Sonic the Hedgehog: Issue 81

Sonic the Hedgehog: Issue 81
Publication Date: January 2000

If you’re wondering why the cover to issue 81 of Archie’s “Sonic the Hedgehog” series is so damn awkward looking, I have an answer. Issue 80’s similarly awkward cover was originally intended for issue 33 of “Knuckles the Echidna.” Considering Manny Galan also drew 81’s cover and it prominently features Knuckles, I suspect the same is true of this issue. I’m a big defender Galan’s artwork but, when you’re used to Spaz’ stylish pencils, it’s a big step down. Anyway, what about the stories contained within?

Last time, Sonic and friends discovered that the Lost City of the Ancients was not a cobweb strewn collection of ruins. Instead, it was a modern city, bustling with life and technology. At first, the human residents attempt to arrest the Freedom Fighters, assuming them to be weirdo animals or something. However, Nate Morgan knows the police chief and keeps them out of trouble. Soon, the gang discovers the city’s true name: Station Square. Mayor Bullyani – a pop culture reference that’s going to age great, Archie – takes them on the tour of the city.

I know this is all I’ve been bitching about for several days now but it still needs to be said. Karl Bollers and Archie’s plan to integrate “Sonic Adventure’s” story into the comic universe was sloppy, at best. In “Sonic Adventure,” Sega made a decision that I still complain about to this day. It transformed Sonic into an urban creature, having his adventures in a big city populated with regular people. Since nothing like this existed on Archie’s Mobius, Bollers cooked up a half-baked solution. Now, Station Square is an extant colony of humans. The city is built inside a mountain, with an artificial sky and weather. It’s the textbook definition of an ass pull, the writer basically forcing something that has no business being in this universe into the story.

When Sally asks the Mayor how come the Stationers have never attempt to contact the outside world, he gets pissed and tells her that they felt no need to. They’re perfectly happy living inside their simulated city within a mountain, like something out of “The Matrix.” If the Mayor’s anger seems like it’s setting up a plot point – perhaps the Stationers are hiding some horrible secret? – it’s never followed up on. (Also never brought up again: How Nate Morgan knows the chief of police.) These guys are just content to live their lives, frozen at the end of the 20th century, in total isolation. No, I have no idea where they get materials to build their sky scrapers and make their food and goods.

The Freedom Fighters have come to the city to warn the residents about Robotnik’s encroaching invasion. You’d think this would add some tension or suspense to the story. Instead, the Mayor says they haven’t noticed anything unusual. The Freedom Fighters spend the rest of the story goofing off. Tails flies the Tornado through the fake sky, impressing the locals. Sonic eats chili dogs, plays his guitar by the hotel pool and seemingly prepares for an off-panel orgy with a whole bunch of hot anime girls. The rest of the gang are given a tour of the city via monorail. Obviously, Bollers is trying to introduce Station Square to the reader. In practice, it just makes the story seem like a waste of time that barely advances the plot. Because Archie was still sticking three stories into one comic book, it also ends prematurely, right when something interesting appears to be happening.

How about this month’s Knuckles story? As he had done many times before to little success, Ken Penders splits the limited page count among several different subplots. Robotnik tries to feed his little Chaos some Chaos Emerald shards, only to discover that what he’s mostly got are some green rocks. Knuckles flies around some ancient ruins, collecting shards himself. Meanwhile, the captured Chaotix continue to be hassled around by a bunch of asshole cat people. (As opposed to the cool Natasha Kinski/David Bowie cat people.)

“All You Need is a Bit of Chaos” is basically just a series of plot updates. About the only motivating things that actually happen in the story is Robotnik deploying E-102 Gamma and his brothers to retrieve Froggy. Knuckles flies around, sticks emerald shards inside his gloves, and spends four pages having a verbose conversations with himself. Once again, Ken reduces the Chaotix to captives. They’re tied up on a boat, poked by the cats, and bitch among themselves. This isn’t a horribly interesting story, the plot lifelessly marching through its expected narrative beats. Like the cover story, it also ends just when the plot looks like it might actually be going somewhere.

The second back-up story is also pretty weak but still manages to be my favorite story in this issue. Maybe that’s because the splash page said it was about Big the Cat when, in actuality, it’s about Amy Rose. The rather suggestively entitled “A Rose Plucked” is not about Amy loosing her virginity. Instead, it’s a standard adaptation of her “Sonic Adventure” storyline. A green bird with some sort of magical amulet around its neck is pursued by an asshole robot. Amy swears to protect it, using her newly granted access to hammer space to fight the robots. Instead, she’s captured, forcing the bird to rescue her instead.

It’s a fairly useless story. Amy’s split second decision to protect some random bird is hasty, to say the least. Her sudden super power, of producing a big ass mallet out of nowhere, is not explained. Chris Allan’s artwork continues to be horribly off-model, as he draws Amy with triple the cup size she usually has. But at least something actually happens in this story, even if the reader has little reason to care. Amy is introduced reveling in the joys of capitalism, by buying a whole bunch of shit. Yes, this further establishes her as a girly girl stereotype. It’s also kind of funny, considering she’s been living in a war torn village of grass huts most of her life. The action beat is less compelling, as it occupies all of one panel. Amy being captured at the end doesn’t make her look very effective but it’s also in keeping with the character, up to this point.

James Fry draws the cover story and it’s solid work from him, even if his Station Square residents are far too anime-esque. Steven Butler handles the Knuckles story and seems to be having a slightly off-day, as there’s little of the dynamic action that characterizes his best work. Mostly, 81 is a sub-par issue. “Sonic” is not being served well by the “Adventure” adaptation or Archie’s decision to stuff three stories into one issue. Here's some Sonic/Dragon Ball crossover artwork from the fana rt section. [4/10]

THE 1999 SONIC THE HEDGEHOG COMIC BEST/WORST LIST!

