner (best known his Mage and Grendel, but, like Jones, he has plenty of great Batman comics to his name as well). Dracula Vol. 1—The Impaler is written by Wagner, drawn by Jones and will be the first in a series of graphic novels telling the life story of one of fiction's most famous characters. 

It seems like a perfect project for Dark Horse Comics or DC Comics, both of which have worked extensively with the creators in the past, or even Dynamite, where Wagner has been writing the adventures of other famous pop culture icons, like Zorro, The Shadow, The Spirit and the Green Hornet. Whatever though. Like I said, I would be happy to hand Jones money if he asked for it; if I got a Dracula comic by Jones and Wagner in exchange, well, who could ask for more?

As of this writing, there are 16 days left on the campaign. For $45 you get a hardcover version of the book, with either a Jones or a Wagner cover (I chose the Wagner cover, since I'd be getting all that Jones are on the inside).  

Finally, there's something that's only kinda sorta comics that is nevertheless near and dear to my heart, and was a big part in my falling in love with comic books in the first place: The old Palladium role-playing game based on Kevin Eastman and Peter Laird's original, Teenage Mutant Ninja Turtles comics, Teenage Mutant Ninja Turtles and Other Strangeness. 

I and a friend of mine had played a little Dungeons & Dragons around the time we discovered these books, which featured black-and-white illustrations by Mirage Studios artists Eastman and Jim Lawson (in addition to being based on the early, Mirage issues of TMNT, they also included some short comics from Eastman and Laird, all of which I believe have since been collected repeatedly, including by IDW). 

Palladium quickly overtook D&D in our affections, and between us we had all five of the TMNT sourcebooks, plus a few of the related After The Bomb books, which also involved mutant animal characters. We were playing these as I was buying my first TMNT comics, which brought me into a comic shop and well, here we are thirty-some years later. 

I'm delighted to see that Palladium is bringing the books back in a pair of collections, even though I have some reservations about the way they're doing it; mainly, there will be new covers and everything will be color-ized, which, in addition to never looking quite right to my eyes (I didn't care for the colorized versions of some Mirage comics that IDW has published over the  years), means the Turtles will be wearing their cartoon colors, rather than all wearing red, as in the original color covers of the original black and white covers.

Luckily, they seem to have thought of the exact sort of snob that I am, as in addition to the new, colorized versions, they're also publishing black, white and red editions: "For those who want to enjoy a blast to the past version of the books more akin to the originals, this is for you." Neat! I backed at the level that would get me those versions of the two collections, Teenage Mutant Ninja Turtles and Other Strangeness and TMNT Transdimensional Adventures. 

As of this writing, there are 28 days left in this campaign, and there's a huge swathe of options of what you can get, from $50 for the Other Strangeness Collection all the way up to special dice and miniature figures. 

This is the end of this blog post, so you can now leave EDILW and head over to Kickstarter where you can support any or all of these worthwhile projects. I hope you will; I'd like to see them all reach all their stretch goals. 

*They're currently trying to raise funds for a fourteenth season, by the way, and they're doing it here, rather than through Kickstarter this time. 

As I mentioned in the last post, the Archie Comics-published Teenage Mutant Ninja Turtles Adventures #5 is where Teenage Mutant Ninja Turtles Adventures really becomes the comic people talk about when they talk about Teenage Mutant Ninja Turtles Adventures. It is with that issue that Mirage Studios' Ryan Brown and Stephen Murphy (writing as "Dean Clarrain," which is how I'll be referring to him) come aboard as co-plotters, with Clarrian handling the scripts. This is also where the comic stops adapting scripts of the TV show, and thus begins to branch off in its own direction. As we'll see from the next handful of issues, #5-8, some of these seem like they could have been episodes of the TV cartoon, but the divergence between the two accelerates rather rapidly, and eventually Adventures becomes something of a cross between the cartoon continuity and Mirage's Tales of The Teenage Mutant Ninja Turtles.

For the purposes of this post, I'll be reading IDW Publishing's Teenage Mutant Ninja Turtles Adventures Vol. 2, published in 2012. The collection again features an original cover, this time provided by Jim Lawson, the artist who has probably drawn more panels and pages of Teenage Mutant Ninja Turtles than any other. Pictured behind the Turtles on his cover are four characters who appear in these issues, some of whom will become recurring characters in Archie's TMNT comics and their spin-offs. From left to right they are Cryin' Houn', Man Ray, Leatherhead and Wingnut.

The cover for issue #5 is by Ken Mitchroney and Dave Garcia, who continue as pencil artist and inker with this issue. It's a pretty dramatic cover, featuring without revealing the new mutant that is introduced within its pages, and also depicting Raphael and The Shredder in what appears to be actual combat, with their weapons and everything!

