Sonic the Hedgehog: Issue 137

Sonic the Hedgehog: Issue 137
Publication Date: June 2004

With issue 137, the Tommy Turtle Trilogy totally tears towards termination. I've made my dislike of this particular story arc and everything it represents well known. Yet, compared to the last few limp issues, issue 137 works slightly better. I'll take any port in a storm, especially since I know good stories will become harder and harder to find soon enough. “Half-way decent” feels great in a drought of quality like this.

In “Robo-Dyne Systems,” Sonic and the Freedom Fighters, Sally included, fly towards New Megaopolis, the brand new city Robotnik has built on the radioactive ruins of Old Robotropolis. They are there for a reason: To sneak into the factory where Tommy the Turtle is being kept and rescue him. While there, Sonic and Sally uncover an entire production line of infiltration units, a new wave of Auto-Automatons meant to sneak into Knothole and take it over from the inside. The heroes decide they need to both rescue Tommy and destroy the factory.

Once you get over “Robo-Dyne Systems” being about Tommy the Turtle, it's actually a pretty decent action story. The turtle doesn't play a very large role in the plot, mostly serving as the kidnapped victim being rescued. Instead, this one is about the Freedom Fighters kicking ass as a team. I know I say this any time it happens but some things bare repeating: Seeing the team actually work together as a unit is so satisfying. Sonic and Sally are the power couple, the hedgehog speeding through enemies while Sally strategizes. Bunnie is the bruiser, smashing through robots. Antoine is the brave soldier, fighting valiantly despite being weaker than his comrades. Rotor is the brains, quickly thinking the gang out of tight ends. And Tails is the guy on the outside, arriving with the airplane at the end to save everybody's ass. It works fairly smoothly, a formula that's been in place since SatAM, kind of.

“Robo-Dyne Systems” even includes one decent fake-out. We cut from a panel of Sonic and Sally rescuing Tommy to the Princess and hedgehog reuniting with Bunnie and Antoine. The story actually doesn't project the incoming reveal too badly. Of course, this Sonic and Sally are infiltrator units. Once this is discovered, Bunnie makes short work of them. However, the combination of artwork and writing keeps the suspense effective, making for a decent sequence.

It's not just some strong pacing that elevates “Robo-Dyne Systems.” In-between action beats, the story sneaks in some decent – not great – character interaction. The story begins with Sonic noting that Sally is accompanying him on this mission, even though she's still pissed at him. The Princess points out that Tommy was her friend too. Later, the hedgehog and chipmunk have an argument mid-mission. Sally wants to focus on destroying the factory, while Sonic insist rescuing Tommy is their top priority. Considering the book has outright refused to acknowledge the break-up for the last few issues, it was nice of it to bring emotional issues back to the forefront, even if it could've been handled better. Bunnie and Antoine's break-up also comes up, briefly. Sadly, this just amounts to the coyote continuing to be a dick to her for no reason.

Onward to “Mobius: 20 Years Later,” with “Trouble in Paradise.” We follow both the Knothole Royal Family and Knuckles' household on Angel Island as they prepare for their upcoming dinner together. On the plane, Sonic expresses concern to Sally about his continued role as King of the free world. In Echidnopolis, Knuckles explains the warning Rotor gave him to Julie-Su.

What I really like about “Trouble in Paradise” is its clever visual gimmick. The left side of the pages are devoted to Sonic and Sally's journey to the Floating Island. Their panels are all framed in blue. On the right side, we see Knuckles and Julie-Su preparing for the dinner, their panels surrounded by red. In other words, we're seeing separate events playing out in real time, alongside each other. It also gives us a peak into both couple's relationships. Apparently, Sonic and Sally are still arguing about the same shit twenty years later, while Knuckles remains bad at keeping secrets from Julie-Su.

It's cleverly presented but the script is still a little too typical. Honestly, this far into adulthood, I find it difficult to believe that Sonic would still have anxiety about kinghood. Maybe when he first took the position, sure. But now? What does he expect Sally to do? Divorce him? It's dumb. Julie-Su and Knuckles' side of the conversation revolves too much around the vague hinting Ken has continued to do recently. “Trouble in Paradise” also introduces Prince Manik, Sally and Sonic's son. Penders writes the boy as an obnoxious teen stereotype, asking if “we are there yet” and so forth.

