Saturday, October 3, 2015

TMNT: Casey & April #4

Publication date: September 23, 2015

Story: Mariko Tamaki
Art: Irene Koh
Colors: Brittany Peer
Letters: Chris Mowry and Shawn Lee
Edits: Bobby Curnow


The past.  As April prepares to leave on her road trip, Leonardo stops her.  He says that he felt something weird when he first received the scroll from Splinter.  He warns her that it may not have been an accident that they came into the scroll and there may be higher powers at work.

The present.  The Rat King leads April and Casey down a dark corridor of the thin place; a limbo between dimensional space.  Along the way, he tells them of some of his exploits in the past, of how he made and broke royalty through the centuries (Genghis Khan, Marie Antoinette, Richard Nixon).  They then enter into the room of his sister, the Japanese bird-woman named Aka.

Casey is hesitant, but April insists that they speak with her, as she feels their meeting with Aka was the entire reason they came into the scroll in the first place.  Aka looks over the scroll and identifies the flaming Joshua tree as being symbolic of herself.  She explains that she and her family are immortals who ruled the Earth a millennia ago and warred among themselves.  However, when humans entered the picture, they changed the playing field and the immortal siblings adapted their struggles by manipulating mankind for their own benefit.

Bored with all the talk, Casey tries to shake down the Rat King for answers.  Equally brash, the Rat King transforms into a giant dragon made of rats and attacks him.

Aka freezes time so that she and April may speak privately.  She tells April that a great change is coming, a war, but urges her not to fear it.  Her immortal siblings are gathering and things are about to become very dangerous, and when that happens, Aka says she will leave this plane of existence.  As time resumes, the Rat King toys with Casey and tosses him around.  However, time suddenly runs out and everyone vanishes in an instant.

April and Casey find themselves where they were before it all started; Casey at the old gas station and April outside the trailer.  They reconvene and hit the road in the van.  Leo calls to check in with them and as Casey gives Leo a brief summary of their recent exploits, April unfurls the scroll and finds one of Aka’s feathers wrapped in it.  A little later, April and Casey kiss and make up before driving directly into an ominous storm looming on the horizon.

Turtle Tips:

*This story is continued from TMNT: Casey & April #3.

*This issue was originally published with 2 variant covers: Regular Cover by Koh, and Subscription Cover by Sophie Campbell.


If you’re wondering why I’m so late with this review, well, the lateness might as well substitute AS my review.

I just have no enthusiasm for this miniseries.  I completely forgot to pick it up last week, meant to get it sometime this week, eventually decided I’d just grab it on the weekend… If I didn’t have anything better to do.  If I felt like it.

So I bought the comic, I read it, and I just can’t muster the energy to get mad at it for being so boring or anticlimactic.  I guess one could say it’s the hallmark of a truly underwhelming piece of work when it can’t even inspire distaste or outrage.  It’s one thing for a work to be remembered as terrible, but it’s an even greater blow for a work to be forgotten entirely because it’s so meaningless and dull.

80 pages altogether and I think I could summarize the whole story in three sentences. 

April and Casey drive out looking for the Pantheon.  The Pantheon finds them and tells them that a new storyline is about to begin in the ongoing TMNT series.  April and Casey drive back to New York.

Maybe that’s the biggest disappointment of this miniseries.  It’s slow and doddering, but such a pace could be forgiven if it leads to a fulfilling climax.  Casey & April ultimately amounts to a decompressed advertisement for a BETTER storyline about to unfold in the TMNT ongoing series.  “Hey guys, thanks for buying our miniseries, but the REAL action is going to happen over in the main book.  All this was just to get us through four months until #50 could be finished and reset the narrative.”

Everything leads up to Aka telling April (and the audience) that the Pantheon is coming and they’re going to be the new Big Bads after the Foot take a snooze following the “Vengeance” storyline.  THAT was the payoff for this whole miniseries.

But did it tell us anything we didn’t already know?  The machinations of the Rat King and Kitsune have been ever-present in the ongoing for a while now, so we already knew that they were building themselves up to be the new antagonists.  The previous miniseries, TMNT/Ghostbusters, even expanded the Pantheon a bit and gave us more of an idea about them.  Aka’s dialogue tells us NOTHING except maybe some metatextual bullshit about “change” (which we already knew was coming because we’re reading the ongoing).

