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Latest Updates from Our Project:
Varner MiniDoc Update
6 months ago
– Tue, Sep 09, 2025 at 05:02:15 PM
Hey all, Isaac indeed returned from his LA production swing with some interesting new material and there were some even more surprising results of Isaac being there. Steve is selling some treasures!
I'm going to pressure to get his head out of the toy factory for a while to write something up about his latest time with Steve (and with somebody else) and share some pics shortly, but for now, you can see at least some of what Isaac was up to by checking out this video from Pixel Dan, a true friend, supporter and Turtle fan, who was excited to see what Isaac discovered.
Note that some of what you see in this quick piece below is material that will be part of that Varner minidoc and it is a unique look at some very cool TMNT history - and more...
A Reminder for Address Changers!
7 months ago
– Thu, Jul 31, 2025 at 10:02:42 AM
Hello!
For those who want/need to change their addresses, please take a read below:
First thing is that there is lots of time. We're still working on things and you can change info easily before we lock any addresses. Once we lock, then we have to make all changes.
Select “Survey” and then “Edit Address” (which you should be able to do for a while yet)
We are also using Backerkit, so that can also be done there by going to our Backerkit page HERE
Login using the email you use on Kickstarter.
Click on your survey.
Find the section labeled "Shipping Info" or "Address"
Click "Edit" or "Update Address" to make any necessary changes.
Click "Save".
(if you lost your link, you can probably retrieve it HERE)
This has been a handy PSA!
A Summer Update!
7 months ago
– Tue, Jul 29, 2025 at 06:47:40 AM
Hey all, we're still here! We're still working. We're making progress. It is challenging, but we are winning and getting closer every day. Are we super close? Well, we have a lot more to do, but we're still doing it every day.
First up: Production on the Movies
As you know, we have gone through ridiculous changes in the business, so we have been struggling to get the final chunk of production lined up and I am here to tell you that Isaac is finally set to go to LA in a few weeks to work with Steve Varner on that final set of production pieces! I'm not going to list all the things that have happened in our collective lives (meaning you, us, the world), but let me tell you, everyone involved (including Steve) has had way too many big life changes and we're hoping for a much more normal 2025 ahead. Please?
To that end, the movie work should be back on track after Isaac shoots out this final round of production and we can begin incorporating this material into the existing cuts. For those who are concerned about the movie, fear not. Producing movies is exactly what we are best positioned to do. This only challenge here is managing the amount of footage and putting it together in the most effective, efficient way to get in front of you. I guess there is one pinch point here, and it's the most obvious one. Even though we have other editors in our circle (including a new one who is my only begotten son), Isaac is the only person conversant enough with the footage to hold it all in his head, find the right moments and lay them into the different cuts. He is truly the Keeper of the Archives and he is being pulled in every direction, as you will soon see. Literally, because I have nagged him to put together a short video showing you the insanity of his work in the factory he's building to make the best possible toys.
However, once he comes back from this final LA swing, I'll nag him again to put together some video of what he did out there and I'll get that up here for you.
By now, you've probably seen the ad he made as well (HERE IT IS) but did you also know that one of the other things at which we've been working?
Yes, we're helping make Fathom's 35th Anniversary screening of the beloved 1990 TMNT movie even more exciting with some unseen footage from our archives and a few tidbits from Isaac's re-watch with Steve Barron. Check your local listings for a chance to see the movie again AND to see a little bit of what you'll be getting more of once we've finally finished this massive undertaking.
Second: Toy Talk
I know we've said it before, but this is the single biggest and most demanding part of the Kickstarter. That is because Isaac is a Toy Guy and so many of the TMNT fans are also Toy People with high expectations and Isaac needs our toy rewards to be the best that they can be. The amount of R&D and design and care and worry and (I'm being honest here) time and money that he's pouring into these toy rewards has far surpassed our expectations. And his. Because he is, like so many of you, a Turtle Fan as well as a Toy Guy, he has been exacting in his requirements. The details are everything here and he is trying to do everything in a way that ticks all the boxes and gets people excited. Having said that, it is agonizing. You can learn a little more about all the wild collector's mania involved in the process of what he's trying to make for you.