We ain't done yet. Pushed into the back is the terribly titled “One Part Ooh-La-La, and Two Parts Treachery!” While going through his things, looking to write a letter to the king, Antoine comes upon a note Bunnie write him years ago. In it, we see the time an old childhood sweetheart, named Tatiana, came to visit Antoine. The coyote feared the reappearing sweetheart would threaten his relationship with Bunnie. He realizes that Tatiana is a lying, no good bitch and stands by Bunnie instead.

Before I can address this story, which I'll just refer to as “Ooh-La-La” for brevity and my sanity's sake, I need to address the artwork. Somebody named Al Bigley does the pencils, his debut credit. It is seriously off-model. Everyone in the story have weird, elongated torsos that doesn't fit the character designs as we know them. He weirdly emphasizes everyone's shoulders, making the cast members look even longer. The faces, meanwhile, are Ron Lim level, featuring huge glassy eyes lacking expressiveness. He doesn't stick to these designs either, as everyone frequently bends out of shape. Tatiana is a seriously unappealing design too, looking like an anime teenager with a feline head shoved on her neck.

Tatiana is easily the biggest problem with “Ooh-La-La.” Antoine's back story has always been the thinnest of all the Freedom Fighters. Randomly shoving a major character in, out of nowhere, is bad form. If Tatiana is such an important part of Antoine's life, why are we only now hearing about her? The information about the character – that Antoine had a crush on her when they were kids but then she dumped him for Sonic – is rushed through. So is her reintroduction. Tatiana appears for a few panels, hugs Antoine, and then she rushes back off. The whole thing feels like a cheat.

Having said that, “Ooh-La-La” does have some good stuff in it. It's really sweet how Antoine is concerned that Bunnie will be upset about Tatiana's reappearance but Bunnie is perfectly understanding. It's also very touching how quickly the coyote realizes that Bunnie is far more important to him then some random girl that friend-zoned him a decade ago. The climax of the story is Antoine explaining how deep his love for Bunnie is by a waterfall. That scene genuinely works, giving this shortie some emotional heft. The final image – modern day Antoine tearing up the letter without care – is also oddly powerful. Why Antoine is such a prick now still hasn't been addressed – that's a dumb reveal still to come – but it's clear how much he's changed.

Like I said, issue 137 is still far from perfect. Yet it's still the best the series has offered us in at least a while. A fun cover story, an emotional back-up, and a cleverly presented tale in-between add up to the first issue I've actually liked in far too long. [7/10]

Sonic the Hedgehog: Issue 136

Sonic the Hedgehog: Issue 136
Publication Date: May 2004

This is how certain Archie was that fans wanted Tommy the Turtle back. Issue 136 is the middle chapter of a story arc they have dubbed “The Tommy Trilogy.” Shit, how many actually important character had their name right in the title of an arc? We never got the “Dr. Quack Quartet” or “The Dulcy Decalogy.”  Of all characters, why Tommy the Turtle? Issue 136 doesn't provide any answers to that specific question but does feature plenty of other stuff.

In “The Infiltrator,” Tommy is integrating himself into Knothole society, having apparently moved in Sonic and Tails. After pulling an all-night mission, Sonic collapses into his bedroom, exhausted. While he sleeps, Tommy sneaks off. The turtle reveals himself as an Auto-Automaton, a robotic double sent to infiltrate Knothole and kill Sonic. Jules prevents the reptile from eviscerating his son with a hand drill but at the cost of his own life. Sonic has to take drastic measures to save his father.

What's most frustrating about “The Infiltrator” is that it presents a perfect out for this whole Tommy the Turtle business. The Tommy Sonic took back to Knothole is a goddamn robot, designed to sneak into Knothole and assassinate the hedgehog hero. A smart writer would've revealed that this was the plan all along, that Tommy did not survive his initial appearance. This would've been a way to sate the apparent demand for Tommy's return without cheapening that original story too much. Instead, after Auto-Tommy drills a hole in Jules and Sonic spin-dashes him in half, we learn that the real Tommy is still alive, held captive by Robotnik somewhere. Way to miss that chance, Romy.