1999 was a big year for Sonic the Hedgehog. Sega's popularity, and thus the popularity of their flagship character, had been flagging throughout the misbegotten Saturn years. But that was all primed to change with the release of the company's newest system: The Sega Dreamcast. Learning their mistake from the Saturn, one of the Dreamcast's hottest premiere titles starred Sonic. The Dreamcast, though a beloved cult classic today, did not rebirth Sega's early nineties popularity. “Sonic Adventure,” however, did successfully relaunch the Sonic franchise. For better or worst, the “Sonic” fandom as it exists today was born with that game.

Archie's long-running “Sonic the Hedgehog” comic wouldn't feel these changes for a few more months, as the “Adventure” adaptation was only beginning in 1999. Most of the year was devoted to setting up the changes this adaptation necessitated. Primarily, the return of Robotnik. The same year also saw the “Knuckles the Echidna” spin-off series end, the “Super Special” quarterly roll on, as well as a bizarre crossover with another Archie property. It was, if nothing else, an interesting year for the comic though far from my favorite.

The issues covered in this retrospective include:

Sonic the Hedgehog: #69-80
Knuckles the Echidna: #22-32
Sonic Super Special: #8-11
Sabrina the Teenage Witch: # 28

BEST COVER STORY:
"A Day in the Life" - Karl Bollers (Sonic the Hedgehog: Issue 69)

As displayed in the past, Karl Bollers does his best work when focusing on characters and how they react to their environment. “A Day in the Life” concerns Sonic's return to Mobotropolis after being gone for several months. The story has numerous touching moments, such as Sonic and Sally's romantic reunion or Antoine learning that his father is alive. It's full of humor, like Nate Morgan's reaction to chili dogs or Antoine detailing his feelings for Bunnie via verbose poetry. Bollers even slips in some social commentary, when Nate Morgan is bullied by a local for looking different. It's all around a solid, satisfying story, showing that this book about a speedy hedgehog was often better when it slowed down.

WORST COVER STORY:
"King of the Hill: Part Three of Three - To the Death" - Ken Penders (Knuckles the Echidna: Issue 32)

Sadly, Knuckles' solo series did not end on a high note. The entire “King of the Hill” arc revolved around two lame new villains, forcing Knuckles' beloved supporting cast totally off-panel. The underwhelming story bungled its way towards conclusion with “To the Death.” The focus remains on Hunter and Monk, Locke and Archimedes are here for no reason, Knuckles' totally random super powers save the day, and most of the issue is set in an ugly, industrial location. Moreover, Ken kills a character off without summoning a single emotion in the reader, save for annoyance. “Knuckles the Echidna” was often a frustrating book and many of those flaws were front and center in its final issue.

BEST BACK STORY:
"Eve of Destruction" - Michael Gallagher (Sonic Super Special: Issue 9)

Despite their gimmicky premise, both of the “Sonic Kids” specials were surprisingly good. “Sonic Kids 2,” published in issue 9 of the “Sonic Super Special” quarterly, packed a real gut-punch of a story into its back pages. “Eve of Destruction” covers the final day of the Kingdom of Acorn, showing Robotnik's bid for power, but does so from the eyes of the still young Freedom Fighters. This day happens to coincide with both Tails' birth and the roboticization of his father.

There's a lot of effectively cute moments with the young Sonic and friends. But the most memorable moment occurs when Tails' father – unbeknownst to everyone else, a robot at the time – rejects his son minutes after his birth. Yet the rejection is pair with acceptance, as Sonic immediately bonds with the newborn. This remains a highly regarded story among fans even to this day and it more then earns that honor.

WORST BACK STORY:
"A Tale of Two Hedgehogs" - Karl Bollers (Sonic Super Special: Issue 10)

Some of Archie's weakest stories appeared in the back pages in 1999. Who could blame the company for wanting to bury issue 70's bizarre “Statue of Limitations” and Super Special 8's
Dem of Thieves,” another furiously lame Monkey Khan story, in the back of their respective books?

Weak as those stories were, they don't earn this dubious honor. Instead, “A Tale of Two Hedgehogs” from Sonic Super Special #10 emerges “victorious.” A ferociously feeble crossover with the then-new “Sonic Underground” cartoon, the story has a number of flaws. Anti-Sonic gets a lot of page space but ultimately does little to affect the plot. The Giant Borg is brought back and defeated in an almost comically easy fashion. There's a confusing switcharoo involving which version of Robotnik features in the story.

The story isn't even a satisfying introduction to the “Sonic Underground” characters. Throw some really shitty Jim Valentino artwork on top and you've got the worst back story of '99.

BEST STORY ARC:
"A Day in the Life"/"Saving Nate Morgan" - Karl Bollers (Sonic the Hedgehog: Issue 69-70)

While the first installment of this two parter was clearly the stronger half, issue 70's “Saving Nate Morgan” wasn't a bad read either. This one grapples with Sonic's role in a post-Robotnik world nicely, as his need to be a hero and rescue his friend bristles against King Acorn's newer decrees. Karl even managed to sneak in some character development for Prince Elias! The two stories – the first half low-key and character-orientated, the second half plot focused and action heavy – pair together nicely. We see Sonic fight for the things he cares about while reestablishing while he cares about them. And, hey, how can I not love a story that inexplicably features a giant squid?

WORST STORY ARC:
"Some Enchantra Evening" - Michael Gallagher (Sabrina the Teenage Witch: Issue 28-Sonic Super Special: Issue 10)

Sonic has weathered his share of unlikely crossovers over the years – Ninja Turtles, Mega Man, Spawn – but no match-up was more nonsensical, more needless, then that time he met Sabrina the Teenage Witch. Beginning in the pages of Sabrina's own book – which was nearing cancellation at the time – and concluding in the Sonic Super Special series, “Some Enchantra Evening” features a mindless plot, involving an angry sorceress seeking revenge because of a history report.