Note that this video was put together by Isaac, at the factory, very quickly as he works and howls and battles the machines and clenches his fists at the sky.
And finally, my Book Update.
In this part of the update, we again realize that books are long. Maybe too long.
As of April, I had cut the way-too-many words-for-one-book down to a more manageable count, but as we started to lay it out for production quotes, we realized that we would be pinching the photos which are so much a part of this story. We have a lot of photos and I had a lot of words. That meant I had to do another round of editing and friends. Friends, this is a huge book, it is intense.
This time, I did some restructuring, which has helped. I'm currently finished Chapter 9 (an excerpt of which I will include below) and then I have only four more chapters to be done (again, again). In the spirit of transparency, I'll share that my Nickelodeon chapter is still too long and so I have to make some deeper cuts there. These will be cuts for redundancy, which means that I will be further trimming the interviews we did with artists working on the 2012 series, since I am loathe to trim any more of the conversations we had with Ciro, in particular.
As a further comment, my daughter is a fantasy novelist (M.K. Lobb if you're in a bookstore) and I've watched her wrestle with editing and page count over the last few years, but I have never seen a look of horror on her face comparable to the look on her face after I told her the first word count of this book. It's a monster, but I'll tame it to the right length for the photo inclusion, which I hope goes much more smoothly and with less sitting at a computer banging my head on the keyboard. For those completists among you worried about me cutting truly good stuff, fear not. I'm ONLY cutting redundancy and cruft. No deep cuts!
And now, here is the excerpt for your perusal:
What follows is an excerpt from Chapter 9 of the book and deals with IDW’s assumption of the TMNT franchise which, of course, includes Kevin’s triumphant return to working on the Turtles. This section is comprised of two separate interviews with Kevin and the excerpt I’m including here is a chunk from a 2016 on-camera sit-down with him at his IDW office in San Diego. At the time, we were shooting interviews at Nickelodeon’s Burbank studio and really focusing on the 2012 series and this was a kind of capper to that. PS how surprised would I have been to know how much more was ahead of us…
Kevin had an amazing office at the San Diego Comic Art Gallery, which had the exact kinds of treasures you'd expect. We hadn’t seen him in a while and it was great to catch up, but after greeting him, something felt different. That’s why I’ve included this particular excerpt here. During this interview, Isaac and I found Kevin to be surprisingly revealing, far more open to discussing some issues than he’d been more hesitant years before. Yes, he was more comfortable with us because of how long we’d been working on these docs, but it was more than that. Clearly, something had changed in his life.
This was a few years after Turtle Power came out, which means after Kevin and Peter reunited, something with which we were involved, as it turned out. Here, you’ll see Kevin’s description of that happened and how it affected him. Most people know Kevin to be incredibly generous and kind, but here, looking back on his past, we saw more poignant introspection. For us too. After the interview, I was once again struck by the impact these people have had on our lives. The only reason any of this was possible was thanks to the kindness, honesty and openness of Kevin Eastman, Peter Laird and the people in Turtle world who were willing to share their stories with us over the years and I am so grateful.
Definitive: You’re back in creator mode, like the old days!
Kevin: It's incredible! Peter and I were just two guys hanging on for dear life, barely keeping up with the success. I mean, we put out the first self-published comic in 1984, and by 1988, the cartoon was airing. That's four years! It was a whirlwind, and we were working 90-hour weeks just to keep up with everything. People might assume we were off lounging somewhere, but honestly, it was intense, nonstop work.
Definitive: It’s amazing when artists engage with a franchise with that passion and excitement.
Kevin Eastman: The creative people I work with now, like Tom and Ciro, grew up with the Turtles, and they're passionate. They pour love into every episode and comic book and they don’t want their jobs because it’s cool, they want to tell the best Turtle stories they can. They want to take what Pete and I created, and go beyond it. That’s what’s cool.
Definitive: Turtles fans from one generation are now the creators shaping it for the next.
Kevin Eastman: That's what makes it special. At conventions, I see original fans who are now parents, bringing their kids to the Turtles. Working alongside creators who are just as passionate, it's like we're passing the torch. This isn't just about creating a comic; it's about continuing a legacy with people who truly love and respect what the Turtles mean to so many.