So hey, maybe an argument might be made that this miniseries wasn’t about the story, it was about the character development.  But WHAT character development?  The relationship between April and Casey?  Over the length and breadth of this storyline, it amounts to “sometimes they fight, but deep down they really love each other”.  Didn’t we already know that, too?

Accompanying the lack of payoff is the lackluster presentation in both script and art.  Tamaki’s dialogue, as I’ve pointed out before, is stilted and awkward.  There’s that “talking at each other, not with each other” element I spoke of in the past, but there are little things that irk me even more than such setbacks.  When Casey answers Leo’s phone call, he says, “It is good to hear your voice.”  That’s just… weird.  “It is good”…?  Casey sounds like a robot.  Maybe the line was supposed to be, “Is it good to hear your voice” and the letterers (both of them) messed it up.  I don’t know, but it sounds clumsy.

There’s also the lazy, on-the-nose symbolism that’s been plaguing the book since it began.  The heart-shaped rock from the first issue was bad, but the series actually ends with April and Casey driving directly into a storm on the horizon.  Look, that was clever when “Terminator” did it in ’84, but it’s been thirty years.  The old, “There’s a storm on the horizon” bit just doesn’t hold up like it used to.  And especially when it comes after that ponderous speech about “change” and the impending “war”, etc.  These are some pretty ancient clich├ęs that I’d thought most writers had cast away long ago.

And then there's the Japanese bird-lady named "Aka".  "Aka" is Japanese for "red".  Casey refers to April as "Red".  Is there supposed to be some deeper connection between Aka and April?  Aka said April would be important in the changes to come and took a special interest in her, but what does the whole "red" bit have to do with anything?  It's pointless, half-baked symbolism.

As for Koh, she isn’t a bad artist, but her style is listless.  How could Casey fighting a dragon seem so boring?  There’s such a glut of negative space in this series, particularly these last two issues that happen within the thin place, that there isn’t anything to look at but the characters.  Yes, there's motion to them, but when we can't see them interacting with anything, we've no sense of scale or weight, which makes even the most kinetic sequence feel static.  

And, on a completely subjective level, the “manga-wannabe” aesthetic is off-putting to me.  If I wanted to see someone fumble around trying to draw “anime”, I’d browse Deviant Art or flip open a seventh grader's marble notebook, thank you.

The entire miniseries feels amateurish.  It wants to be a romance story first, and I get that, but it doesn’t actually develop April’s and Casey’s relationship in any meaningful way.  They’re pretty much the same at the end as when they started.  The characters can pretend like it's different, but "we're opposites but we love each other anyway" is not a drastic shift regardless of their labored response that tries to convince us otherwise.  

There’s the whole narrative about the Pantheon, but it doesn’t tell us anything we didn’t already know thanks to the ongoing.  This whole miniseries is a superfluous detour at best, killing time until the main book reaches #50.

I want IDW to experiment with different genres and takes on the TMNT characters; I think that’s AWESOME.  And, of course, not all those different takes are going to hit the mark.  From my perspective, Casey & April missed the mark by a wide margin.  That doesn’t mean IDW should double-down on “typical” Ninja Turtle stories or anything; there’s lots of room out there for more offbeat TMNT literature.

I’m just saying that Casey & April sucked.  That’s all.

Grade: F (as in, “For what it’s worth, ‘sucked’ might be too strong an appraisal.  You could probably skip this whole miniseries and not even know you missed it.  ‘Pointless’ might be the operative adjective.”)

Sunday, September 27, 2015

TMNT Comic #1

Originally published by: Titan Magazines

Publication date: June, 2007

Script: Tristan Jones
Pencils: Anthony Williams
Inks: Martin Griffiths
Colours: Junior Tomlin
Letters: Jimmy Betancourt and Comicraft

“Extreme Measures”


The year is 2105.  The Turtles accompany Cody O’Neil to the Galactic X-Treme Hoverboard Tournament: A promotional event for O’Neil Tech where Cody intends to unveil his latest hoverboard design to the masses.  

Watching a monitor, Raphael catches a glimpse of the hoverboard champ, Karbon “Zip” Zemo, and is unimpressed with his skills.  Cody informs Raph that Zip helped design the new hoverboard he’s unveiling, but Raph isn’t swayed.  Meanwhile, a shape-shifting alien takes on Zip’s form and plots to kidnap Cody for ransom.