The story shows little understanding of the Sonic characters. Sonic acts like a dumb ass throughout both parts. The showdown between the hedgehog and the teenage witch is poorly executed, both characters being made fools of. The lamest of lame jokes and sight gags characterizes the event, “Sabrina” dragging the “Sonic” cast down to its level of dumb humor. Of all the “Sonic” arcs in 1999, this is the one with the fewest reasons to exist. Fans, accordingly, usually forget it ever happened.

BEST COVER ART:
Sonic the Hedgehog: Issue 74 - Spaz

You can more-often-then-not count on Patrick Spaziante to deliver some awesome cover art and 1999 featured some good ones. Such as the dynamic and action pack cover for issue 70 of “Sonic” or the stately and dignified cover for issue 25 of “Knuckles.” Yet “Sonic: Issue 74” rises to the top as my favorite cover of the year. The image of the Freedom Fighters, drifting through space, certainly piques the reader's curiosity. The space suits Spaz draws are way cooler looking then the generic set the same characters wear in the actual book. The stars, globe, and moon make an equally eye-catching background for the central action.

WORST COVER ART:
Knuckles the Echidna: Issue 31 - Manny Galan

I hate to put down Manny Galan's work, as his interior art for the “Knuckles” series was usually excellent. His covers, sadly, were frequently crowded, uninteresting affairs. Issue 31 probably gets it worst. Throwing together three seemingly unrelated sights – Hunter firing a gun, Knuckles leaping through the air, Monk snarling – Galan manages to make each one unappealing. Knuckles head, feet, and hands seems oversized. Hunter looks like an elf while his gun has a big cross mark through it, in a very heavy-handed visual message. Monk, meanwhile, is a big purple gorilla. The prevailing color scheme of red against green, traditionally regarded as a bad combination, makes this cover an even bigger eye sore.

BEST STORY ART:
"Shadows" - Spaz (Sonic Super Special: Issue 11)

And speaking of Spaz! Spaziante is probably the most iconic of all of Archie's “Sonic” artist and certainly one of my favorites. His decision to draw a story centered on Julie-Su – one of my favorite comic exclusive characters – might make me a bit partial towards “Shadows.” Yet there's no denying that Spaz' work on “Shadows” is above and beyond excellent. He fills the wrecked Dark Legion lair setting full of realistic touches, each wall alive with detail. Julie-Su's flashback to her years in the Legion are portrayed in a moody, blue tone, suggesting the complex feelings they build in her. And Julie, with her big violet eyes and action-ready body language, has never looked better. When surrounded by mediocre work from Jim Valentino and Ken Penders, Spaz' detailed drawings come off even better.

(For the record, Steven Butler did a lot of fine work in the main book. His artwork for issue 71's “Retro Activity” is a clear runner up in this category.)

WORST STORY ART:
"The First Date: Part Three of Three - It Could Be Love (I Should Have Known Better)” - Chris Allan (Knuckles the Echidna: Issue 28)

Chris Allen, a regular artist on Archie's “Teenage Mutant Ninja Turtles” books, would pencil all three issues of the “First Date” arc. Though Allen was adapt at drawing reptilian martial artist, his skills proved less impressive at drawing echidnas. The art in the “First Date” arc degrades as it goes along. By the time we get to part three, Knuckles' body is a formless red shape, Mighty's shell looks like a hot dog bun, everyone's limbs are disturbingly muscular, Vector turns into a grotesque bodybuilder while his date is weirdly humanzied. The entire cast generally looks off-model.

Allen had to compete with some seriously poor art. Jim Valentino's work in issue 24 of “Knuckles” was really ugly, Ken's own pencil work in the “King of the Hill” arc was extremely unfortunate, and I don't know what the hell was going on with the 'Ghost Busted” story in the eighth Sonic Super Special. Yet Allen's mangled muscle monsters emerge as the art that's memorable for all the wrong reasons.

BEST NEW CHARACTER:
Lien-Da

Who would've thought that a dominatrix echidna villain was exactly what this book needed? With the exile of Kragok, the Dark Legion demanded a new field commander. His sister, Lien-Da, stood up to fill that void. Lien-Da isn't a hands-on villain, rarely confronting enemy's head-on. She doesn't need too. Instead, she barks orders, her pure force of will causing others to obey her.

Totally self-interested, Lien-Da's devious attitude and back-stabbing ways would make her one of the most endearing Dark Legion members, writers calling on the sexy villainess countless times in the future.

WORST NEW CHARACTERS:
Hunter and Monk

No, I'm not done bitching about the “King of the Hill” trilogy. Hunter and Monk are probably two of Ken Penders' lamest creations, which is really saying something. Hunter is an amalgamation of better known and written characters, hastily mashing together Kraven the Hunter, Count Zaroff, and Scaramaga. His motivation is cliched and he totally lacks any personality or threatening power.

Monk, meanwhile, is an indistinct bully. He's a big asshole who has carried a grudge for over a decade, seemingly never learns from his mistakes, and just spends his entire appearance being a jerk to Knuckles. We're suppose to cry when he gets killed but Monk is such a tool that we're just happy to see him go.

Furthermore, both characters are hugely unappealing on a visual level. Monk is a mauve sasquatch with an ugly face wearing a deeply unflattering thong-style loincloth/white gogo boots combo. Hunter combines a Fu Manchu beard, white temples, poorly drawn guns, and a number of bizarre outfits. Neither design fits the template for “Sonic” characters, making both seem hugely out of place.


BEST IDEA:
More character orientated stories

The stories that stand out the most to me in this year put ominous satellites, alternate universes, and shocking villain reveals aside in favor of good ol' fashion relationship building. Sonic returned home, his parents renewed their vowels, and he continued to grow closer to Sally. Knuckles and the Princess came to an understanding before the young Guardian made his romantic feelings for Julie-Su official. Antoine stood by Bunnie during a time of illness and longed for a father. Prince Elias decided being a prince wasn't for him and Lupe sacrificed her life to save her family. Focusing on characters' personality and how they relate to their loved ones produced, by far, the best moments in 1999.