Definitive: Do you like how you and Pete have become so inspirational for other artists?
Kevin Eastman: I joke that I "hate" these artists, but really it's just pure admiration. They draw the Turtles better than I do! It's surreal to meet talented folks like Matteus Santolouco, for example, and see the level they bring to the series. It's this whole new layer of coolness. And really, hearing that we inspired the artists is humbling. I genuinely feel unworthy.
Definitive: That admiration goes both ways, man.
Kevin Eastman: (laughs) That's funny. I went to Nick's animation studios once, and Ciro had these blown-up prints of the original covers that Peter and I did. He called it his "Bible." Those early issues and one-shots were his foundation for everything. He wanted that original vibe, to go back to the sewers, back to that first-time discovery of family, pizza, and brotherhood. That's what they were going for, and I was thrilled to see how they were putting their own twist on it.
Definitive: What did you think about the fans' reaction? I remember some worry about CGI.
Kevin Eastman: Oh, fans were skeptical at first but I saw the test footage and knew how smart and funny the new series was. I just kept telling fans, "Wait and see, it's going to be fantastic." And they nailed it. There's so much heart and detail, even down to the martial arts moves. I love the parallels between the Nickelodeon animated series and the IDW universe. What Ciro and Tom did, respectively, was create a whole new universe, taking parts from our comics, the animated series, the 2000s series, and combining the best of everything into a foundation for new stories. I watched some of those episodes, and they're really funny, clever, and well-written. The in-jokes are great, and some of the stuff they get away with is really freaky, like the pizza zombies and things like that. When I do presentations at conventions, I always bring up the most important character in the new Turtles animated series, which we all know is Ice Cream Kitty.
Definitive: So, who's the voice of Ice Cream Kitty again?
Kevin Eastman: I think it’s Brad Pitt. (Ahem, Ice Cream Kitty is Kevin) That was so funny. Anytime I go to L.A., I stop by the studio to see Ciro and the crew. Early on, they were like, "We want you to do a voice, maybe a cool good guy or bad guy." Then, at Comic-Con, Courtney and I were sitting in the audience, and they showed this character development, a cat that April found, which Michelangelo took over and accidentally exposed to mutagen. I was like, "Okay, that’s the one." And they said, "No, no, that's stupid." But I was serious, "I want to be Ice Cream Kitty."
Definitive: TMNT was always so layered with pop culture references. It's so meta and now-
Kevin Eastman: -that's so great about what Ciro’s doing!. When you break down the storylines, like the Out of Space Odyssey, you see how he takes pieces from the comics or the animated series, and turns them into something new. He adds in-jokes and Ciro-isms like referencing monster movies and 1950s films. It's very clever. I think Ciro is doing exactly what Peter and I did at the beginning. We wrote stories for ourselves and hoped people would like them. He writes does that and the same goes for the IDW series. I remember when Tom came up with the idea for the Neutrinos. In the original animated series, they were hot-rodding teenagers from Dimension X. Tom reimagined them as freedom fighters barely surviving a war with Krang. Taking an idea like that and spinning it makes it fun for us, and we hope the fans love it too.
Definitive: There's a real magic in that passion. It can't be manufactured.
Kevin Eastman: Absolutely. Ciro and his team write what they'd want to watch, like Peter and I wrote what we wanted to read. You're not catering to anyone else, you’re creating from a place of passion and the fans pick up on it. It's that excitement and authenticity that make it work.
Definitive: You and Peter created something special with the Turtles, but the pressures of success and business helped build a distance between you. How do you look back on that now?
Kevin Eastman: (sighs) Well, looking back, it's easy to think, "I was an idiot." We were so young, and the success was overwhelming, financially, creatively, everything. When you're in your early twenties, there's this invulnerability you feel, like you can do anything. I got swept up in that rock-star mentality, travelling all over the place, going to premieres, trying out all these projects, it was nonstop. I guess you could say I was like the lead singer who lets it all go to his head and, in a way, almost destroys the group. It took a while for me to really understand that.