The issue opens on July 3 at Burroughs Aquarium in New Jersey, where the Turtles are wearing terrible disguises that make their usual trench coats and wide-brimmed hats seem effective. They're basically just wearing human clothing and hats, so I guess if someone saw them, they would just assume they were four green-skinned, nose-less hunchbacks...? At any rate, while they are marveling over a manta ray, a man who seems extremely excited about rays comes up and talks to them about how cool rays are for a little bit, how they are threatened by pollution, and then kicks them out; he apparently works there.
It may be worth noting again here that Clarrain wrote the late 1980s independent comic series Puma Blues with Michael Zulli, and in the near-future world of that book, a new species of flying manta rays played a significant role. Clarrain too, it seems, is pretty into rays.

The Turtles decide to walk back to New York City along the shoreline, unaware that just off the coast The Shredder, Bebop and Rocksteady are in a submarine shaped like an angry fish. Krang, who apparently let the two henchmutants join Shredder back on Earth after all, is having a Zoom meeting with Shredder, berating him for spilling a barrel of mutagen into the sewer, something Shredder says was actually Bebop and Rocksteady's fault.

Mutagen, of course, is the stuff that mutates humans into the last animal they touched...and, I guess, animals into anthropomorphic animals, if they had recently touched a human...? Anyway, mutagen in the sewer is how Shredder and the Krang got the Turtles in the first place, so yeah, they probably want to not spill any more of that in the sewer.

Meanwhile, the man from the aquarium pats the manta ray good night...
...and then goes off to engage in what he calls "some real work"; investigating a sewer pipe that discharges into the ocean for signs of pollution, as he suspects there are multiple violators. He's talking into a mini-cassette recorder this whole time, by the way, so there's an excuse to be talking out loud/to the reader.

In the pipe he sees a bright green gel that he touches, and then suddenly there's a rumble in the pipe and a sudden deluge of water shoots him into the sea.

You can probably guess what that gel was.

The Turtles have since doffed their disguises, and once again are nude save for their masks, as God and Eastman and Laird intended. They are frolicking on the beach when they are sighted by their foes on the submarine, who fire a torpedo. But before the torpedo can strike, large fins of some kind emerge from the water and flip it around, sending it back at the sub. The bad guys take the sub back to their secret dock in the sewers, where the Turtles manage to stumble upon it and stowaway on it, unaware that a new player already knows Shredder's plans to blow up the Statue of Liberty during the July 4th fireworks for, um, some reason, and is making moves to stop him.

After a brief tussle with Rocksteady and Bebop leads to the sub's sinking—Rocksteady's horn pierces the hull at one point—The Shredder seeks to escape, but runs right into...
...Man Ray!

After teasing the reader by showing mere snippets of the new mutant—his head in silhouette, his spade-like tail as he dives into the water, his hands in a sequence of POV images—the creators finally reveal him in this dramatic splash page. Yes, the guy from the aquarium was mutated into a pretty-ripped manta ray man. Not sure where he found a green and yellow unitard with matching boots and wristbands but hell, maybe the mutagen mutated his clothes into these new clothes...?

I wasn't sure why the character chose that particular new, mutant name for himself, but it puzzled me for years...not even a hyphen, like, say Man-Bat or Man-Wolf or Man-Thing...? It puzzled me until I got to college and learned there was a pretty prominent artist by the name of Man Ray (short for Emmanuel Radnitzky). I can only imagine how many of Clarrain and company's audience of children got the reference in 1989.

Ray and Shredder have a brief but dramatic battle beneath the sea, until Ray pulls out the tubes that are providing Shredder with oxygen and drags him to the beach. Shredder responds by kicking sand in Ray's face and running away, at which point the Turtles, who are more-or-less incidental to the plot of this issue, show up and briefly meet Ray.
He can't stay out of water long, and thus disappears beneath the waves. We'll see him again in the future, though; he's one of the several original mutant characters that are created during this series and will eventually end up forming their own super-team and getting their own comic as The Mighty Mutanimals.

Man Ray would get his own action figure in 1990...sort of. The toy version was named "Ray Filet." He seems to have had the he same origin and basic look as Man Ray (although he came packaged with plastic sidekicks/accessories Fish Stix and Scarfish). Like most TMNT characters from all other media, Man Ray eventually showed up in IDW's fifth volume of TMNT. While the spandex and color scheme leave something to be desired, I think I prefer the manta ray-man look of Archie's Man Ray to the less ray-like version that would show up in IDW's TMNT comics.


This next issue is pretty interesting, as it introduces another new mutant character into the series, but this one also existed as a toy and a character on the cartoon series...but also also existed as a Mirage Studios character before those incarnations, and he was the creation of Ryan Brown, who again plots this issue. That character is the mutant alligator Leatherhead.

Leatherheads's first appearance was in 1988's Tales of The Teenage Mutant Ninja Turtles #6, the penultimate issue of the series. Brown created the character and inked that issue, over Lawson's pencils. This original version of the character was a baby alligator that a pair of the Utrom aliens found in the New York City sewer system, and brought back to their secret headquarters in the TCRI building. Exposed to their mutagen, the same stuff that mutated Splinter and the Turtles, that alligator became an alligator-man, and worked with the Utroms until they transmatted away from Earth, leaving him all alone.