WORST IDEA:
The Return of the Status Quo

For the last two years, Archie's “Sonic” series has been without Dr. Robotnik. With their greatest enemy now dead, the book was freed up to explore new themes, locations and characters. But, alas, it wasn't meant to last. In issue 75, Dr. Robotnik – or a version of him, anyway – returned to Sonic's world. Suddenly, a mechanized bad guy ruled the world again. A mad scientist was living in the Kingdom's capitol city, just when the Freedom Fighters were starting to make it feel like home. The heroes were reduced to hiding in the forest once more. In other words, the interesting direction the book headed in was abruptly concluded and things went back to the way they used to be. What a bummer.

Sonic the Hedgehog: Issue 80

Sonic the Hedgehog: Issue 80
Publication Date: December 1999

Issue 79 of Archie’s “Sonic the Hedgehog” series began to lay the bricks for the forthcoming adaptation of Sega’s “Sonic Adventure” game. Issue 80 continues in much this matter. Now that Amy Rose’s age and appearance matches her video game counterpart’s re-design, the book can get down to introducing the more urban environment video game Sonic would soon find himself in.

Using the Ring of Acorn’s previously unmentioned ability to grant wishes, Amy Rose has wished herself into a more mature body. While Sonic points out that this doesn’t make her any more mature mentally, Nate Morgan still insist Amy accompanies them on their latest adventure. Soon, the gang piles into the Freedom Fighter Special and heads towards the Lost City of the Ancients. As they approach, Sonic and the gang discover the city isn’t a collection of ancient temples. Instead, it’s a bustling metropolis.

The cover story, with its somewhat baffling title of “If Wishes Were Acorns,” quickly resolves the previous issue’s cliff hanger. Yes, Amy Rose is now physically the same age as everyone else. Yes, she’s tagging along on this adventure. There’s no real plot reason for this but the Sega Corporate Machine would not be denied. “Sonic Adventure” would show Amy Rose going from an obscure member of Sonic’s supporting cast to the primary female face of the franchise. Archie had to follow suit, even if they would never let go of Princess Sally. The entire story change is awkward but let’s accept it and move on.

Even with a primarily plot-driven story such as these, Karl Bollers has gotten increasingly better at sneaking in small emotional weapons. Before leaving on their latest missions, Sonic and Sally bid their parents farewell. There’s a somewhat touching scene of Sally talking to her still comatose mother, hoping she’ll be well someday. Sonic has a heart-to-heart with Jules and Bernie. The hedgehog is worried, considering what happened to mom and dad last time he left town. His parents assure him they’ll be fine. This, once again, provides a more sentimental side to the speedy hedgehog. (Mina, who otherwise contributes nothing to the story, takes note of this.) It’s nice that Bollers continues to find room for emotional beats like this, even when tasked with moving the video game adaptation ahead.

One of the biggest problems with Archie adapting “Sonic Adventure” was how different the video game was from the comic book. Archie’s series still had its root in the anti-industrial SatAM, where Sonic and friends hung out in a forest and fought against Robotnik mechanizing the world. “Sonic Adventure,” meanwhile, had Sonic living in a thoroughly urban city and interacting with human beings. Bollers’ solution was not exactly seamless. After hyping it for an issue, issue 80 reveals that the Lost City of the Ancients is... A modern day city, populated by five fingered Overlanders. This plot development gets even more awkward before it’s over. But more on that next time. Needlessly to say, I’m not a huge fan of the role Station Square would play in the franchise’s history.

That “If Wishes Were Acorns” still manages to be an alright story is even more impressive, considering it has to share book space with two other stories. “Land Fall” shifts the focus to Knuckles the Echidna. After witnessing the Floating Island falling from the sky, he asks the Brotherhood of Guardians what the hell is up. True to form, his father and grandfathers evade direct answers, belittle Knuckles, and argue among themselves. Meanwhile, the Chaotix notice the Floating Island has touched down with a near-by terrestrial land mass… And the locals aren’t friendly.

Karl Bollers manged to keep the plot moving forward while still sneaking in some heart. Ken Penders, meanwhile, is not very good at that. “Land Fall” is all plot set-up and no heart. Mostly, the story seems to exist to correct a plot hole from last time. The Brotherhood didn’t notice Eggman invading the Island because their defense measures were still suffering from Hunter’s meddling. Considering how unhelpful the Brotherhood is in this scenario, as they immediately begin to bicker among themselves, it’s no wonder Knuckles quickly glides out of there. The Chaotix, meanwhile, are reduced to a cameo. There’s not much to it, the result being fairly disappointing. Art wise, Steven Butler is still adapting to the Knuckles cast. His Thunderhawk and Vector look a little off. Unlike Spaz and other artist, he does draw Julie-Su with her canonical flat chest. These things are important to me.

“Land Fall” is mediocre but it’s still better then Pender’s second contribution to issue 80. “Swallowing Trouble” has an embarrassing title as well as the embarrassing duty of introducing Big the Cat and Froggy. These two are easily the most useless additions “Sonic Adventure” would make to the Sonic cast. The short story basically adapts Big’s first scene from the game, showing Froggy leaping from his chest, swallowing a bit of Chaos’ body, mutating, and wandering off. Before Big can save him, Froggy is abducted by a robot.

Ken Penders’ attempt to flesh out this brief story outline is not compelling. Froggy was silent in the video game but, for some reason, Ken gives the frog an interior monologue. These dialogue balloons make Froggy seem disproportionately bitchy, as he spends most of his page time criticizing his big, fat, sleeping friend. Big, a doofus in canon, is further humiliated by his attempt to rescue Froggy. Basically, you’d get more out of this story just by watching the Dreamcast cut scene. Further contributing to the story’s uselessness is Jim Valentino’s typically hideous artwork. I do not know why Sega keeps inviting this guy back. His artwork is loose, off-model, and cartoonish.