Peter’s one of those solid personalities: nothing could throw him off course. But I wanted to explore everything - just because I could. Hindsight is 20/20 and yeah, there were things I said or did that I wish I could take back. What I'm grateful for is that foundation we had together. Peter and I shared a rhythm in those early days that I've never had with anyone else. Sitting in that room, passing pages back and forth was, hands down, the most creative period of my life.
Definitive: For the record, I don't think you were an idiot. Not at all. You were just a kid who had a level of success that few people could handle. How could you be ready for that?
Kevin Eastman: You know, working on all aspects of the creative process with the early issues of Turtles, that was the greatest time creatively in my life. But when the business took off, there was so much to handle, and the distance between us happened almost naturally. We still talked about the animated show and everything else, but there was so much work. It was like being married for the sake of the kids. Every time we saw each other, there was a problem, a lawsuit, something we had to deal with. The joy of sitting down and creating was gone. We were just businessmen, and every time we got together, it was intense and not always pleasant. The joy of creating together was buried under the weight of managing this massive franchise. It's regretful. But what Peter and I created together is one of the best parts of my life, even with all the ups and downs. The Turtles are woven into who I am, and I think that's true for him too, in his own way.
Definitive: You and Peter balanced each other out, not unlike the Turtles themselves.
Kevin Eastman: Oh, absolutely. Peter is the Donatello to my Raphael. Peter was methodical, thoughtful, and careful. I was more impulsive, the "let's go, go, go" type. He'd say, "Let's slow down and think this through." (laughs) I used to complain that he was overthinking everything, but honestly, that's why it worked so well. We had that yin and yang and that's why it worked in the first place. He needed me as much as I needed him. It was a perfect storm of creativity.
Definitive: You're bringing that same passion to projects today, like those Batman covers…
Kevin Eastman: Those crossovers were a dream. I mean, here I am, sketching layouts with Batman and the Turtles. "Is this really happening?" At one point, I pitched a crossover with Kamandi, Jack Kirby's character, since, you know, they're both these mutant-animal universes. But DC came back and said, "How about Batman?" And I was like, "Wait… really?" I never imagined I'd have the chance to blend those worlds. Working on those covers was a huge fanboy moment for me. I wanted to get Batman just right, there's so much history in that character. Once I figured out how to make the story work, they brought in James Tynion, who wrote it. He did a fantastic job bringing all the Turtle universe, Turtle characters, and their personalities into the Batman world. He gave each of the characters their moments, handling them really well. And then, of course, the incredible Freddie Williams did the artwork, which was amazing. I met him at a show for the first time, and I just ran over and gave him a huge hug because his work was fantastic. At first, I just asked, "Can I do covers?" and they said, "Yeah, we want you to do variant covers." I remember sitting down to do the layouts and thinking, "I'm doing roughs with Turtles and Batman that might actually be covers for DC." I figured I'd send them in and DC would reject them, saying, "These are terrible." But no, they actually became covers! Never in my wildest dreams, as successful as the Turtles have been, would I think I'd get to work on Batman. Batman is iconic. I had the biggest personal geek-out moment ever, tried not to mess up Batman and had so much fun. I still shake my head. I can't believe I got to do that!
Definitive: Before we wrap up, can you talk a bit about us going back to the Dover house?
Kevin Eastman: Sure. That was in 2014, the 30th anniversary of the Turtles. Pete and I had been emailing a bit, and I'd been wanting to work with him again. He agreed to do two covers with me, and as we got closer to the official anniversary date, which coincided with Free Comic Book Day, Ralph DiBernardo, who hosted the first convention where the Turtles premiered, was having an event and we agreed to meet there. It was the first time we'd been together in 20 years. It was a huge turnout, which was awesome. And it was great timing with the documentary we were working on with you guys. We went down to the Dover house, where it all started, and it was pretty emotional. The house was in bad shape even when we lived there, so it wasn't surprising that it had been flattened. But being there with Peter, spending time together again in that spot where Mirage Studios started, that was something special. We spent so much time there, drawing on second hand furniture, and creating the first issue of Turtles. It was cool to be back.
Definitive: Did you know that Peter stayed behind after you left? After we all left.
