Infestation 2: Teenage Mutant Ninja Turtles #1

As this is only a single issue I will only give it a slight review, this will be brief ( by my standards).

 

 

I think I grew up at the exact wrong time for the Teenage Mutant Ninja Turtles: too old for the original series, too young for the more radical reboots and so I hold the nefarious amphibians no real amount of nostalgia. Sure I like real turtles, ninjas are cool and the idea of them enacting feudal Japanese conflicts under modern day New York is interesting but for years i’ve always just considered them a children’s character. I mean their biology is sillily inaccurate, resembling our own more than that of an actual animal, especially when it comes to the diet; their ninjutsu skills are stylish but their swords are blunted, knocking opponents out rather than dismembering them and their stories are always closer to “Star Wars” than they are “The Hidden Fortress”. Now that I think about it I have to wonder; maybe it’s got nothing to do with time, maybe i’m just not a Turtle person?

Half an hour ago I would have thought so, but then I sat down to read this intriguingly titled issue which was both part of a prize I received at the NonCanonical show and part of an ongoing crossover that is connecting all of the IDW titles, though I had no idea what that was at the time. So I opened up the book, expecting boyish antics and exaggerated but impact less action scenes, in other words a stupid but skim able book, only to find that I was in fact the idiot. The first line of dialogue comes from the mouth of Donatello and to my surprise it wasn’t a pizza based pun, but a Lovecraft reference. The infestation in question is not one of vermin – like say turtles and rats in the sewers – nor is it some biological contagion, instead it is Cthullu and his army of betentacled beasties that infect the IDW universe; so you could say that the situation is actually quite serious.

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Blue

Using out of space aliens as a metaphor for out of state aliens is not a new literary technique and so as soon as we see the blue creatures of Blue disembark from their strangely designed ships onto the beaches of some small coastal Sydney town we know instantly what it is that they are here to represent and why author – and artist – Pat Grant has chosen to include them, though the places that he takes them to are entirely unexpected. For one we  are shown early on a future in which they have taken over the town, passively tearing it down with the wake of their weird tentacles; an image that sort of damages any possible positive message of acceptance that we may be expecting from such a story. That’s not to say though that this is a racist or even a conservative text, not in the least, it’s all simply a matter of perspective. The biggest shock of all about where Pat takes things though comes when he takes the creatures off the page during the pre-credits cold open and then leaves them there for almost the entirety of the book. From there we are only ever shown these blue people through the eyes of three native Aussies; the subaltern never speaks and though this seems like it should disenfranchise them further, that approach is actually entirely besides the books point and purpose. Through Blue’s moral Pat is not trying to correct a mannerism in the men and women that come to this country, but rather the way in which we who are already here embrace them, if at all. So it is only fitting that he has chosen this focus for the book.

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