IDW Publishing Heads Tease Big 2025 for TMNT, Star Trek, Godzilla, & More

IDW Publishing had quite a year in 2024. It underwent a successful relaunch of its core Teenage Mutant Ninja Turtles line while also publishing a sequel to the runaway hit The Last Ronin. Its other licensed comics lines, like Star Trek and Sonic the Hedgehog, cruised along at a satisfying pace, while Patrick Horvath’s Beneath the Trees Where Nobody Sees became one of the breakout comics of the year. Behind the scenes, the company saw some corporate restructuring, which meant both departures and new hires, including bringing on Andy Khouri as the new TMNT group editor and naming former TMNT editor Bobby Curnow as the company’s new editor-in-chief.

Videos by ComicBook.com

After all of that, IDW is primed for a significant 2025. While TMNT continues with Khouri as its new guide, the company’s Star Trek comics are primed for a reset, and IDW’s Godzilla line is creating a whole new universe for the kaiju icon. IDW is also planning a return to its roots as a publisher of horror comics with the launch of IDW Dark, which will be the new imprint home for Beaneath the Trees Where Nobody Sees when its sequel, Rites of Spring, debuts, as well licensed horror comics based on well-known horror franchises owned by Paramount.

That’s a lot going on for the publisher as it balances being home to many beloved established properties and a place where creators can bring their new ideas. ComicBook had the opportunity to ask Curnow and IDW’s CEO Davidi Jones how they’ll pull that off and what the coming months hold for IDW Publishing’s various lines.

Let’s start with Teenage Mutant Ninja Turtles, which I think is fair to call the crown jewel in IDW’s crown right now, with the Jason Aaron-led relaunch being such a big success, building on an already solid foundation, and the continuing zeitgeist that is The Last Ronin. What do you attribute the success of IDW’s TMNT line to? How has that line’s success informed your approach to other licensed comics, and how do you plan to expand on TMNT’s successful relaunch further in 2025?

Davidi Jonas, Executive Chairman: I see the success of TMNT as a testament to the creative teams associated with the franchise being unrelentingly innovative, fun, and poignant. The Turtles’ stories that are being told are new, fresh, and yet still have a respect and connection to the history of the franchise.

This has informed how we look at other franchises where we want to balance a respect for the tradition and the canon with bringing new, fun, exciting, and heartfelt stories to each universe we have the privilege to work with.

I would say that this is one of the best times to be a Ninja Turtles comics fan — and frankly a fan of any franchise that IDW is publishing. We have big plans in store with amazing talent and creative vision to make 2025 and beyond awesome for fans.

Bobby Curnow, Editor-in-Chief: TMNT is unique in that the property just naturally gets people excited! I think that’s due to a variety of factors. Maybe it’s the “out there” concept, maybe it’s the nostalgia factor, or maybe it’s the fact that it’s a really flexible property: you can do action, comedy, drama, horror. Whatever it is that TMNT has going for it, not only fans but CREATORS respond terrifically to the property. That means creators are bringing enthusiasm and passion to the Turtles, and that shows on the page. Everyone is eager to play in this world, so we get a lot of A+ work.

When Kevin Eastman, Tom Waltz, Dan Duncan, and I started work on the property over twelve years ago to launch the #1 issue, we knew we had a special opportunity to blend the best aspects of TMNT from over the years. I think every license IDW takes on is unique in its own way, but we always try to dive into the beating heart of what makes the property work. With the Turtles, it’s danger, drama, action, and most of all FUN. As the years have gone by different creators, be they Sophie Campbell, Jason Aaron, or any of a number of fantastic artists, have been able to key into the aspect of the Turtles that mean the most to them. Our partners at Paramount have also been wonderful at fostering this sense of community and inclusivity for the brand. TMNT is for everyone and we hope our Turtle offerings reflect this. We’ve got some great new projects in the pipeline, and I’m confident we’ve got a great Turtles book for any fan.

Some of your other big licensed lines are going through transitions. IDW is launching a new Godzilla universe, the Kai-Se era. Conversely, Star Trek is wrapping up an era of shared storytelling between two flagship titles and reverting to its previous output of primarily limited series across various eras (with the Star Trek: Lower Decks ongoing series still going). What can you say about your goals for these lines and your decisions around how to structure their lines? What makes a whole new universe right for Godzilla, and the more tightly focused limited series approach right for Star Trek, at least right now?

DJ: Regarding Star Trek, I can say this is an intentional pause to come back with the strongest showing possible on the ongoing side rather than a change in course.

With regard to Godzilla…Godzilla editor Jake Williams pitched a compelling vision for a Godzilla universe that was new, fun, dynamic, and we believed would delight fans…so we said yes.