As the Turtles and Cody head to their seats, Cody stops to check in with Serling.  The fake Zip uses this opportunity to lure Cody away from Raph and Mikey.  The two Turtles turn around just in time to see the imposter snatching Cody away.

The Turtles give chase right into the hoverboard arena.  They grab a pair of boards and fly off after the alien.  Mikey gets knocked out of the race, leaving just Raph to show off some sweet moves.  He then launches his sai at the alien, knocking him off his board.  The real Zip then zips in and catches Cody.

After Constable Biggles takes the alien kidnapper away, Cody unveils his new hoverboard design to the audience.  Zip, having been so impressed with Raph’s moves, hands him the trophy and announces him the winner.  Cody tells Raph that part of the prize is the new hoverboard, but Raph declines, insisting that an old fashioned skateboard is more his style.

Turtle Tips:

*This story is continued in TMNT Comic #2.

*This story takes place during the sixth season of the 4Kids Teenage Mutant Ninja Turtles cartoon, when it was rebranded Fast Forward.

*Mikey ribs Raph for losing to him in the Battle Nexus Tournament, which happened in the season 2 episode “The Big Brawl, Part 3”.

*This issue of TMNT Comic also included the first 9 pages of TMNT Movie Prequel #1: Raphael, with new colors by Junior Tomlin.  

*These magazines contain many other features, including interviews and product previews, but I’m just going to focus on the comics.


Yeah, Fast Forward was that obvious “jump the shark” moment that pretty much ended the 4Kids TMNT cartoon.  Admittedly, the Ninja Tribunal season that came before it wasn’t superb, but it still felt like more of an organic continuation of the series than Fast Forward ever did.

Alas, Fast Forward was immortalized in a comic magazine in the UK, which means I have to review it.  Special thanks to “Demon-Alukard” for helping me find these.  They may not be very good, but I appreciate having more fodder for my site!

Now, when I say that they aren’t very good, that doesn’t mean that they’re oh-holy-shit-god-awful or anything.  They’re just very bland and typical; everything you expect from short magazine comic strips.  The UK has a history of publishing these sorts of TMNT comics: Fleetway did it in the ‘90s, Titan did it in the 2000s and Panini is doing it now.  So I guess this is a tradition or something.

Author Tristan Jones, who has written some of the best TMNT comics for Mirage, tries to milk what he can from the Fast Forward theme.  There’s an extreme sports setting, an alien villain so bland he doesn’t get a name, and appearances from such lesser Fast Forward supporting cast members as Serling and, ugh, Constable Biggles.  The humor is very dry and the story goes through the motions.  He peps it up with some running gags from the show, such as Mikey mocking Raph’s loss at the Battle Nexus, but it’s all pretty ho-hum.

Anthony Williams does a good job capturing the style of the TV series, and the colorists likewise get the pallet down.  Fast Forward was also the season where the budget sort of fell out for the show and all the characters got these new angular redesigns so they’d be cheaper to animate.  It wasn’t nearly as ugly as Back to the Sewers, but it still didn’t look very good.  Not that I’m pinning the blame on Williams or anything, I’m just saying he didn’t exactly have the best house style to work with from the start.

Also included in this issue is the first 8 pages of TMNT Movie Prequel #1: Raphael.  I’ve already reviewed that comic, so I won’t go into it here.  I will say, though, that the colorization job looks excellent.

With my Mirage reviews nearly exhausted, I’m sort of left to dig through the odds and ends of the TMNT comic catalog to find content for TMNT Entity.  I have handfuls of these UK magazine strips from the various eras, though none of my collections are complete (my Fleetway library has a ton of gaps).  

I’m missing #12 of these Titan Magazine comics and I cannot, for the life of me, figure out if they published a #13 (the indicia says the book was published 13 times a year, but that doesn’t mean it couldn’t have been cancelled early).

If you know more about them, give me a shout in the comments section.

EDIT: Mystery solved!  13 issues!  So I now have a thumbnail of the cover for #13, which is at least enough to make a placeholder article, though I don't know what's in the issue beyond the Tales of the TMNT partial reprint.  But at least it's something.  Thanks, commenters!