When the Turtles found him, he was being pursued by an evil big game hunter. Allying themselves with him, they let him move into their old, abandoned sewer lair.

Not long after, in 1989, Leatherhead showed up in the TMNT toy line and on the cartoon, and in both of those incarnations he was now a bad guy, allied with the Shredder against the Turtles. That's the year he also showed up in TMNT Adventures, sharing the same basic look that he did in the cartoon and toy line, but with a new and different origin from those versions, and a more complicated moral alignment. Leatherhead has actually shown up in four of the five volumes of TMNT comics (plus, obviously, this one) and on every iteration of the cartoon...at least up until the current Rise of..., which I haven't watched any of yet.

This version of the character starts out as Jess Harley, a poor man from "the bayou" who wants to get out of the crushing poverty of the area, so he steels himself to rob the hut of alleged swamp witch Mary Bones. He selects what appears to be a crystal ball, assuming it will be of some value, and then hops on a bus for New York City in order to fence it...but not before looking portentously at the alligator skin hanging on the witch's wall and the candle burning atop an alligator skull on her table.

Once in the city, he immediately notes that extreme wealth here lives side by side with extreme poverty...
...one of the many notes of a social consciousness in this comic for kids based on a cartoon primarily created to sell a toy line.

Harley is still taking in the bewildering sights when some rude, hunchbacked asshole in a wide-brimmed hat and purple coat THUMPs into him hard enough to knock the crystal ball out of his hands, sending it bouncing and rolling along the street and then down into a drain pipe. "Sorry, fella," the oddly-dressed New Yorker says, while another shouts "Hey look, there's the pizzeria!" and "Last one there's a rotten egg!" Yes, it was the badly-disguised Turtles who knock the ball out of Harley's hands and into the sewer; you would think that, considering their own origin, they'd be more careful about that sort of thing.

And what were these jerks in such a rush to do...?
There's a lot going on here.

First, check out their "disguises." I can't imagine what Leonardo's thought-process was in deciding to wear a vest over his shell. What on Earth must the human being that vest was made for have looked like, that it fits over a mutant turtle man...?

Second, I love how intense and/or angry they look while ordering their pizza...which actually sounds pretty normal right up until Michaelangelo gets to his toppings.

Third, I love the look on the lady's face throughout the sequence. The only thing that could have improved the scene would have been if the next page opened with her giving them a pepperoni and sending them on their way. (This series has yet to answer the question that has long bothered me—where on Earth do the Turtles get money for all this fucking pizza? Does Splinter collect a Social Security check for Hamato Yoshi? Does April support them? We're only on issue #6, though; hopefully they get to answering this burning question eventually.)

Anyway, while the Turtles are ordering pizza and annoying the fuck out of that poor woman, Harley finds his way into the sewer and recovers his lost crystal ball...and then discovers, standing right behind him, is the swamp witch herself, Mary Bones.

When he turns the crystal over to her, he pleads with her that he only did it for the money, to which she replies "Ah, the ubiquitous lamentation of the lost age."

Ubiquitous! Lamentation! Clarrain certainly wasn't dumbing this book down for kids!

Mary Bones then drops some exposition...
...and in a dramatic sequence uses the Turnstone to transform him into "...a Leatherhead!" And so the human Jess Harley becomes the alligator man on the cover, minus the hat and gold tooth.

After shouting "Nooooo!!" like Darth Vader, he rushes after Mary Bones, who disappears, and he ends up crashing through a wall, then falling through three stories of sewer floors and landing on a table in The Shredder's secret underground lair.

There, Shredder tricks Leatherhead into joining forces with him using a not-too-terribly-convincing story:
The three animal-men head out to bring the Turtles to justice and force them to turn Leatherhead back into a human ("Ha! Ha! Ha! I'm such a good liar!" Shredder thinks to himself), while Shredder calls Krang. Krang is watching intergalactic wrestling on his monitor—foreshadowing the next issue—when Shredder interrupts, and tells him about the Turnstone. Krang tells him that the stone is of vital importance, as not only does it contain great power and could help him regain his original body and conquer the dimension, but that this witch Mary Bones must also be a Dimension X warlord like himself.

Meanwhile, Rocksteady, Bebop and Leatherhead confront the Turtles on a bridge over an underground river, and during the battle, Leatherhead begins to question Shredder's story ("Do either of them sound like an accountant or a real estate agent?" Raphael asks Leatherhead). Realizing he's been betrayed and used, Leatherhead starts lashing his massive tail on the bridge, causing it to give out under him, and he plunges to his fate below, the Turtles and their foes separated by the now broken bridge.

As they walk away, Mary Bones appears to the Turtles, and gives them a brief, cryptic prophecy before disappearing once again. And then, we get this fantastic final panel:
Readers in 1989 would have had to wait a month to find out what that was. I can't imagine any of them would have guessed what it was. Because next issue? Next issue the series gets weird.