Despite this issue, there's one or two things interesting about “The Infiltrator.” Firstly, Tails mentions going to school for the first time in forever. (I was really hoping Knothole High was decommissioned during that year Sonic spent in space.) Secondly, Sonic has apparently traded his race car bed out for a regular mattress and bedroom setting. Lastly, Jules' life being endangered presents a chance for some emotional resonance. It's handled in a melodramatic way. After seeing his father injuries, Sonic screams “NO!” towards the heavens. After Uncle Chuck informs him that Jules is dead, a single tear runs down his cheek. But at least this sorrow is an appropriate response. Archie still hasn't, and seemingly has no plan to, allow Sonic to mourn the end of his relationship with Sally. Jules' death could've been granted further weight, since father and son have a minor scuffle at the story's beginning.

Could've. But didn't! Because Jules doesn't die. Instead, Sonic grabs a power ring from the Lake of Rings – another plot element that hasn't been mentioned in years – and uses its magic to wish Jules back to life. This is a plot hole, as I was pretty sure that only Sonic's magical one-millionth ring had the ability to grant wishes. More importantly, it's yet another death cheat, a cheap deus ex machina pulled out of nowhere to prevent Jules' death. Once again, sloppy writing shanghais what might have been a powerful, emotional story. “The Infiltrator” should've been about Jules' death. Instead, it's about Tommy the fucking Turtle.

How about that “Mobius: 20 Years Later?” In “Girl Talk,” Julie-Su and Queen Sally discussing what food should be presented at an up-coming dinner between the Royal Family and the Guardian's brood. Apparently, the hedgehog and the echidna disagree on meals. Lien-Da, via phone call, joins in the conversation, as does Lara-Su, via the power of walking into the room. That's pretty much it.

“Mobius: 20 Years Later” has been doing okay for a while but hits a snag with “Girl Talk.” At first, it seemed like natural character development. Julie-Su is a mother now, changing her priorities in a major way. However, seeing the former bad-ass Legionnaire discuss dinner plans, arguing over ingredients, being a Susie Homemaker in an apron, pushes things too far. Looks like Ken has done to Julie-Su what Karl Boller has done to Sally in the present time line: Turn her into a reductive feminine stereotype. Considering Julie-Su's overriding toughness has always been her most endearing attribute, it's a very disappointing change.

“Girl Talk” has another problem, as it's focused on disguising exposition as regular dialogue. Something Ken is notoriously bad at. So Sally details Sonic's history with taking the crown, stating information the other characters surely already know. We get more vague hints about bad weather and then the story abruptly ends. Lien-Da, Lara-Su, and the catty family maid Abby contribute nothing to the plot.

Archie shoves another story into this issue, perhaps explaining why “Girl Talk” ended so suddenly. In “Patience,” Knuckles watches Angel Island float overhead. He considers leaping from the cliff top, climbing aboard the island, and rescuing his mom from Robotnik's occupation. He pauses, remembering the King told him they would rescue the Island when the resources became available. He eventually decides to listen to authority and lets the Island pass by. It saves his life, as Robotnik had snipers watching, ready to murder Knuckels as soon as he revealed himself.

“Patience” could've shown how much Knuckles' personality has grown. The earlier Knuckles, far more hot-headed and impulsive, wouldn't have paused to rescue his Island. Modern day Knuckles pauses to consider his action. In execution, however, “Patience” has another effect. Too much of the story focuses on Knuckles' whining about loosing his gliding abilities, along with the rest of his god-like Chaos powers. (I always assumed that was a natural ability but, okay, sure, whatever.) By having King Max describe Knothole's unwillingness to free Angel Island as a lack of resources – instead of it being a dangerous political move – it makes the kingdom look like withholding dicks, disinterested in echidna lives. Knuckles agreeing to this makes him look impotent. Having the echidna be unaware that his patience saved his life means the greater importance of his decision doesn't dawn on him. And leads to a totally useless story.

All about, it looks like issue 136 is full of missed opportunities. Tommy could've been written back out. Jules' sacrifice could've meant something. Knuckles' patience could've been character development. The three-way phone call between Julie-Su, Sally, and Lien-Da could've been cute. None of these goals are met, leading to a flatly lame book. Only Art Mawhinney and Steven Butler's artwork makes this one worth reading. (Ron Lim draws “Patience,” meaning there's no reason to read that one.) [4/10]

Sonic the Hedgehog: Issue 135

Sonic the Hedgehog: Issue 135
Publication Date: April 2004

Last time, I pointed out Sally's infamous slap as a real turning point in Archie's “Sonic the Hedgehog” series. The comic's quality had already been wildly flagging for several years now, as it never quite found its footing following the Sega-mandated “Sonic Adventure” adaptation and the return of Robotnik. Over the next two years, the quality of the book would nosedive even further. Sonic and Sally's break-up was one reason for this. Another one was the book forcing Tommy the Turtle down reader's throat, which began the very next month. Though the cover and first few pages attempt to build up a mystery around the cloaked figure's identity, the frontispiece makes this much clear: Tommy the Turtle is back. And we're stuck with him.