Comics is a beautifully raw business which is driven by excitement, creativity, some data, and a whole lot of love for fans. We are not looking to lose our shirt on any endeavor, and IDW is incredibly disciplined under my leadership when it comes to risk… but we are also opportunistic and driven by passion, hard work, a desire to succeed, and to have oodles of fun along the way.

I always want to say yes to good ideas, and with our amazing team… I think IDW will be saying yes to some of the funnest, most profitable, fan-delighting projects in the coming years.

BC: I worked on the Godzilla line for over five years, and I think I edited some great books. I say that only to share that I am downright jealous of what our Godzilla team is putting together right now. It is truly the most exciting time ever for Godzilla on the printed page. Toho has been a fantastic partner, encouraging us to go bigger and weirder for the line. Much like TMNT all those years ago, we are truly trying to build something that will last here with the Kei-Sei era. Likewise, we’re offering a few different flavors of Godzilla, so there’s lots of ways to keep readers interested, regardless of what kind of Godzilla fan they might be.

As for Star Trek, I think our line reflects the endless story possibilities that the vastness of space and these vibrant characters offer us. What we’re seeing currently with Lore War is a special opportunity to both tie up multiple years’ worth of storylines (from both Star Trek and Defiant) and tell a self-contained tale that works as an event for any Trek fan, be they a hardcore Trek fan or a more casual enthusiast. At the same time, we’ve got fantastic mini-series like Red Shirts that allow us to play in less explored parts of the Trek universe. Being able to tell the big tales that “matter” and also explore and experiment with new genres and story approaches is a combination that keeps our lines from going stale.

Godzilla, Star Trek, TMNT, and our other licenses like Sonic or Monster High I think all reflect a passion that our staff and creators have for the material and the stories they are creating. We’re fans ourselves, so we want to tell stories that matter, that will be remembered.

IDW Publishing has had plenty of success with horror. Now, the new IDW Dark line mixes original series like Beneath the Trees Where Nobody Sees and 30 Days of Night with licensed horror titles like Event Horizon, The Twilight Zone, and others. What motivated the decision to go so hard into the horror genre, and what do you hope to offer horror fans with this blend of original comics and familiar film and TV properties?

DJ: I personally liked horror for four reasons. 1. Committed fans. 2. We’re good at horror — it’s in our blood. 3. Seasonality — there’s a time period dedicated to horror. 4. Relatively low cost ability to expand to other formats, like movies.

The idea of partnering with Paramount on A Quiet Place, Event Horizon, Smile, Sleepy Hollow, Twilight Zone, and others (and, in the future, other major horror titles from other studios) was to establish a beachhead. We’re here! Expanding the universes of some of the most recognizable horror franchises and bringing new stories and franchises to life too.

We hope casual and hardcore fans will recognize that we can breathe new and exciting life into the most highly regarded properties and will know that we’re a trusted storyteller… and we’ll blow their hair back with our originals, too.

I mean, just look at the stuff our team and creative partners are putting out. Beneath the Trees Where Nobody Sees! Are you kidding me?! Patrick Horvath is a genius. And The Exorcism at 1600 Penn as well! That’s gonna be a major entertainment franchise, and we’re just getting started.

BC: As you mentioned, IDW has always been synonymous with fantastic horror. It’s been a part of us since the very beginning, so it’s a natural genre for us to stick with. Beyond that, horror plays well in comics. Both horror and comics are all about pushing the imagination and delving into things that make us squirm and question our existence as humans. Add in some extreme visuals, heart-pounding suspense, and unthinkable scenarios, and you’ve got the perfect recipe for addictive storytelling.

People think horror is all about the scares, but really it’s an opportunity to explore the human psyche. I think that’s why you get such a diversity in our horror offerings. It’s hard to imagine books more different than Beneath the Trees and, say, Event Horizon, even though they both feature copious amounts of spilled blood. Whether it’s an original property like 30 Days of Night or a beloved cultural institution like Twilight Zone, we want to explore the limits of what the human mind can conceive… and handle!

Speaking of original titles, IDW made a big push for original comics with the IDW Originals line but now seems to be focusing most of its energy on its licensed properties. Yet, last year saw the breakout success of Patrick Horvath’s Beneath the Trees Where Nobody Sees, and this year sees George Takei’s It Rhymes With Takei, the follow-up to his acclaimed They Called Us Enemy, on the horizon. What can you say about how IDW values original comics and balances that with its licensed endeavors?

DJ: We love licensed comics and the partners and franchises we’re privileged to work with. While those successes demonstrate our chops to entertain large audiences, and we value them immensely, it’s worth adding that those stories, characters, and universes we develop for licensed franchises belong to our awesome licensors.