Kevin Eastman: Yeah, I had to catch a plane, but Peter stayed. He wanted to be there a bit longer, which was interesting. It showed how much that place still meant to him. You know, seeing Peter there with us, after all those years, that was something I'll always cherish.
Definitive: Peter seems to sell himself a bit short sometimes, right? He's such a good guy with a big heart, but I don't think he realizes how awesome he is, how impactful to other people.
Kevin Eastman: Absolutely. He's always been very kind and supportive, but I think sometimes he doesn't see himself that way. He's an awesome guy who loves nostalgia, history, and family. He's just not into the spotlight like I am. While I wanted to travel the world and go to Turtles premieres in Paris, that wasn't him. He preferred to stay home, have a bagel and tea, and read a great book. It took me a while to understand that. And, you know, I have to give credit where it's due, Peter has always been incredibly kind to me. He's been supportive through some tough times and when we reconnected for the documentary at our old studio, it was emotional. It brought back that camaraderie and creative connection we had, even if just for a moment.
Definitive: Do you think that reunion changes anything in your relationship with Peter?
Kevin Eastman: It reinforced our connection. Over the years, we had our ups and downs and things got in the way. We'd exchange emails here and there, and he was always gracious and kind, but being physically together, especially in that place, felt like closing a loop, you know? We'll always share that bond, even if our lives go in different directions. It was being reminded of why we started all this in the first place, back when it was all about the joy of creating.
Definitive: And that moment was recorded as part of the documentary! It's crazy.
Kevin Eastman: Peter even suggested it! We weren't planning to record that specific moment. But at Shellback Artworks, he just turned to you guys and said, "You know, it would be nice to document this." I was blown away. I had no idea he felt that way. It was an honour to have that reunion on film, especially knowing how much it meant to both of us. And honestly, it's amazing that it was captured. It brought everything full circle. It was cool, emotional, and fantastic.
Definitive: After all this time, what's it like seeing this story finally get told in the documentary?
Kevin Eastman: Honestly, it's incredible. It's funny, because that New England humour of mine sometimes gets me in trouble, and I'd joke about you guys being "my favourite stalkers." But really, that was just my way of saying how much I appreciated your dedication. You poured everything into this project, your time, finances, personal sacrifices. It took years of commitment. And the results speak for themselves. You've crafted something really special that captures the heart of what this journey has been for Peter and me. And it wasn't just the film, it was the way you all approached it. From the first time you came by a convention to say hi, or when you stopped by my place in Northampton, I could see how genuine you were. And you didn't just talk about doing it; you showed up, time and again, year after year. That's why, when it came time to film in the old Dover house or those other big moments, it just felt right having you there to document it.
Definitive: That's really special to hear.
Kevin Eastman: Well, it's been an honour. Peter and I shared a unique bond, and seeing that part of our lives preserved in this way is something I'll always be grateful for. I couldn't ask for more.
Latest Progress and Setbacks
10 months ago
– Sun, May 11, 2025 at 06:47:45 AM
Hey all, hope you're well. Randall here with a few updates and, as you'd imagine, some of what we know right now is very good and some is not so good (or so it seems).
Why don't we get the troublesome news out of the way to start?
Unless you live under a shell at the bottom of the sea, you already know that certain parts of the US government has been engaged in some confusing trade policies and that there are any number of unpredictable downside effects for companies like ours.
And projects like ours.
Because we are Canadian, based in Canada and trying to build everything we can in Canada, some of the negative impacts are mitigated but, others are intensified.
Isaac has been trying to figure out as much as he can regarding the ramifications for the toy/action/figure/physical products. As far as production goes, we're building the capacity to do everything we need and that is taking too long. Part of that is just the ongoing R&D as to best materials and processes, but there are all kinds of issues that can arise.
There are triumphs when things do what they're supposed to and seem right:
Above, Isaac is relieved. More things are working! Even this thing below, which I believe presses together and makes little baby action figures!
Above, Isaac has a bunch of his toys out and he appears to be playing with them.
Or something...
You see? Things can work and things can progress.
But then, sometimes things go wrong, as seen in a recent text : "Annnnnnnnnd the tool prints blew all the castings at the foundry rendering thousands in used and unused material useless and setting production back by a month..."
I do not have a photo of that explosion to show.