Issue 80 is somewhat compromised, as the story momentum is totally devoted to setting up the up-coming game adaptation. Despite that, Bollers still makes the most of it, creating a decent cover story. The two back-up stories, however, range from forgettable to outright bad. That evens out to a [6/10.]

Sonic the Hedgehog: Issue 79

Sonic the Hedgehog: Issue 79
Publication Date: December 1999

In the early months of 1999, Archie’s “Sonic the Hedgehog” comics were littered with mysterious ads. They were black stripes, with Sonic’s green eyes and somewhat manic grin being the only visible sight. It took me a few more months before realizing these were teaser images for “Sonic Adventure,” the latest Sonic game for Sega’s latest system. By December of 1999, thanks to a Christmas present from a dad eager to buy my love, my passionate affair with the Dreamcast had already begun. I quickly put two and two together and realized Archie had been planning a “Sonic Adventure” adaptation within the pages of their comic for months. Yet Sega’s “Sonic Adventure” featured a markedly different world then the one of the comics. Archie’s somewhat awkward attempt to blend the two continuity began here, in issue 79.

The cover story is even subtitled “A Sonic Adventure Tie-In.” “The Discovery” begins with Nate
Morgan hacking Dr. Robotnik’s computer network from the comfort of Knothole. The scientist soon learns that Robontik is planning an excavation of the Hidden City of the Ancients. Hoping to prevent this, King Acorn orders Sonic, Sally, and the other Freedom Fighters on a mission to stop the doctor. Amy Rose, Sonic’s biggest fan, wants to join the trip. However, Sally deems her too young. Meanwhile, Prince Elias worries for his comatose mother’s safety. He hopes to use the magical Ring of Acorn to restore her health… But somebody else has gotten to the ring first.

“The Discovery” is essentially seven pages of set-up. We begin with a heavy-handed inciting incident, where Nate Morgan learns of Robotnik’s latest plans. What exactly the Hidden City of the Ancients is would remain a mystery for a while. That Sonic, King Max, and seemingly everyone else – but the reader – has heard of the legend strikes me as slightly lazy.

Yet it’s almost okay. For all his flaws, Karl Bollers had a solid grasp on pacing. Just when the comic threatened to fall back into the formula of the Freedom Fighters of Knothole striking back at Dr. Robotnik’s industrial empire, he mixes things up again. Sonic is headed back on the road, as in issue 57. The big difference is that everyone is coming with him this time. The Freedom Fighters going on an adventure together is something I always welcome.

“The Discovery” also hides some solid emotion inside its meager page count. When Sonic informs the King about the villain’s latest plan, the hedgehog can tell that something else is bothering the monarch. King Max is still reeling from the news that his wife’s illness is progressing. He’s also grappling with his decision not to tell Sally. Elias, the sneaky bastard, already knows his mom’s status. Though it only takes up a few panels, it’s still nice to know this story has some emotional stakes. Characters are conflicted, feeling complex things about their love ones. It’s not a lot but Bollers is trying.

Plot wise, “The Discovery” doesn’t just exist to get Sonic and friends on the road. Up to this point, Amy Rose has been a fairly minor player. She had a decent sized role in issues 25 and 40. Since then, she mostly been appearing in bit parts, crowd scenes and the like. Her role in “The Discovery” reflects this minor status. Amy joins the going-away party in Sonic’s hut – a really cute scene – and pesters the other Freedom Fighters with questions. She’s tired of being excluded and wants to join the quest. Instead of pointing out that her only prior contribution to this team was getting kidnapped, Sally and Bunnie instead politely points out that Amy is too young to be adventurin’.

Sega, meanwhile, had very different plans for the character. The game company pulled the character form obscurity and made her the primary female lead in “Sonic Adventure.” Amy got a drastic redesign, an age boost, her own story path, and a giant hammer she could smash shit with. In the first of many awkward attempts to fuse game and comic canon, Amy had to change. Which is why Bollers pulls that bullshit ending involving the Ring of Acorns out of nowhere. Last appearing in issue 67, the ring has apparently gained magical, wish granting properties since then. How come Nate Morgan or the King would’ve mentioned that before now? But that’s what happens when corporate mandates put you in a corner.

The cover story in issue 79 runs a little short, in order to make room for two separate back-up stories. The first of which stars Knuckles. The Guardian has been haunted by reoccurring nightmares, where the Floating Island falls from the sky after a strange, watery creature snatches the Master Emerald. Upon awaking suddenly, he realizes that this nightmare has come true. That’s because Robotnik has freed Chaos, an ancient being made of water, from its prison. While Knuckels was snoozing, the dictator smashed the Emerald and fed it shards to Chaos.

Following the cancellation of his solo title, Knuckles’ adventures would shoved into the back of Sonic’s book. Despite getting top billing, Knuckles plays a small role in “The Chaos Factor.” This might also be attributed to the differences between Sega and Archie’s visions for the franchise. Following Ken Penders’ extensive expansion of his world, Knuckles’ life is wildly different in the comics when compared to the games. Moreover, the number of Chaos Emeralds across the two medias vary. So “The Chaos Factor” changes quite a bit from the source material. Chaos is now imprisoned in a black jewel. Instead of being fed different colored emeralds, Robotnik gives the ancient entity the shards of the Master Emerald. And because Penders always has to keep a hundred mythological balls in the air simultaneously, this act also frees Mammoth Mogul.

So what does Knuckles do in “The Chaos Factor?” Fall asleep on the job. As the Guardian, making sure the Floating Island stays afloat is his number one priority. Yet somehow he sleeps through Robotnik invading the Island, attacking Echidnopolis, breaking into the Chaos Chamber, and smashing the Emerald. Damn it, Knux, why didn’t you just rent an apartment in the city? In truth, Robotnik is the star of this story. It’s devoted to him hunting down Chaos, freeing him, and seeing his plan go off without a hitch. I’m still not sold on the new Robotnik but it’s hard to imagine the classic variety getting his hands quite this dirty.

