Ianさんのイラストまとめ

Raph wanders away from a campfire (April worrying he's going to leave them) to find the dying fish-woman mentioned above, her people succumbing to poisoning from a nearby nuclear powerplant. April attempts CPR, which causes her four male counterparts to think she's being hurt.

Murphy (of Puma Blues) takes a light hand with the dialogue this issue, and I love things like Raph's evasive conversation at the beginning, telling Casey he couldn't possibly understand since "he's human." "You're crowding me. You're both crowding me. Don't crowd me."

Vol. 1 #26 "The River" Part 3

Raphael returns and Bloodsucker is defeated in what is by far the most fun and interesting issue of the three-parter.

Vol. 1 #24 "The River" Part 1

Rich Veitch's "The River" three-parter has never been reprinted due to complications over the ownership of its antagonist Bloodsucker, whose rights Veitch retains. A shame, as it's one of the most "in-continuity" stories of this era.

Or the size differences between the source and head of the blast here, combining with the background detail to imply so much power and speed. In a single panel.

Also, imagine my surprise to realize this reread that THIS was the first instance of "Utrom" in reference to the TCRI aliens. Back in '88. For some reason I thought it didn't work its way into any fiction until the post-revival era.

I have zero complaints with the victory spread, and the decision to go with a thin white line and a cut-away rather than anything graphic. The ending funeral pyre is great too. Unfortunately ... that's the last scene in the issue, and...

"Bottoming Out" #shellshock #mirageread

Splinter sends a drunk man on a vision quest to encourage him to attend literacy programs in a story written for the fundraiser above. It's elevated by an ending in which Splinter obliquely refers to both the Turtles and the man as "sons."

Vol. 1 #4 #mirageread

The series undergoes its first little transition, delving into more serialized plots and further defining the Turtles' personalities, in the best issue since #1 (and maybe even better than it). This is also the last of the two-tone covers.

While the book’s best is indeed later, you needn’t wait at all for Mirage regular Steve Murphy to elevate it via memorable purple prose and a level of class consciousness seen nowhere in the cartoon or adaptation issues, even while still in full-on goofy toy-shilling mode.