Saturday, September 26, 2015

Tales of the TMNT (Vol. 2) #27

Publication date: September, 2006

Plot: Chris Allan, Dean Clarrain and Peter Laird
Script: Dean Clarrain (Steve Murphy)
Art: Chris Allan
Frontispiece: Michael Dooney
Letters: Eric Talbot
Letters page art: Diego Jourdan

“White Horses”


Frontispiece: April, dressed as Nobody, is perched on a rooftop, looking down at the city.  She ponders to herself that she no longer knows who she is and decides to tell us a story…

At the Pioneer Bar on the coast of Sitka, Alaska, April meets with a man named Ken.  Ken tells her that he’s loaded up her kayak with supplies and that the cabin she’s rented has also been filled with provisions (April intends to spend a month alone there).  She thanks him, gives him the keys to her motorcycle, and as she heads out, she notices photos of boats all over the walls.  Ken tells her that in the fishing town, one’s boat is their livelihood and they’d best take care of it.

As April journeys toward Kruzof Island, she considers the 4,000-mile journey she’s so far undertaken in her attempt to find herself.  She would call it “soul-searching” but isn’t sure that, given her origins, she even has a soul.  When she reaches the next coast, there is nowhere further, physically, for her to go.  April considers it the boundary between this and the next world and wonders what the next world must be like.

April explores the island and reads up on the history of the Tlingit natives who once thrived there.  She reads about their devotion to nature spirits, and as she’s accosted by a raven near an ancient fire pit, wonders if it was a spirit.  She also reads up on the various attempts by white men to settle the island.  In the forties, when one attempt failed, the white families vacated, but left a single white mare behind by accident.  April feels pity for the poor creature who was left all alone.  For years, visitors would spot the white mare and wonder how she survived the winters all by herself.

Suddenly, she’s disturbed by an old lady who introduces herself as Onida, a Tlingit of the Raven clan.  She tells April that she’s “pretty as a picture”.  Incensed by her choice of words, April storms off in search of solitude.

Later, April continues to rough it on the island, but is disappointed that she’s merely existing rather than thinking.  One day, a grizzly bear gets her scent and Onida reappears, urging her to back away slowly until the bear is out of sight. 

The two camp out on the beach and get to know one another.  Eventually, April tells Onida about her origins as a drawing.  She fears that it was her father’s belief in her that has maintained her existence, and now that he’s dead, she doesn’t expect she’ll last much longer.  With some coaxing from Onida, April admits that she came to Alaska to die.

Onida is not surprised by April’s tale, but rather, tells her that life and death are far more complex for anyone to understand.  Everything a person does in their life is part of the life/death equation, even down to the smallest variables such as how they eat or how they drive.  Onida says that life and death, ultimately, are a matter of choice.

Later, April continues exploring the island and considers Onida’s words about choice and isn’t sure she can choose to leave such a beautiful world behind.  Suddenly, the grizzly bear from earlier spots her and chases her to a cliff’s edge.  April falls over the side and hangs on for her life.  The bear sniffs the air and leaves her alone.  April slips partway down the cliff and tries to hang on, but wonders if she should even bother.

An image of Splinter appears before her and she thinks it means that she’s about to die.  April decides that she’s not ready to die, that she wants to live.  Onida appears above her and asks if she’s sure that she wants to live.  April confirms and Onida extends a hand to help her up.

Sometime later, as April heads back to the mainland on her kayak, she waves goodbye to Onida and thanks her for saving her life.  As she turns her back, Onida transforms into the white mare and thanks April for remembering her.

Turtle Tips:

*April left on her road trip in TMNT (Vol. 4) #23.  She will return from it in TMNT (Vol. 4) #31.

*April learned her origin in TMNT (Vol. 4) #14 and revealed it to Casey in TMNT (Vol. 4) #22.

*April debuted as the new Nobody in TMNT (Vol. 4) #20.

*April’s father died in TMNT (Vol. 1) #56.  Splinter died in TMNT (Vol. 4) #10.

*This issue was dedicated to the memory of Steve Irwin.


Alright, this may very well be the last Steve Murphy TMNT comic I ever review.  It’s certainly the last one in my archives, anyway.  I guess, with this being my last Murphy issue, I should clear some things up.

I give Murphy a pretty hard time on this site.  I don’t think I’m necessarily picking on him, as I always couch my criticisms with examples as to why I don’t like this or that, but I do seem to hit him harder than I do other writers whose works I don’t care for.

Look, Steve Murphy (whether he’s using his pseudonyms “Dean Clarrain” or “J.D. Vollman”) is the most prolific writer in the TMNT franchise, bar none.  No other writer even comes CLOSE to matching the number of stories Murphy has written starring the Teenage Mutant Ninja Turtles or their extended universe.  The volume of his catalog is staggering and I honestly never imagined I’d reach the bottom of it.