Tucked into the very back of the book is the final chapter of “Tales of the Great War.” In this entry, Bernie reveals how she became robotocized. After explaining that Robotnik did it after she started asking too many questions, we see how the disappearance of his brother and sister-in-law affected Uncle Chuck. Lastly, the short story concludes by showing how Uncle Chuck restored Jules and Bernie’s free will, finally reuniting the family.

After spinning its wheels for three issues, “Tales of the Great War” finally gets back to filling in some narrative spaces. One always assumed that Bernie was robotocized by Robotnik at some point but it’s nice to finally see that play out. Likewise, the precise moment Sonic’s parents regained their consciousness is another often referenced but up until now unseen moment. The answer to that mystery?: A magical Power Ring did it. Though “Life Under-Ground” is fairly lacking in pathos, there’s one minor moment. We get a glimpse at the guilt Uncle Chuck feels, knowing that his creation was responsible for his brother’s disappearance. (Unfortunately, this also makes Chuck look like a fool. How many people disappearing would it have taken before he started to suspect Warlord Julian was up to something?) The story ends on a limp note, as Jules present a decoded disk that belong to his brother. Considering “Tales of the Great War” had gone on for so long, concluding it would another cliffhanger is not a great idea. Still, at least the story circled back around to a solid point before ending.

Issue 79 features some divisive artwork. James Fry’s work on the cover story is fine, if slightly on the loose side. His anime style artwork is energetic but sometimes a little too stylized for its own good. Steven Butler draws the Knuckles story. Robotnik and his robot looks awesome in Butler’s style. Knuckles, meanwhile, is a bit more of an awkward fit, going slightly off-model. As for the final back-up story, Chris Allen remains a rough fit for Sonic and friends. By this point, Allen has seemingly gotten use to drawing Bernie and Jules. Once we return to the present, we’re treated to some seriously deformed versions of Antione, Elias, and Bunnie. I’m glad that Allen wouldn’t return to the book too often, as he clearly didn’t have a grasp on these characters.

Issue 79 is stuffed full of new story developments. Not all of them would pay off but Bollers and Penders do a decent job of stacking them up. The Adventure awaits. [7/10]

Knuckles the Echidna: Issue 32

Knuckles the Echidna: Issue 32
Publication Date: November 1999

Here it is, you guys. The final issue of “Knuckles the Echidna.” I’ve always suspected the series’ cancellation was sudden. Ken and company had already planned out the next story line, which would tie into the “Sonic Adventure” arc currently starting in the “Sonic” book. A proposed cover for issue 33 of “Knuckles” was reused for issue 80 of “Sonic.” I have no idea how popular the “Knuckles” book was but, considering Archie’s history of financial mishandling, sales might not have been the reason for cancellation. Whatever it was, the Guardian’s series would conclude with the final part of the “King of the Hill” story line.

In hopes of evading Hunter, Knuckles and Monk descend into the Hydro City Zone, the aquatic piping system that runs inside the island. Though the two escape the Overlander killer for a while, he eventually catches up with him. Locke and Archimedes are also on Knuckles’ trail, hoping to find him before the expert marksman does.

The uninspired three-parter comes to its conclusion with the equally uninspired “To the Death.” Knuckles and Monk heading into the sewers shows that Ken doesn’t even grasp the material he’s ripping off. In “The Most Dangerous Game,” Zaroff hunted his human prey on his own island. Hunter going after the echidna and the gorilla on the Floating Island gives the prey the home field advantage. Sending the story into the Hydro City zone also means most of the story takes place in an ugly, industrial setting. (It doesn’t help that Ken’s rendition of Hydro City does not resemble its video game counterpart at all.) Of all the “Sonic 3” levels to adapt, Hydro City is an odd choice. Why would there be an aqueduct system within the Floating Island? Ken has no answers. Instead, he gives Knuckles a line about the zone being even older then the echidnas.

Monk and Hunter continue to be aggravatingly lame characters. Maybe several hours have passed in universe but, to the reader, it seems Knuckles and Monk have progressed from worst enemies to comrades immediately. Far too much of issue 32 is devoted to the echidna and the gorilla sniping at each other. I think it’s supposed to be charming. In effect, it just makes Monk look like an idiot and Knuckles look increasingly exasperated with his forced partner. The panels devoted to the two working together are especially torturous. Knuckles, for some reason, can’t glide in the Hydro City Zone. This is blatant, bad writing, forcing two characters that otherwise have nothing in common to work together.

Hunter was already a derivative, uninteresting villain. In “To the Death,” he graduates to actively annoying. For some reason, Ken gives the guy an interior monologue. While stalking Knuckles’ footprints, or following him into the sewers, he prattles on endlessly to himself. The thought bubbles contribute nothing to the story. Hunter’s thoughts aren't interesting or revealing. Instead, he basically lays out his plans and actions before he actually does them. Even though he manages to kill two characters before the story is over, he still feels like such a weak addition to the universe. It’s like a D-list supervillian from another comic dropped in and stumbles around awkwardly, before finally being defeated.

That Monk and Knuckles fail so totally at bonding makes the story’s conclusion even weaker. Yes, the gorilla dies. After a struggle on a catwalk, Hunter shoots him. You might not get this immediately, since Ken’s shitty artwork makes it look like a ray of light burst from Monk’s neck, followed by an extremely awkward fall towards the ground. Knuckles is so enraged by the bully’s death, that his latent Chaos energy powers are unleashed. Yet nothing in the actual story points towards Knuckles caring that much about Monk. It’s a ridiculous, unearned ending. Pinning the story’s entire emotional point on characters we do not like or care about was a mistake.

Yes, I mentioned Knuckles’ superpowers. Since last issue, Locke and Archimedes have been wandering around the island, looking for the young Guardian. Knuckles’ dad and mentor continue to add nothing to the story. Several pages are devoted to them bungling around. By the time they find Knuckles, the conflict has already ended. Their role in the story is totally superfluous. Knuckles’ great powers emerging is also a cheap deus ex machina. Not to mention vague as hell. As illustrated, we see Knuckles get angry and then shoot some bumpy waves from his head. This, somehow, is enough to disable Hunter. The villain’s final fate – imprisoned in a glass bubble underwater, while wearing just his underpants – is as senseless as anything else related to him.