As soon as one opens the cover of this book, it's clear that something's different about this issue. Yeah, the cover itself is pretty weird, showing the various Turtles wearing different costumes as they fight a four-armed dog man wrestler, with one of them (It's Raphael) now suddenly jet-black. But that cover still appears to be drawn by Mitchroney.

The interiors this time? They are not. For this issue, Jim Lawson handles the pencils, and he's inked by a Gary Fields. If one looks at the faces of the Turtles, it's not immediately evident that this is Lawson's work; they have bigger, rounder eyes than he usually draws, and their faces also look rounder and more three-dimensional than the typical Lawson mutant turtle, but it's clear in the look of the other characters that this is Jim Lawson. Um, if you're familiar with Jim Lawson's work, that is. If not, this probably just looks a little weird.

Or very weird. This is the first issue of the series that really looks and feels like some sort of cross between an indie comic and a comic for kids, which is, in essence, what it is, as the folks from Mirage Studios were doing so much of the production for it, and Brown, Clarrain and Lawson? It doesn't get much more Mirage than that.

The book opens with Raphael re-capping the events of the previous two issues over the course of two pages, each evenly divided into a six-panel grid, ending with him saying, "And that's when Mike said: What's that?" (Although based on the coloring, it was Raphael himself who said "What's that?")

And then there's a splash page, revealing the "that" of the "What's that?":
That is Cudley, a "transdimensional Cowlick," which is a gigantic, sentient cow-head apparently affixed atop some sort of flying saucer that abducts people/mutant turtles by licking them up, flying through time and space and, when he reaches his destination, spitting them out: "PPA-TOOIE!"

It may be worth noting here that Ryan Brown, who co-plots this issue with Clarrain, would go on to create the Wild West C.O.W.-Boys of Moo Mesa cartoon. Brown was apparently interested in cow characters for a while.

Cudley spits the Turtles at the feet of two tree men, Stump and Sling. The larger one, Stump, continually plucks the dollar bills that grows from the branches on the head of the smaller one, Sling, and then tucks the bills in the hole in his trunk/belly.
They're wrestling promoters.

In not much more time than it took to recap the first two issues of the Brown/Clarrain run, Stump explains that the Turtles are in Stump Arena on the Stump Asteroid, and that they are chosen to compete in an Intergalactic Wrestling match. With Cudley the Cowlick the only means to return home, they have no choice to accept. The four of them will be fighting "The four-armed scourge of the Bohunkian Galaxy—Cryin' Houn'!" (He looks a bit like the sort of cartoon dog that might chase Bugs Bunny or another Looney Tunes character around...save for the fact that he has four arms. For some reason, his only dialogue are variations of the line "Mah name is Cryin' Houn'!"

Whoever wins, will face the winner of the other match, between champion Ace Duck, an Adonis-bodied yellow-colored duck-man in a Speedo (seen briefly in the previous issue, when Krang was trying to watch Intergalactic Wrestling), and Leatherhead, who we learn was saved from his fall by Cudley, off-panel.

But first, the Turtles have to put on their costumes:
That's Michealangelo, Leonardo, Raphael and Donatello, from left to right. But forget about the Turtles; check out the aliens behind them. What a glorious array of random weirdness from Lawson, particularly the top rows, where the aliens tend to be nothing more than abstract shapes with faces. The crowd rewards surveying. While there are some that look like off-model versions of, say, an Aliens xenomorph or Star Wars' R2-D2, you'll also see what appears to be a Triceraton in the audience, plus a character that looks like he might be Fluffy Brockleton from Michael Dooney's Gizmo comics.

While we're pausing, I suppose this is as good a time as any to mention that Ace Duck was a 1989 action figure from the TMNT toy-line, a duck/human hybrid accidentally created by Krang. He had blink-and-you'll miss 'em cameos in both the original cartoon and the 2012 series, and he appeared in IDW's sprawling line of TMNT comics. As for Cryin' Houn', he and Stump also reappear in the IDW continuity, in more-or-less similar roles, although their designs are less cartoonish, in keeping with the look of those comics.
The alien champions seem to have the better of the Earth-born mutant reptiles for a bit in the two fights, which are waged side-by-side in two different rings, but eventually Leatherhead gets Ace by the ankles and throws him bodily out of the ring...at the very same time that Leonardo delivers a devastating flying kick to Cryin' Houn', and the two collide mid-air in the space between the rings, collapsing in a pile, with cartoon birds orbiting their unconscious heads.

Unfortunately for Trump and King, I mean, Stump and Sling, it is at that very moment that Cudley burps, spitting out the Turtles' saliva-covered weapons. Gathering them up, they are able to renegotiate terms with the fight promoters, and Cudley licks the four of them up (Leatherhead opts to stay on the asteroid and be a space-wrestler, as on Earth he's a freak, but here he has a chance to be, in his words, a hero).