Concealing himself with an easily discarded cloak, Sonic enters the Forbidden Zone, that uninhabitable zone between the Great Forest and the nuked remains of Robotropolis. Inside the bar, he meets an old friend, thought deceased. Tommy the Turtle has been hiding out for a few months, having survived the explosion that seemingly claimed his life in issue 117. Their reunion is interrupted when the robotocized Fearsome Four attack them.

The regretful return of Tommy the Turtle is clearly representative of what was wrong with the comic book at this time. Archie didn't understand what fans wanted. Issue 117's “The Tortoise and the Hedgehog” was a popular story because it was well written, not because Tommy the Turtle was in it. Returning Tommy to life not only invalidated his sacrifice at the end of the story, it also completely missed his point as a character. Tommy was always kind of lame, right down to his obvious alliterative name, a goody-goody with a lack of personality. He was created to die. Moreover, how Tommy survived is an especially lame reveal. The blast that should've killed him apparently tossed him to safety, which has to be the laziest retcon Archie's writers could've thought up.

Aside from this egregious mistake, “Agent of K.N.O.T.H.O.L.E.” is a fairly uneventful action story. Sonic insists on maintaining a secret agent style inner monologue at first, for no particular reason. Tommy drops some nonsense on the reader about Robotnik rediscovering the ability to robotocize Mobians, even those that had been rendered un-robotcizable by the Bem. Any significance this circular development might have had is interrupted when the robotic Fearsome Foursome, plus Sleuth Dawg and Drago, pounce on Sonic and Tommy. (How the villains survived the same seemingly fatal blast that should've killed Tommy isn't explained. I guess they were tossed to safety too?) What follows is an uninspired fight scene, where the hedgehog easily bests the bad guys while cracking puns that are lame even by Sonic's standards. Ron Lim illustrates the story so you know it looks crappy too.

That plot point concerning robotocizion is expounded on in the second story, “Anonymous.” A.D.A.M. informs his dad that Sgt. Simian's gang, presumably rendered organic again by the Bem, have since been turned back into robots. The mad scientist search the machine's memories to discover how. A.D.A.M. presents a video from Drago's perspective but it's been censored, to concealed the identity of whoever is responsible. Checking the meta-data reveals only the name “Anonymous” inside the robot's memories. (This was years before internet hacktivists/trolls adopted that same name but it's sort of funny to read in a modern context.)

This Anonymous story line is one the book would intermittently drag out for the next two years, as an unknown, outside force who would occasionally muck up Robotnik's plans while clearly being an enemy of the Freedom Fighters. Anonymous' originally intended identity was as easy to guess as the person inside those satellites post-”Endgame.” Chacon clearly intended Anonymous to be the original Dr. Robotnik, somehow returned to life, plotting against his fully mechanical replacement. In one of his best saving throws, Ian Flynn would dismiss this plot point and reveal A.D.A.M. as Anonymous. While brilliant, that eventual reveal makes this story kind of useless. It's build-up to a reveal – Romy was already hinting at this, with Eggman pointing out that the obscured villain is roughly the same size as him – that isn't coming. The interaction between Eggman and his computerized offspring is sort of cute and Art Mawhinney's pencils are solid but the story doesn't present much else worth reading.

Lastly, we have “Dealing with the Devil,” the latest entry in the “Mobius: 20 Years Later” arc. It's devoted entirely to Lien-Da grilling her son, Rutan, about why he was in the park in the middle of the night. The teenage boy is afraid to reveal that he was having some heavy petting with his girlfriend, Espio's daughter Salma. When the truth comes out, Lien-Da's wrath is momentarily sated when Rutan reveals that he also overheard Knuckles and Rotor discussing the incoming cataclysm.

The strength of “20 Years Later,” up to this point, has been its focus on low-key character moments. “Dealing with the Devil” has Penders falling back on bad habits. Namely, a reliance on exposition. When Dimitri's floating head interrupts Lien-Da's interrogation of her son, it leads to a detailed flashback. At some point, a faltering Robotnik came to Dimitri for assistance. Being an asshole, the doctor would betray Dimitri and reduce him to a head in a jar. While the writer probably should have addressed this change at some point, now wasn't the best time. (This also doesn't explain why the Dark Legion were peacefully integrated with Angel island's populace, a more enticing query.)