Because issue 30-32 of “Knuckles” containing one bad story arc wasn’t enough, “The Worst of Enemies” also concludes the Espio centric story that’s been playing out in the back pages. Espio tricks the robotocized Valdez and Liza into going to one of the Island’s many ruins. There, he confronts his former friend, tackling him into a river. Afterwards, he frees the imprisoned chameleons. Even though he’s won, Espio fears this is just the first of many attacks on the Floating Island.

Unlike “King of the Hill,” which was more-or-less doomed from conception, Espio’s story actually had potential. A friend of his has turned evil. His newly introduced love interest is robotocized right in from of him. These are dramatic stakes. Yet the execution has been so flimsy and non-involving. Valdez has not been a convincing threat. We barely know anything about Liza. The plot, meanwhile, seems tossed together. It blunders from one minor point to another before finally ending here. At the story’s end, nothing’s changed. Espio’s concerns about the Island’s future could’ve been built into something more but comes off as a tonally inconsistent epilogue. Colleen Doran’s lifeless, disproportional artwork has done nothing to make up for the shitty writing. She manages to make Espio walking away from a huge explosion – itself a cliché image – look totally lifeless.

I seriously suspect “King of the Hill” was an idea Ken hadn’t really developed before tossing it into the comic. It has all the hallmarks of being filler: Characters that easily could’ve been ported over from some other story, a plot ripped off from well known material, artwork hastily provided by the writer. It contributes nothing to the universe or world. The central characters exit the plot no different then how they entered.

Good-bye, “Knuckles” solo series. You were often frustrating, as giving Ken an entire comic to play with allowed his irritating quirks to flourish. At the same time, you sometimes gave birth to good stories, solid ideas, and fascinating characters. We’d always have Julie-Su, at least until the reboot anyway. If nothing else, its definitely one of the weirdest chapters in the history of Archie’s “Sonic” universe. It’s just a bummer that the series had to conclude on such a shitty story. [3/10]

Knuckles the Echidna: Issue 31

Knuckles the Echidna: Issue 31
Publication Date: October 1999

The “King of the Hill” story arc continues with its second chapter, “The Thrill of the Hunt.” Knuckles and Monk are cornered by an Overlander calling himself Hunter. He captures Monk and talks Knuckles into coming back to his lair with him. As his name suggests, Hunter likes to pursue the most dangerous game. Knux and Monk are his next targets. Outfitted with shock collars, the two enemies are forced together to defeat their captor. Meanwhile, Locke and Archimedes try to get to the bottom of this.

Last issue, I referred to Hunter as an uninspired riff on Kraven the Hunter, a well established Spider-Man villain. There’s little doubt in my mind that Ken was ripping off Marvel, as Hunter has similar facial hair and clothes to Kraven. Yet the character’s lack of originality runs deeper. “King of the Hill” also rips off “The Most Dangerous Game,” a piece of well-trotted literary ground. Hunter has a large manservant, a detail-lacking robot called Aryu-One-Two. He considers hunting living beings a sport. While inside the lair, Knuckles discovers a series of mounted Mobian heads. (Pollo the Bear, from “SatAM,” appears to be among them.) This grisly scene is taken directly from the 1932 film version of “The Most Dangerous Game.” Ken’s not done paying “homage” to his influences. Hunter also, at one point, fires a grey version of Scaramanga’s Golden Gun.

This standard “Hunting Humans Mobians” story line is also mashed up with a standard “Enemies Forced to Work Together” story line. Monk’s bravado immediately has him stunned by Hunter. After the villain laboriously explains his modus operadi, Knuckles and Monk are tossed out into the Floating Island. As you’d expect, the two have to work together in order to survive. Hunter outfits both Mobians with shock collars, so they’ll cooperate. I’d assume Ken ripped this off from “Battle Royale” but the movie wouldn’t come out until the next year. (Oh yeah, Hunter also threatens Julie-Su. You know, that character you’d much rather be reading about.) However, Monk is still such a thin sketch of a character. He spends the majority of this issue unconscious. There’s no dynamic between the gorilla and Knuckles, meaning their force partnership lacks tension.

Because it’s impossible for Penders to write a “Knuckles” comic without forcing in the Brotherhood of Guardians, Locke appears in the story too. Inside Haven, Thunderhawk and Sabre notices that something has disrupted their signals. This is the work of Hunter, which the reader can figure out immediately. Locke and Archimedes, meanwhile, have to investigate further. I don’t know what business Locke and Archy have in this story. I’m assuming they’ll eventually save Knuckles’ ass? Otherwise, their presence drags down the pacing of a story that is already moving at a snail’s pace.

“King of the Hill” having a lame concept, weak execution, and introducing unneeded new characters isn’t enough. The story has to look like shit too. Ken’s pencils aren’t just ugly and lifeless. They’re often incoherent. An early scene has Hunter stunning Monk and I have no idea what happens in those panel. The faces of Monk, Knuckles, Archimedes, and Locke manage to be simultaneously stiff and unpleasantly stretched out. Ken flat-out does not know how to draw guns, as Hunter’s firearms often look like weird tube devices. Lastly, Hunter, Monk, and Aryu-One-Two have deeply unappealing designs. Penders makes no attempt to adapt them to the Sega/Archie house style. They do not look like they belong to this world. Ken’s writing skills may be debatable but his drawing skills are undeniably lacking.

The back-up story to “Thrill of the Hunter” is equally uninspiring. “The Best of Friends” continues Espio’s conflict with the now robotocized Valdez. The mechanical chameleon explains how he became captured by Robotnik. The dictator has sent the Robian to the Floating Island to locate Knuckles and the Master Emerald. When Espio fails to cooperate, Valdez robotocizes Liza, the female chameleon that is both men’s object of desire.