But that also means that he has more bad stories than any other TMNT writer.  Also, potentially more good or average stories.  But that’s just the end result of having written more stories than anybody else.  So for those of us who tend to focus more on the negative than the positive, it can seem like I’m endlessly ripping into him and his accomplishments (while my positive reviews flutter by unnoticed).

But it’s more than just Murphy having written a lot of bad Turtle stories as a byproduct of writing so many Turtle stories in general.  There’s this polarization between Murphy’s better and worse works that I’ve never seen in any other Turtle author.  When Murphy writes a good story, he writes one of the all-time best.  And vice versa, when it’s a dud, it’s a HELL of a dud.  And as I mentioned earlier, it’s much easier to notice a foul smell than a pleasant one, so the swine tend to stand out above the pearls.

And as I’m sure you’ve noticed, when I criticize one of Murphy’s lesser offerings, I tend to get irritated by a single setback: His propensity for using the characters as mouthpieces to parrot his personal opinions.  I’ve yammered incessantly about this and I don’t want to go into it again, but it is something he has always done to the point that it might as well be a “Murphyism”. 

Whether it’s the characters coincidentally reciting verbatim Murphy’s views on politics, religion, environmentalism and fashion, or the narrative warping in a way to present the figures Murphy dislikes as villains and those he looks up to as virtuous, you will find all that and more CONSTANTLY throughout his body of work.

Much of the time, the actual characters and story get lost in the personal message Murphy is trying to convey, and rather than trying to be well-informed or educational, they’re usually a case of “what’s bothering me this week in the world of politics or sound-byte news”.  I guess when you’re writing an average of 5 TMNT stories a month for 20 years, inspiration begins to come less frequently and you’re often left with no recourse but to adapt your blog into a comic script to meet your deadline.  But whatever the circumstance, the comics could be pretty fucking rotten.

But when Murphy’s works are less personal, at least on an “I’m holier than thou” level, he’s shown the capacity to write some of the greatest TMNT comics in the canon.  It’s my relief and pleasure to say, after this extensive tangent, that “White Horses” is one of his best stories.

So getting on-topic, “White Horses” was written as the follow-up to Laird’s controversial new origin for April.  I don’t think I’m being out of line when I say that a LOT of fans detested that story from Volume 4 and time has not come close to healing the wound.  It was pretty bad.

There are any number of colorful euphemisms to describe the intent of “White Horses”.  Is it “making diamonds out of coal”?  Is it “polishing a turd”?  And they’d be right on the money, yes.  But however you want to describe it, this story takes one of the worst TMNT comics ever written and uses it as a platform to give us one of the best.  Do the ends justify the means?  No, maybe not.  April’s origin is still stupid as fuck.  But “White Horses” essentially tells us that “it doesn’t matter, you can forget about it” and that might be the best advice Murphy’s ever given us.

The purpose of April’s origin as a doodle brought to life by a magic crystal was mystifying for a plethora of reasons, but I think the question that lingered in most everyone’s mind was “why?”  What was the POINT?  On the surface, it seems that it was done just to give April something to DO.  Something to make her relevant to the narrative again.  April’s journey to “find herself” was the outcome of that new origin.  This is what she DID.  This is how she was RELEVANT.

So with that in mind, this is one of the most vital issues of Tales of the TMNT Volume 2.  In TMNT Volume 4, April finds her origin, vanishes from the book entirely and then returns good as new.  If you missed this issue, then her new origin comes across as more meaningless than ever because the ongoing omits the story the origin was used to setup.

I honestly can’t imagine reading through Volume 4 and NOT inserting this issue somewhere between #23 and #31.  Well, actually, I CAN imagine it.  And it would be awful.

“White Horses” is something of a spiritual successor to Murphy’s more famous TMNT masterpiece, “Sons of the Silent Age”.  In that story, Raphael is going through a similar nihilistic dilemma as he ponders his inability to reproduce and decides that nothing he’ll do in life will ever matter, so what’s the point?

April, too, is in that same predicament, but whereas Raph’s concerns could be brushed off as teenage melodrama, April’s issues have a bit more weight to them.  She’s even less of a person than Raph is; at least Raph was born from a mother.  April is “art imitating life”, as she so nicely puts it in this issue.  She isn’t “real”, as least by her appraisal, and therefor she wonders if she even has a soul or a true consciousness.