This next part is quite interesting. We see "inside" Cudley, where it's completely black, and all we can see of the Turtles are their eyes, and then he spits them out on a New York City rooftop. But he apparently spit them out in about 2089, not 1989, and this is what they see:

That was something of a surprise. And a rather depressing one, as this comic for kids showed a brief version of a terrible, possible future in 1988, and we've done precious little in the 30+ years to change that; a ruined, flooded New York City is still our possible future from climate change, melting icecaps and rising sea levels. If anything, I think the forecast has only gotten more dire; I don't know that there will be that many buildings left standing in New York City in 2088 if we don't get off fossil fuels as close to immediately as humanly possible. Hurricanes will probably bring them down at the same time the streets are flooded over.

It's quite a down note to end on, but there are only a few pages left in the book, as Cudley once more licks them up and then spits them out, this time in the right time period.


And that brings us to TMNTA #8, which I mentioned last week was the first issue of the series I had read, and as someone who missed the previous issue, it was something of a doozie of a story to walk in on, given how strangely the Turtles were dressed, as they're still wearing their wrestling costumes (although, in Raphael's case, it looks more like he was dipped in ink than wearing a costume, given that there are no seams or zippers or buttons or anything; if he's wearing head-to-toe black space-spandex, the holes for his eyeballs and mouth are so small that they fit just show, betraying no hint of green skin). Well, there's that, and the appearance of Cudley; a giant cow head that licks up and spits-out people as a form of intergalactic transportation is the kind of thing that requires a bit of explanation.

Other than those elements that carry over from the first issue, though, this issue is actually a bit like #5, in that it introduces a new mutant character that more-or-less just runs into the Turtles. Well, two mutants really, and "mutant" isn't really the right word, because even though they are animal-men, they're from a different planet, so they're technically aliens.

They are, of course, Wingnut and Screwloose. The former is the big, crazed-looking bat-man with the metal wings on the cover, while the latter is the little mosquito-man riding on his back. In addition to their role in this series and its spin-offs, they of course appear briefly in the IDW comics, and they are featured in an episode of the 2012 series, where they are a Batman and Robin like Dynamic Duo of superheroes who are brought to life. The Internet says Wingnut, or at least a character based on his design, also showed up in the original cartoon, but I either never saw that episode or have forgotten it.

Anyway, they make their first appearance in this book, where they nail Raphael on the back of the head with a rock.
And, as you can see, Mitchroney has returned to pencil, here being inked by Dan Berger.

The Turtles and Wingnut exchange a volley of words, but the Turtles can't do much of anything to stop him from hurling rocks at them, given that he can fly. They return to their lair, where Splinter is watching the news, and they find out how much of a menace Wingnut really is. A rash of rocks being thrown through skylights was a big enough story to make it onto the news, as is Wingnut's attack on the Goodyear G'Day Blimp, which he punctures with a claw to deflate.

The Turtles decide to take to their own blimp in an effort to stop Wingnut and Screwloose. Of course, Wingnut can and does pop their balloon just as easily, but luckily theirs is equipped with a detachable glider that allows them to give chase to their aerial enemy. It is now storming, and there's a brief, dramatic game of cat and mouse, in which the sky is suddenly pitch-black, and the Turtles can only catch glimpses of the pair when lighting flashes.
Eventually they get Wingnut onto a rooftop, and are able to tie him up. As he struggles, Screwloose plunges his lightning bolt-shaped proboscis into Wingnut's neck, putting him to sleep.

At this point, Screwloose explains their sad origin, and why Wingnut seems so insane.
Essentially, the bat-people and the mosquito-people of the planet Huanu, where they formed a symbiotic relationship, the former giving the latter blood in exchange for sedative bites that help them sleep. But when alien invaders lead by Dimension X Warlord Krang attacked, they killed most of the people on Huanu, including all of the females of Wingnut's species, which was apparently more than enough trauma to drive the giant bat, well, batty. They are now on Earth searching for Krang in order to avenge Huanu, and Wingnut assumes Krang must be hiding under one of those skylights. Hence smashing them with rocks.

The Turtles begin to see the two newcomers in a new light, but don't have much time to act on it, as Wingnut breaks free and flies off...only to be intercepted by Cudley, who abducts them both with his tongue, stopping long enough to explain that it was his fault that the skylight-smashing aliens arrived on Earth when they did, as he inadvertently opened a dimensional gateway when he last visited. This time he arrived to bring the Turtles back their regular clothes (or "clothes", I guess), and to take Wingnut and Screwloose to Stump Arena.

As wild and random as these last few issues have been, they will start to make sense in the next handful, at which point a bigger and clearer ongoing storyline will emerge, in which the evil of Krang and all of these new characters will factor. Next time we'll tackle Teenage Mutant Ninja Turtles Adventures Vol. 3, containing #9-#12, in which we will meet a handful of new mutant characters, a handful of new alien characters and see the introduction of another character that, like Leatherhead, first appeared in Mirage's Tales of... and would go on to appear in many subsequent cartoons and comics.