If the subplot involving the Brotherhood strips the cover story of any forward momentum, the back-up story screeches to a halt because of Valdez’ lengthy flashback. Did we really need to see the extended scenes of Robotnik capturing him, robotocizing him, and further programming him? Couldn’t that have been handled in a few panels, instead of two pages? Liza’s fate could have grafted the story an emotional heart. We discover that Valdez and Espio are both rivals for Liza’s affections. That she was working with the now robotic lizard in hopes that Espio could reach him. However, we just met this character last month. We know nothing about her. I do not care that she’s being turned into a robot. Add in Colleen Doran’s lifeless, ugly illustrations and you’ve got another dud.

I continue to wish that “Knuckles” got the axe three issues earlier. “King of the Hill” remains an uninspired story arc with a mountain of problems. Somehow, I don’t expect things to turn around in the last volume. [4/10]

Sonic the Hedgehog: Issue 78

Sonic the Hedgehog: Issue 78
Publication Date: October 1999

The cover art of issue 78 of Archie’s “Sonic the Hedgehog” certainly brings back some memories. The issue is the first to use the newly redesigned “Sonic” logo, which the book retains to this day. Secondly, a blurb on the cover assures readers that their subscription is Y2K compatible, back when the world was terrified calendars switching over would bring about the computer apocalypse. Moreover, the cover gives me a waft of nostalgia because it features a number of characters mostly exclusive to this era of Sonic. Even if the reboot hadn’t happen, I kind of doubt that Dr. Quack and his kids would be featured on a cover today.

The cover story, “Changes,” is another more low-key effort from Karl Bollers. With most of the free Mobians relocated, King Acorn officially designates Knothole Village as the new center of the Kingdom. He also knights Sonic and recommissions the Freedom Fighters, now that freedom must be fought for again. Despite these changes, Sonic and friends are troubled by the losses they still feel. Meanwhile, Dr. Robotnik makes movements on his next master plan.

“Changes,” which I feel compelled to sing as “Cha-Cha-Changes,” continues Bollers’ efforts to make King Max less of a dick hole. By knighting Sonic and recognizing that the world needs the Freedom Fighters again, he essentially recognizes that the kids were right along. That’s right, it only took the reemergence of their greatest enemy for King Acorn to actually respect the heroes. I know the King will be acting like an asshole again before too long but it’s nice to see some positive developments in his personality, even if it’s temporary. Sonic becoming a Sir also provides some humor to the proceedings. It even forces Geoffrey St. John to acknowledge the accomplishments of his long term rival.

“Changes” is a story without any big conflict or action beats. Instead, it’s a story focused almost exclusively on characters. Uncle Chuck’s recent abduction by Robotnik continues to weigh heavily on Sonic’s mind. Despite being knighted and reunited with his parents, Chuck’s loss makes our hedgehog hero feel like a failure. He’s not the only Freedom Fighter feeling some parental angst. Antoine’s own father remains a robotocized member of Robotnik’s army. The comic smartly contrasts Antoine’s childhood memories of his father with his dad’s current state. Lastly, Elias continues to worry about his mother, who remains comatose, and his future responsibility as King. Compared to Sonic and Antione’s very real problems, Elias’ concerns seem far pettier.

For that matter, kids missing their parents is the primary emotional heart of this story. When yous top and think about it, a startling number of Freedom Fighters are orphans. As the former residents of Mobotropolis move back into Knothole, the newly introduced Mina feels sorry for herself, since her mom was left behind. That’s when a stray run-in with Rosie – who I don’t think we’ve seen since issue 54 – has Mina shepherding a trio of orphans around. The comic wouldn’t know what to do with Mina for years, eventually making her yet another love interest for Sonic before she found her calling as a pop star. However, this scene at least shows her as a good kid with a kind heart. It’s certainly more touching then the moments devoted to Nate Morgan. Morgan moves into Uncle Chuck’s old laboratory. I doubt he intended it this way but it looks like Bollers has replaced a beloved, established character with his own, far more contentious creation.

While the story turns its attention towards the characters in Knothole, Robotnik is still planning for the next story arc. In a handful of panels, we see the robotic dictator planning ominous, wicked things. (He’s also still doing that creepy thing with his arm.) These scenes are, of course, setting up the “Sonic Adventure” adaptation, which would begin next month. We also get another scene of a shuttle traveling through space, headed towards Mobius. If I remember correctly, that’s a story element that wouldn’t be resolved for quite a bit longer. I can’t blame Karl for planning ahead but these scenes feel like unnecessary distractions from the main story.

Speaking of unnecessary distractions! In the back pages, Ken has continued to belabor the “Tales of the Great War” story line. Jules and Bernie continue to tell their story around the camp fire to the younger Freedom Fighters. We see Jules become the first victim of the Robotocizer, Uncle Chuck immediately regretting his invention. Meanwhile, the Mobians win the Great War after King Acorn defeats the Overlander leader in a duel. This, however, is just a prelude to Robotnik’s takeover of the city.

As I mentioned last time, the “Tales of the Great War” story line was interesting as long as it was chronicling rarely explored bits of the backstory. Now, Ken has more-or-less caught up with himself. There’s little room left to be filled in but he’s continuing anyways. We now see, in detail, how Jules became a robot and how Charles became a chili dog stand owner. About the only new piece of information here is how King Acorn won the war. It’s a fairly useless story, hampered by some of Ken’s most melodramatic dialogue in a while. Chris Allan’s artwork has improved slightly but still seems far too cartoonish and loose for this story.

James Fry’s pencils for the main story are fine, by the way. “Changes” doesn’t match Bollers’ previous high water mark, issue 54’s “Running to Stand Still,” but it’s in a similar mold. As mentioned many times before, Bollers’ best work wasn’t his action and plot heavy story. Instead, his writing shined when turned towards the more personal moments. [7/10]