So, there are many disappointments and uncertainties, including getting quotes from suppliers and service providers as business owners struggle to deal with tariff chaos.
Having said that, we are all reading the same news, we all work for companies and services and businesses dealing with the same things and we all know what's going on, so we just do the best we can and move forward as though the policies will become clear and be resolved before too long? Whatever happens moving forward, we'll continue working hard to solve our problems without incurring added costs to us or to you. Man, it is disappointing to have a global trade war in the middle of all this...
Sadly, more such complexities abound on added doc production, for the same reasons as above. Uncertainty is the watchword of the last many months and that is increasing in some ways. It has become potentially much more complicated for us to go south and shoot new material as border crossings are more complicated and uncertain just yet.
We are actively seeking alternative solutions.
Now, on the book front, our first rough printing quotes came back way too high, so we're out to other companies and getting much nicer news from them, at least so far.
I'm just done refining the longest chapters, and I'm much more careful in this next edit and trimming redundancy, of which there is enough to deeply affect page count. The Q&A articles are much more focused and much better reading. Feeling good!
I will include a nice chunk here for you to read if you get the urge.
The BackerKit store, which will be open for ages and which allows you to get your hands on the rewards if you missed the Kickstarter, is hard to find, so people are still reaching out and asking if we're doing a Kickstarter, or if they can get the doc or the action figures or the book.
The answer is that YES you can and you should!
If you know Turtle fans who missed the campaign on Kickstarter and would enjoy checking out the rewards available, please share with them this link below. There are so many TMNT people out there who don't yet know what's going on, so we would love to spread the word.
Okay, two book chunks below! The first is a Q&A taken directly from our transcripts (as is most of the book) and the second is a short context-setting article (of which there are only a few) focusing on a key phrase we heard come up in more than one interview...
12.4 Playmates: Ray Geiman
The interviews in this section come from a day Isaac and I spent at Playmates, up to our elbows in Turtle history, but getting a look at a host of (at the time) upcoming toys of every sort. Once we had signed the proper NDAs and swore to forget everything we saw, we had a few conversations in a row. It gave us a lot of insight into the intersection that comes when a big brand moves across platforms, for example, from animation to toys and games and so on.
Definitive: Ray, could you start by introducing yourself and your role?
Ray Geiman: Sure. I’m Ray Geiman, VP of Product Design and Development at Playmates Toys. I recently had the opportunity to work closely with Nickelodeon on the third relaunch of Teenage Mutant Ninja Turtles, the second one I’ve done with Nickelodeon. Together, we go back and forth to finalise designs, taking reference sketches from the studio and turning them into toys.
Definitive: Can you give us a bit of insight into how a character like Metalhead evolves from concept to toy?
Ray Geiman: Absolutely. Metalhead is a robotic character built by Donatello. We received the initial concept sketches from Ciro Nieli at Nickelodeon, which had a lot of detail and were extremely helpful. Once we got those references, we broke down the character into components that would work in a toy format, everything from size to articulation and functionality.
We work with sculptors, sometimes locally and other times offsite. For Metalhead, we collaborated with Steve Varner, who has done many Turtles figures. Based on the reference sketches, we determine the size, the range of motion, and the overall functionality. Playability is a priority, so we ensure these figures interact well with the vehicles and playsets we create.
Definitive: It sounds like a complex process. What role does the digital side play in all of this?
Ray Geiman: A big role! These days, much of our sculpting is done digitally. We create 3D digital files, which are then used to output a hard model, a prototype. This hard model is critical because it lets us evaluate everything from articulation to the feasibility of adding various accessories. For example, we might incorporate elements like firing missiles or interchangeable hands, ensuring we capture the fun factor that kids expect.
Once we have confirmed details and costs, the prototype goes back to Nickelodeon for approval. After final tweaks, it’s off to production, where moulds are created and refined before final manufacturing. So, yes, digital tools have streamlined and enhanced our entire design process.
Definitive: What’s the most common challenge you face during production?
Ray Geiman: The biggest hurdles often revolve around limitations like packaging size, price point, and the complexity of details. We always want to add more detail, more paint, more accessories, but we have to balance that with production costs. It’s a bit of a dance to capture the character’s essence while keeping the toy durable, affordable, and fun.