I tend to get the majority of the comics I read from one of two places, which I designate in my current "A Month of Wednesdays" review column: Either my local comics shop, if it's a comic that I am purchasing, or my local public library, if it's one that I'm borrowing. Due to circumstances beyond my control (or anyone else's control, unfortunately), I am unable to go to either my local comic shop or my local public library for the forseeable future

Now I am certainly not hurting for comics. My to-read piles are huge, and go back, unfortunately, years. So I will have more than enough reading material for weeks, if not months (although I hope we won't all be stuck inside that long!). But, being curious about the electronic services my library offers, I checked some of them out and discovered that one of them, Hoopla, offers comics. A lot of comics.

One of the first search terms I entered was "Teenage Mutant Ninja Turtles," and I immediately got results, including plenty of Teenage Mutant Ninja Adventures. So this seemed like a good time to catch-up on that one particular TMNT series that I had read so incredibly little of. And, of course, blog about it, because if I have 40 hours of extra free time per week now, why not update EDILW more often, like in the good old days of daily-ish updates...? (Although I don't think I still have daily-ish readers anymore).

Teenage Mutant Ninja Turtles Adventures was a monthly comic book series published by Archie Comics from 1988-1995, and featured Kevin Eastman and Peter Laird's creations in a kid-friendly, full-color, newsstand-available, monthly comic book series. It was not a spin-off of Eastman and Laird's comic, which was still being published in 1988...albeit entering a strange (but thrilling!) phase of its existence. The pair's Mirage Studios published four issues of the ongoing series that year, #13-#17, and none of those books were collaborations between the two, who apparently had their falling out sometime around then, from what I've gathered from their annotations in IDW's Ultimate Collections of that volume of TMNT. Eastman and Eric Talbot produced #14 together (That's "The Unmentionables" issue, where in Casey Jones plays private eye) and Laird and Jim Lawson produced #15 together (That's the one with the Justice Force superheroes coming out of retirement), and Michael Dooney, Mark Martin and Talbot produced issues #13, #16 and #17, respectively).

Rather, Adventures was based on the cartoon series, which had begun airing in 1987, and so it was therefore a comic book adaptation of a cartoon adaptation of a comic book series.

At the start of the series, it was adapting episodes of the show directly into comics format, but it would very quickly veer off into a quite strange direction all of its own. Now, I was a pre-teen then; I was too old to play with the TMNT toys, although my little brother was in that particular age range, so there were definitely some around the house. I did watch the cartoon series with him after school, and, when I discovered Eastman and Laird's comics, I grew fascinated with those, buying all of them I could find, continuously hunting for them, and playing Teenage Mutant Ninja Turtles and Other Strangeness role-playing games with a friend of mine at the time. (At the time, the Mirage version of the Turtles seemed like a semi-secret, "real" version of the phenomenon for grown-ups, which was a great deal of their appeal to me, I think.)
My reading of Archie's TMNT comics was sporadic, to say the least. I did buy the adaptation of the 1990 film (written by Laird, pencilled by Lawson, and inked by Eastman, Laird and Talbot), and I recall buying TMNT Adventures #8 for my little brother for Christmas, and, surveying the covers on comics.org just now, I know I bought and read a handful of others (#11, #28 and #30-#32 all look familiar). But I never attempted to read the whole series...something I will now attempt to rectify!

Honestly, I likely would have attempted it sooner, but IDW's collections were pretty pricey. This is the kind of comic that I would much rather read in something like DC's now defunct Showcase Presents or Marvel's now-defunct Essential fomrat: Big, fat, phone-book sized black-and-white reprints on cheap paper. (That or, perhaps, issues fished out of 25- or 50-cent bins, I suppose).

Now, prior to the regular series, Archie published a three-issue miniseries adapting the first "season" of the show. I didn't start there, but I want to share the covers, because these are by Eastman, Laird and Steve Lavigne, who lettered the Mirage comics (and colored these covers).




These are interesting not only because we have Eastman and Laird collaborating on them during a time they were supoosedly working less and less together, but also because we get to see them drawing the cartoon's version of April and the Turtles, with letters on their belts and all. Also, it demonstrates how involved Mirage was with managing their creations; though adapted from the cartoon, Dooney handled the script and art, and Lavigne lettered it. Mirage was, at this point at least, adapting the cartoons based on their comics back into comics.

When TMNT Adventures graduated to a monthly, the covers remained the work of Eastman, Laird and Lavigne, at least for the first couple of issues. See if you can spot when, exactly, the they stopped doing the covers:




The difference is subtle, but I think you'll be able to spot it.

I am going to be taking my journey through TMNT Adventures courtesy of IDW Publishing's collections on Hoopla. (If you have Hoopla through your local library, please feel free to read along, or see what comics more to your liking they offer). IDW's first volume collects issues #1-#4, and the cover looks like this:
I would have guessed that was a new cover by Jim Lawson trying to hew more closely to the cartoon's designs than usual, but I would have been wrong. It's actually the work of Lavigne, according to the credits, with Joana Lafuente coloring. It's the only "new" part of the trade.