To create additional long-term value, we also need to control our own destiny and bet on ourselves as well. To date, we’ve done that by partnering with some of the best storytellers on the planet, and we’ll continue to partner with amazing creators and help bring their stories to the page and beyond…

What we’re working on, in addition, is building stories, characters, and universes that are wholly owned by IDW. I am privileged to work with people that love comics and stories. All my colleagues could pursue careers in finance or law or some other typical industry. But these radical, brave, passion-driven people chose comics because they love the medium, the fans, and the unmatched fun and creative speed. I’m just giving them the keys to a performance race car, and I expect they’re gonna put the pedal to the metal and generate some of the most memorable and iconic characters, stories, and universes. Their passion and talent is the acceleration, and I’m just the guy lucky enough to have an ownership stake in the racing team.

BC: IDW started with creator-owned projects, and they have always been a core part of our DNA. How much of our line is creator-owned varies depending on a variety of factors. Part of it is market reception, and part of it is simple luck: what comes to us or we search out, landing at the right time. But it’s always been a crucial part of our line. As throughout our history, we continue to feel that creator-owned projects are a vital part of what makes IDW the company it is. Having reliable, known IP is, of course, an essential part of the company too, but I believe the true strength of comics is its endless ability to innovate: to tell creative, fresh stories in a new way. That’s what keeps comics moving forward and relevant.

Whether it was a terrifying new take on vampires with our first breakout hit, 30 Days of Night (which returns this fall in the form of 30 Days of Night: Falling Sun which sees co-creator Steve Niles return with writer Rondey Barnes and artist Chris Shenan), the layered, unfolding fantasy of Locke and Key, going right up to our current hit, the cozy horror of Beneath the Trees Where Nobody Sees (which also returns with a volume 2 from creator Patrick Horvath this year: Beneath the Trees Where Nobody Sees: Rites of Spring) creator owned projects are in our blood. We’re proud of the successes we’ve had and proud to be part of these creators’ journeys on the printed page. It Rhymes With Takei is a great example. George Takei had a vital story to tell in They Called Us Enemy, and we’re thrilled to have George continue his journey in comics with It Rhymes With Takei, the story of George’s evolving understanding of his own self and sexual orientation. The connection between author and reader is a delicate, beautiful thing, and whenever we can nurture a real success in this realm is when I feel the company is truly at its best.

Finally, we’ve only really scratched the surface. IDW has other lines that this interview hasn’t touched upon. In addition to TMNT, Godzilla, and the other books we’ve discussed, are there any other projects or lines you’re willing to tease as potentially having a breakout year in 2025? Where should fans be looking for the next big under-the-radar hit from IDW?

DAVIDI: Stay tuned. We’re working on so many amazing stories and new, fun opportunities for fans to engage. Whether it’s a new Rocketeer or Monster High story, or a branded tequila, or an entertainment announcement, or a new license… IDW is working diligently to delight fans with exciting announcements and ways for them to engage with their favorite stories and characters.

I have been at IDW for less than two years now and can confidently say I have the hang of this, have a world class leadership team, deep and talented editorial, design, operations, finance, legal, franchise, licensing, marketing and entertainment teams. We’re just starting to hit our stride, and IDW is going to be one of the most successful and dynamic entertainment, storytelling, content, and fan engagement companies the world over. Lock in, we’re going to the moon!

BOBBY: I’ve worked at IDW for over a decade, and I’ve seen various ups and downs both in the industry and in the company. With that experience, I can recognize something: we’re currently hitting a groove.

TMNT and Godzilla are going to provide big, bombastic action, and we’ve got some great twists and turns lined up both in those lines’ core titles and unannounced miniseries. Sonic is running from strength to strength (pardon the pun) in our ongoing storyline as we build towards issue #100. As mentioned before, this is going to be our very best year of Star Trek. Our Paramount Scares line is going to deliver terror straight from today’s biggest blockbuster hits, like Smile and A Quiet Place, to cult favorites of the past like Event Horizon and Sleepy Hollow. Those worlds are all ripe to explore, and I think folks will be surprised by how vital and entertaining our lineup there is going to be.

On top of all that, we should be announcing some very exciting new licenses by the time convention season really gets underway. That’s all tremendously exciting to me, but what really gets me going is seeing the passion our staff is bringing to these projects. When our editors are going out of the way to share exciting new art and developments and you see that genuine excitement spread to the rest of the company, that’s a really beautiful thing and is a wonderful reminder of how lucky we are to be able to be part of this magical, weird, wonderful world that is comics.

IDW Publishing’s Teenage Mutant Ninja Turtles #8 goes on sale in stores and digitally this week on Wednesday, April 16th. Star Trek’s Lore War crossover event continues in Star Trek: Defiant #26, also on sale this Wednesday.