Definitive: You mentioned that this process involves a lot of back and forth with Nickelodeon. Is it common to get such detailed concept art from the studio?
Ray Geiman: It’s not always the norm, but it’s a huge help when it happens. Ciro Nieli and his team provided very specific designs and notes, which were invaluable. Having these insights into the creators’ vision allows us to capture small details that make a big difference in the final product.
Definitive: Tell us about the Shellraiser vehicle. How did you bring it from concept to toy?
Ray Geiman: The Shellraiser is a great example of translating a show concept into an interactive toy. In the show, it’s a stealthy vehicle used by the Turtles, so we wanted the toy to match that. The Shellraiser seats four figures, has a projectile launcher, and some fun interactive elements like pop-out weaponry.
The design phase starts with 3D modelling, where we rotate, inspect, and adjust the model to make sure everything fits. Then, it’s passed to our team in China, where engineers test it with hard plastic parts to ensure everything works. Finally, we coordinate with Nickelodeon to ensure the vehicle fits in the right packaging dimensions. The Shellraiser even includes an exclusive figure with a helmet and visor, adding collectibility to the mix.
Definitive: It’s clear that attention to detail is crucial. How do you approach creating thematic variations of the Turtles, like the Stealth Tech series?
Ray Geiman: Variants like the Stealth Tech Turtles allow us to play with new themes while keeping the character’s core essence intact. For the Stealth Tech series, we aimed for a “dark, covert” look. Each figure includes unique accessories, like a grappling hook or retractable weapons, that add depth to the play pattern.
Maintaining the Turtle identity is critical, though, so we balance new themes with recognisable traits. You still need to be able to tell immediately that it’s Leo or Raph, even if they’re dressed in a stealth suit. We also keep things functional by making sure they’re compatible with other figures and vehicles.
Definitive: How has your background influenced your work on Ninja Turtles?
Ray Geiman: I’m a designer, so I appreciate both the artistry and the functionality of these toys. I’m also a martial arts enthusiast, which gives me a personal connection to the Turtles’ world. Working with a smaller company like Playmates allows me direct access to creators and sculptors, which is great for hands-on design. I worked with Peter Laird for many years, and he was always receptive to new ideas, making it a collaborative process.
Definitive: Thanks, Ray. It’s fascinating to see how much passion and precision goes into these toys.
Ray Geiman: Thank you! It’s been a pleasure working on Turtles, and we’re excited to keep bringing them to life in fun, innovative ways.
8.1 Everybody Gets Their Own Turtles
When I first heard a Nickelodeon executive use the phrase "Everybody gets their own turtles,” I was struck by how perfectly it encapsulates the franchise's enduring success. Over the decades, the Teenage Mutant Ninja Turtles have mutated across media, comics, television, film, toys, games, each time adapting to meet the expectations of an ever-changing audience. This remarkable adaptability gives every generation a chance to forge its own connection, yet even in the most radical reinventions, the core elements that make the TMNT iconic usually remain.
Consider the shift from the gritty Mirage comics to the first animated series in the late 1980s. Embracing a more family-friendly, humorous approach brought the Turtles into the mainstream, defining childhoods with catchy themes and wacky characters, fuelling a merchandising phenomenon. The live-action films of the 1990s sought a balance, with the first movie weaving the cartoon's humour with a darker aesthetic and more nuanced character moments, leveraging Jim Henson’s Creature Shop for tactile realism. Subsequent films often leaned younger, highlighting the constant negotiation between different audience segments.
The 21st century saw further evolution. The 2003 animated series returned to a more serious, action-oriented tone reminiscent of the original comics, while the 2012 Nickelodeon series ably blended humour, action, and emotional depth, resonating strongly with a new generation through its sharp writing and stylised animation.
Meanwhile, the comics continued to be a space for experimentation. After Mirage, publishers like Archie Comics explored environmental themes, while the Image Comics run took grittier, more controversial paths. IDW Publishing's ongoing series, launched in 2011, stands as perhaps the most ambitious reimagining, weaving elements from nearly all prior iterations into a rich, cohesive universe with compelling backstories and high-stakes drama, appealing to long-time fans and newcomers alike.