And I should note that these comics within this collection? They are not very good. I'm sure the folks who made them had their talents, but remember this is basically 120-pages of comics adapted from a cartoon show which, even at 11-years-old, I did not think was very good at all (Catchy theme song, though!).

Those particular episodes are "The Return of The Shredder" and "The Incredibly Shrinking Turtles", both from 1988, the television cartoon's second season (although the first "season" was only five episodes long, and as thus really just a miniseries.). A Dave Garcia is credited with art and letters, and the next credit says "adapted from scripts by Christy Marx and David Wise." Hey, it's our old friend Christy Marx, creator of Jem and The Holograms and comics-writer!

I don't want to get too bogged down in comparing and contrasting these Turtles from the "real" ones of the Mirage comics, as that could take forever. In general, if anyone actually needs the reminder of the cartoon's premise, the four Turtles live in a New York City sewer lair with their sensei Master Splinter, a mutant rat-man who used to be the human being Hamato Yoshi. The Turtles all love pizza with bizarre toppings that might turn Scooby-Doo and Shaggy's stomachs, and they all have the exact same personality and sense of humor, despite the cartoon theme song's attempts to differentiate them ("leads," "does machines," "cool but rude," "a party dude"). That's probably why they are color-coded and wear their initials on their belts.

They are basically superheroes, tooling around town in a customized and heavily-weaponed van or a blimp, although they are kinda sorta in hiding from the world at large too, due to the fact that they are mutants. It depends on the scene. They had recently defeated their archenemy Shredder, who had allied himself with the alien Krang, who resembles a brain with a face and tentacles, and lives in the stomach of a robot body. Both they and their dim-witted henchman Bebop and Rocsteady were sent back to Krang's home world in  Dimension X at the end of season one.

The Turtles' only other ally at this point is April O'Neil, who is a reporter for Channel Six News, and never changes out of a yellow jumpsuit with white boots, presumably because the toy designers first saw an image of her wearing a jumpsuit in Teenage Mutant Ninja Turtles #2, when she was supposed to be a tech assistant/engineer type.

In the first issue, two of the Turtles are grocery shopping wearing their Benjamin Grimm disguises of trench coats and wide-brimmed hats, when two cartoon punks with baseball bats attempt to rob the store. They easily defeat them, even when one of the punks pulls a knife, and they get their groceries on the house in thanks...but then they proceed to steal a shopping cart.

Meanwhile, Krang sends Shredder back to Earth through a portal, but refuses to give him any robots soldiers or equipment to help him capture the Turtles. This seems a little like Pharaoh demanding the Israelites make bricks without straw. Bebop and Rocksteady are eager to get back to Earth as well, but Krang denies them because, he explains, "I enjoy seeing both animals and people suffer, and you my friends, are both!" This might be the best joke in the book.

At Channel Six, we meet several of April's colleague, all of whom I completely forgot even existed at all (Like I said, I remember watching the cartoon, but I don't remember what I watched very well; it didn't sear itself into my memory the way that, say, He-Man or Transformers or G.I. Joe did). April's boss wants her to do an expose on how the Turtles are threats or menaces, presumably to impress this anti-turtle prostitute he started dating:
Er, not to judge a woman by her clothes or anything.

This scene did make me mildly curious about seeing the cartoon, though, just to see if she was wearing that exact same outfit, or if the artist took some liberties in her first appearance.

Shredder arrives in Central Park via a inter-dimensional portal, which leads to my favorite scene:
Some muggers find a guy in a cape and a metal helmet and mask, covered in blades, and they try to mug him. With knives. The Shredder has twice the blades they do on his hands alone. This being a kids comic, though, he just back-flips into a tree and chops a branch down on them, and they then give him all their money and run away. No one is gutted like a fish.

Shredder then initiates his dumb plan. He takes over a karate dojo, briefly trains the students, has them dress up in poor man's TMNT costumes, and then has them commit robberies under the name of The Crooked Ninja Turtle Gang. They pass out business cards and everything. This is only further proof that the Turtles are threats and menaces to April's boss, and even the fact that April has apparently unzipped her jumpsuit doesn't seem to distract him from his new girlfriend Tiffany's anti-turtle crusade. She's still not showing as much cleavage than April though, so no contest, I guess.

Look, I'm not trying to read to much into it. I'm just looking at the pictures. In her second appearance in the book, Tiffany is now wearing even less clothes, as this outfit lacks the fishnet stockings that the first one had.
\
The second issue begins with The Shredder busting Baxter Stockman out of the "Sunnydale Home For The Extremely Overwrought." Stockman, in the original comics, was the Turtles' second villain. He built the Mouser robot rat-catchers that destroyed the Turtles' sewer home and seemingly killed Splinter in the story where they met April, who was working as Stockman's assistant at the time.

