Drew: Last month, Patrick laid out the difference between time travel narratives that amount to fish-out-of-water stories and those that are actually about time travel — that is, those where the actions and repercussions of time travel are the point of the story. Turtles in Time 1 fell squarely into the first category, basically giving the Turtles an excuse to run around with dinosaurs for a while. It’s certainly a noble endeavor (and darn successful — we loved the heck out of that issue), but for a mini-series titled Turtles in Time, it seems only natural that the focus should shift back to the time travel itself, bringing all the concerns of causation and the space-time continuum to the fore as the Turtles encounter themselves pre-reincarnation in feudal Japan. Continue reading
Patrick: I’ve always considered Back to the Future Part II to the be only movie in the series that’s really about time travel. The first movie is kind of a send up of the ’50s (through the eyes of ’80s, all of which is hilarious in the ’10s), and the third one a fish-out-of-water cowboy story. It’s only really in the second film that the consequences of time travel become the subject of the story, and not just the result of the story. This isn’t a knock against the other flicks at all — you should never underestimate how much fun it is to put characters in a time which they don’t belong. Free from any worries about paradoxes and time-loops, Teenage Mutant Ninja Turtles in Time sets out to simply have fun plugging the iconic characters into a history that has no place for them. And holy shit, is it fun. Continue reading
Today, Patrick and Taylor are discussing Teenage Mutant Ninja Turtles: Utrom Empire 1, originally released January 22nd, 2014.
Patrick: Leadership is the damnedest thing. Unless the people you’re leading believe or value the same things you value, everything falls apart. Hearts and minds, right? Without ideological unity, imperialism fails. These are the kinds of thoughts that didn’t bother 9 year old Patrick — nor should they have — so I never considered the tenuous position Krang finds himself in constantly: fighting for an empire that no one even seems to give a shit about. In Paul Allor and Andy Kuhn’s Utrom Empire, Krang’s authority is tested at every turn, and the abstract concept of the “Utrom Empire” starts to take the mythical shape of a force bigger than any one character’s ambition. It’s about fear, it’s about power, it’s about survival. Continue reading
Today, Drew and Patrick are discussing Secret History of the Foot Clan 4, originally released March 20th, 2013.
Drew: In my experience, there are two types of characters in action movies: those that act like it’s no big deal that that car just blew up, and those that understand that HOLY SHIT THAT CAR JUST BLEW UP! The former is obviously more badass, and I think captures a kind of aspirational relatability in the audience, even if the latter is ultimately more relatable — who wouldn’t freak out if they were caught in the middle of an action movie? Curiously, the relatability may make the characters in the latter category less realistic, as their presence often draws our attention to the artifice of the genre. It can be tricky to balance these characters (or these traits within characters), but Secret History of the Foot Clan continues to do so with aplomb. Continue reading
Today, Taylor and Patrick are discussing Secret History of the Foot Clan 3, originally released February 27th, 2013.
Taylor: It’s weird to consider the effect that our legacies have on us. Who are family is and was, where we have lived and what we have done all impact us greatly when it comes to crafting our current identity. For some, a legacy is a source of strength and pride, while for others it may be the cause of embarrassment and pain. But speaking in the context of just a single lifetime, a person’s legacy can greatly influence their future actions. For a fun example, let’s take George Lucas. The man who created a classic and beloved franchise was so enamored with his legacy that he refused to listen to others when it came time to create his ill-fated prequels. Perhaps he was enamored with his own legacy as a genius myth-maker or perhaps he simply let pride get in the way. Nonetheless, his past influenced his actions, the resulting in a set of films that many felt betrayed his previous endeavors. It’s interesting to consider the role of legacies at play in the Secret History of the Foot Clan both — narratively and creatively — because they cannot be ignored in either instance. In this case, is the legacy a source of strength or a source of weakness?