While the accompanying monologue and many of the metaphors seen in the issue can seem pretty heavy handed (the thing with the boat at the beginning), there’s a certain flow them to that keeps the proceedings from feeling melodramatic or whiney.  The sincerity of April’s predicament causes us to forget the stupidity of how the whole thing started.

The bigger bombshell is the revelation that she came to the forest to die.  Murphy doesn’t elaborate on exactly what that means; did she come to commit suicide or did she come expecting to wink out of existence like her prototype “sisters”?  Either way, she wasn’t expecting to ever go home again.

It casts this somber net over everything that preceded the revelation, and when you go back and reread the issue, you can tell just how well Murphy set the whole thing up.  

April poetically refers to the coast off the island as a boundary between this world and the next, wondering what the next world would be like.  In actuality, she wasn’t waxing poetic at all, but was pondering what would happen to her when she died.  

There’s a montage where she tries out some foraging tips and enjoys the fruits of her labors, eating a fresh meal she gathered herself, but also hates herself for enjoying it.  You don’t really get why, at the time, but it’s of course because she came to the island to die and she’s mad that she’s doing the opposite of that: Surviving.

There’s even a subtle hint at the very start of the issue, as she gives the keys to her motorcycle to the old man at the bar.  On the surface, you might think it was just her asking him to watch the bike while she’s gone, but the reality is that she was giving the bike away because she wasn’t expecting to go home.  Pretty dark stuff.

April is still rather bland in the story, but I think that’s a reality I’ll just have to make peace with.  Mirage April will always be bland; that IS her characterization.  And it doesn’t hurt the narrative any, either.  April comments that all she’s been doing in this story is “existing” and, in a metatextual way, that’s all she’s EVER done in the TMNT comics.  Has it been a life worth living?  Does it means she should die?  Well, she figures that out.

The stuff with the Tlingit woman and the white mare add a nice supernatural element to the story to give it a little pizzazz.  To my surprise, Murphy restrained himself from including segues into the plight of the Native population and the evils of white settlers; probably a first for any story he’s ever written involving Native characters.  In fact, this story is completely devoid of any tangents about environmentalism or white guilt or the evils of industry, and is instead a focused tale about April finding a reason to go on living.  No doubt, that focus and restraint is one of the reasons I think this ranks among Murphy’s best works.

Chris Allan returns for art, and this may also be the last time I ever get to talk about his stuff, too.

While I don’t think this script was necessarily tailored to his more superficial strengths (there's no action), and it’s certainly not Allan’s flashiest work, it is still a solidly penciled installment.  Allan has always excelled at expressions and body language, but he employs a lot of subtlety in these pages.  April is down in the dumps, but not cartoonishly so.  He doesn’t telegraph her suicidal attitude, but you can tell throughout that there’s something deeply, deeply wrong with her just by looking.

Allan doesn’t half-ass any of the nature or scenery in this issue, either, and it is a VERY lovely comic.  One of the themes involves the beauty of the natural world inspiring April to find meaning in life, and Allan sells it exceptionally well.  His grey tones are also nicely done and the whole issue has this sort of overcast look to it; it FEELS like it takes place in Alaska, not in the dead of snowy winter, but in the nippy, wet, gloomy months beforehand.

Alright, I’m going to wrap this up since my review has gotten absurdly long.  I doubt anyone has even made it this far.

Essentially, I’m glad that of all the Murphy comics in his library, I saved this one for last.  I’m glad that I decided to end on a good note with him.  He has written TMNT comics that I have absolutely despised, many of them, in fact; but this is one I positively love.  He takes one of the worst TMNT plots and spins a meaningful tale out of it.  And more than that, he writes a story all about April that is actually INTERESTING.  Such a thing has rarely been done.

Grade: A (as in, “And then April goes back to Volume 4 and returns to acting like a melodramatic shithead.  Oh the difference a writer makes”.)

Friday, September 25, 2015

Reviewed Akira Vol. 1 over at AIPT

I've begun reviewing Katsuhiro Otomo's critically praised Akira series over at Adventures in Poor Taste. 

Here's my review of the first volume!

I've seen the movie a bunch of times, of course, but this is my first time checking out the source material.  It was pretty much as good as everyone always says it was. 

I'll be doing the next volumes soon.

More TMNT reviews this weekend, hopefully.  I'll try to find the time.