This Baxter is white, rather than black, though. He appeared in the first season of the show in the same basic role, having created Mouser robot rat-catchers that the Turtles fought. I believe most of his appearances on the show will occur after he is mutated into a fly, though, like the mad scientists in The Fly movies, which I guess is why I was surprised to see a white guy show up in the role here.

Shredder asks Baxter to build him "the ultimate rat-catcher," but Stockman basically just steals a bulldozer-mounted drill from a nearby construction site and gives it a mouth. With that, the pair of villains capture Splinter, while the Turtles are busy beating up the Crooked Ninja Turtle Gang in an extremely slapstick-y action scene.

Meanwhile, April's boss and Tiffany  were definitely having sex in his office after work hours:
Hey, kids! Comics!

And then, finally, comes the climax. The Shredder is going to kill Splinter with a battering ram in the shape of...a giant fist...? Not eve a foot? I thought Shredder was in The Foot Clan, not The Hand...?
Then Baxter and his tricked-out, souped-up bulldozer crashes through a wall and the Turtles beat the ever-living fuck out of it with their super-strength and unbreakable weapons.
Splinter is saved, The Shredder tucks Stockman under his arm and escapes to fight another day, the Turtles have their name cleared in the press by April, her boss gets dumped by the scantily-clad "girlfriend" when she overheard he ordered takeout mock turtle soup for lunch and now no one's getting any in this comic...
...at least I hope not!

Thus ends the first story arc, and begins the second, "The Incredibly Shrinking Turtles!" This one is also an adaptation, but the credits don't say of whose scripts. Rather, it lists Ken and Beth Mitchroney under "adaptation by," while Ken Mitchroney gets a pencils credit and Garcia an inking credit.

This story opens with the four Turtles training and sparring in the park, when their day is interrupted by an alien spacecraft crashing into a lake (This is actually a pretty Mirage way to handle a TMNT story, as most of them begin with the guys training and then something crazier than even them intrudes on their lives, often aliens from time or space or a monster of some kind). They save the alien, who gasps that they must find the three pieces of the "The Eye of Sarnath", three pieces of his ship which, when assembled, will give their bearer great power, before the fragments can fall into the wrong hands. He gives them a pyramid-shaped crystal that can track the pieces, and then promptly disintegrates.

Unfortunately for the Turtles, Shredder was lurking in the bushes the whole time, follows them to the first fragment and then, in something of a surprise, he kicks all four of their asses in a matter of panels and claims the fragment for himself. Jeez, he should have thought of just fighting the Turtles issues ago!

As he's waving the crystal fragment before them triumphantly, he accidentally unleashes its power, shrinking the Turtles. You know, incredibly. The tiny Turtles have a harrowing trip back to their lair, where Splinter calls April for help...presumably because he can't drive.
While Shredder and Stockman do supervillain stuff with the crystal, shrinking down the Empire State Building and other New York City buildings and collecting them, Splinter uses his psychic link to his students to locate them, as "your average sewer trickle" (gross) washes them out of their lair and into the sewer, where they eventually end up fished out of the East River by Stockman.

Krang, who was completely disinterested in Shredder's plot to shrink New York real estate down to toy size, is now interested when Shredder shows him that he has the four Turtles trapped in a jar, and pulls out a crow bar.
Oh God, what's he going to do to them with a crow bar? Pry off their shells from their still-living bodies...?!

No, nothing as grotesque as that. He's just going to smash the jar, with them in it, apparently. But just then, April and Splinter crash the Turtlemobile (I believe it is officially called "The Party Wagon," but I can't bring myself to use that term in a sentence, I'm sorry) into the abandoned cheese factory warehouse, and Splinter and Shredder get a rematch! (As you probably know, in the cartoon continuity, in his pre-mutated, human life, Splinter was rivals with The Shredder.)

It's a pretty dramatic fight, and Splinter is about to have his head mangled in some heavy machinery when April waves the crystal in the direction of the Turtles, restoring them to their full height. After a brief skirmish, Shredder and Stockman again retreat, with the crystal in their possession. So this encounter is more of a draw.

Now, this being the fourth and final issue of the series adapting episodes of the script, I have no idea if the next issues will follow-up on the dying alien, the shrinking crystal, and the other two parts of the Eye of Sarnath. Heck, I don't even know if or how New York City gets the Empire State Building back.

I guess we'll find out in volume 2, which contains the next four issues, and sees the arrival of long-time TMNT Adventures writers Ryan Brown and Dean Clairran, the latter a pseudonym used by Steven Murphy. Both had long history with Mirage, Brown being quite heavily involved with the secondary Mirage TMNT title, Tales of The Teenage Mutant Ninja Turtles, and Murphy writing Puma Blues with artist Michael Zulli.  Plus Jim Lawson arrives for an issue. Oh, and issue #5 should be  where things start to get weird, as new mutant characters original to this comic series start to arrive, and the Turtles even get new costumes. In essences, despite what the numbers on the covers of the individual issues might say, Teenage Mutant Ninja Turtles Adventures really begins with issue #5, or TMNT Adventures Vol. 2.