Recent adaptations demonstrate this adaptability continues unabated. Rise of the Teenage Mutant Ninja Turtles introduced bold stylistic and dynamic changes, while Seth Rogen’s Teenage Mutant Ninja Turtles: Mutant Mayhem (2023) emphasized the teenage aspect of the Turtles with a kinetic, contemporary energy and visual style. Simultaneously, The Last Ronin, conceived by Eastman and Laird, revisited the dark, mature roots of the original comics, telling a gripping dystopian tale of loss and vengeance that resonated deeply with a wide audience, hitting the New York Times bestsellers list.
From goofy cartoons to grim futures, slapstick adventures to complex narratives, the TMNT have consistently found ways to reinvent themselves. This ability to evolve, while holding onto the core of brotherhood, action, and their New York City origins, is why "Everybody gets their own turtles." It is not just a marketing phrase; it reflects a fundamental truth about the franchise's unique journey and enduring cross-generational appeal.
Text, pics and toy factory fun
11 months ago
– Fri, Mar 28, 2025 at 12:41:29 PM
Hey there folks, Randall here with an update after a quiet period as three things that take a long time have been happening on our end.
First up, I'll report on the book and let me tell you that it has grown WAY out of my expectations in terms of word count. Remember when I said I thought it would come in at 180,000 words if I wasn't careful?
HA!
Harrison and I both went over every chapter, trimming gently (no big, brutal edits yet) to see where we ended up and I am mortified to share the news that this current state of our book makes me look like I've gone mad. Right now, we're sitting an what I must admit is an unsustainable 232,672 words.
I'll pause right there for a moment so you can process that.
If we go by publishing industry standards to which we do not have to adhere we would end up with an 8.5" X 11" book of 1035 pages, assuming 225 words on a page. That wouldn't include any photos. Just text. And remember, almost every word is simply the Q&A content from our interviews, transcribed and lightly edited. Yes, I know that's too long and even the most committed TMNT fan may struggle to wrap their heads around the sheer weight of it. Now, I am having to step back and consider what needs to be cut for real. Part of this process is getting input from Cinapse writer and TMNT community member Austin Vashaw, and perhaps he will come in with some powerful thoughts for big edits. I am really having to think about my approach thus far. Have I chosen too many interviewees who played only small roles in the story of the Turtles? Absolutely. Do I need to keep ALL of those people in this book? It is my struggle and I hope you feel my feelings as I seek a more sustainable path forward. Clearly, I had no idea we would wind up with a monster like this...
Second, in news from Isaac's efforts in the toy factory (and on his R&D to make everything here in the way we've been hoping to do it), there are more new developments and if he would stop working on them for long enough to write out his own state of play, this would be a lot more detailed (and I'll get that from him asap).
In short, here are some machines and something that they made:
You can see that Isaac's tests are proving fruitful and I'm sure he will have much more to say and he will be much more able to speak about the challenges with which he's been grappling, but the proof is in the pudding for me and it seems everything is working out.
Third, we have the most frustrating element: more production.
As you know, we already have four nice episodes as well as a more standard length feature cut (all of which still needs a B roll pass makes best use of the archives we've been collecting). We've got a load of raw material ready to be put into that process, and we've got all kinds of other bits and pieces queued up to go into the bonus features. However, we have not been able to get down to California to shoot some of the added material we've been hoping to get.
This has been a real problem and I'm know you know the reasons why if you read the news (PS do not read the news, it is an absolute drag) but hopefully everything will line up this summer and we can get down there. Having said that, we will be into a big editing push soon because the process of collecting and managing the archives for the book aligns with that big B roll pass Isaac will do on the doc material. And then Mark will be shifting over to Turtles , which is what everyone wants to hear (because Mark is The Finisher).
Is our timing still on track? I feel like we're behind because I keep trying to factor in new footage from another LA shoot. But am I starting to think we work with what we've got and move forward? That's the meeting we had yesterday, so stay tuned for more on this and for a more detailed update on the progress at Definitive Toys.
Thanks for your continued patience, take care and keep an eye out from some tasty video toy factory process footage from Isaac.