Having said that, there is still some stuff here to like. Rutan's increased nervousness that his mom will find out about his horny shenanigans is awfully charming. Even though she's a domesticated single mom now, Lien-Da is still capable of villainous act, something her son is all too aware of. Steven Butler's increasingly awesome artwork helps. There's a wonderful panel where Lien-Da's rage at her boy is depicted as the echidna literally breathing fire. For the record, Butler draws Lien-Da as almost distressingly sexy, her ample curves squeezed into that skin-tight leather catsuit. I bet Rutan had a lot of “friends” over for play dates just so they could look at his mom's cleavage.

The separation of quality between the cover story and the back-up isn't too vast but, for once, Ken is doing better than his cohorts. I'm sure he'll screw it up in the near future. For now, issue 135 evens out to a [6/10.]

Sonic the Hedgehog: Issue 134

Sonic the Hedgehog: Issue 134
Publication Date: March 2004

There are a number of infamous issues throughout the long run of Archie's “Sonic” book. Some are notorious for their lack of quality, like “Sonic Live!” or “Naugus Game.” Others are infamous for the events they depict, like Sally's apparent death in issue 47. Or this one, for example. Issue 134 contains what some fans have taken to calling “The Smack Heard Around the Fandom.” As a die hard Sonic/Sally shipper, it shouldn't come as a shock that I fucking hate that widely loathed event. Is the story around this controversial decision worth salvaging?

The epilogue of “Home” - subtitled “Say You Will,” because what Sonic book is complete without a Foreigner reference? - is exactly that. This issue is directly concerned with the fall-out of the “Home” arc. Sonic spends some time around Knothole, reconnecting with old friends and discovering some of the events that have changed.

“Say You Will” could've had a similar function as the first part of “Home,” an emotional story devoted to Sonic reconnecting with his friends and love ones. And technically it is, though in the most awkward way possible. For most of the page count, the hedgehog regurgitates things the readers already know. Such as explaining to his parents why Jules is still a robot while all the other Robians are now organic. Or telling Tails that his parents still live, though on the other end of the universe. (Of course, the answer to both of these questions is the rather uninspiring “aliens.”)

“Say You Will” does attempt to explain some of the changes that have occurred while Sonic was away for a year. Bunnie and Antoine have naturally drifted apart, the war with Eggman apparently changing the coyote. That's not a very satisfying explanation but, okay, sure. It'll do until the actual, far more insipid answer is revealed. As for the new changes: Dr. Quack is now sporting an eye patch, after stepping on a landmine. Mina now has a boyfriend, her asshole manager Ash, despite still singing songs about Sonic. Knuckles explains why the hell he's hanging out around Knothole. Turns out Robotnik took over Angel Island a while ago.

It's all fine and good, I guess, but not the thing anyone remembers about this issue. In “Say You Will,” Karl Bollers finalizes the despicable character derailing Sally Acorn has suffered for a while. On Mina's stage, in front of all of Knothole, Sally gives Sonic an ultimatum. Either retire from field duty and stay with her in wedded bliss or say goodbye to their relationship. Sonic refuses to quit fighting Robotnik, causing the Princess to smack him in the face and terminate their engagement.

This is absolute bullshit, you guys. Complete bullocks. Total fucking horse dookie. Why the fuck would Karl break up Sonic and Sally after finally letting the two officially become a couple just a few issues ago? And, if he had to break them up, why do it in such a stupid fashion? It could've been more natural. Maybe after thinking he was dead for a year, Sally is afraid of loosing Sonic again. Instead, it makes the Princess seem clingy and manipulative. Sonic so easily making this decision also makes him look like a callous asshole.

And it's so hard to believe. Once upon a time, Sonic and Sally would fight side-by-side on the battle field. The two risking their lives wasn't a problem back then! What the fuck happened, aside from bad writing? The Dork Age has been upon us for quite some time but this slap signaled the comic's most extreme downward spiral.

So how about that back-up story? Ken Penders' “25 Years Later” keeps going with “In Transit.” Knuckles and Rotor's meeting in the park is interrupted when he spots Lien-Da's son spying on them, the kid coming upon the secret meeting while making out with his girlfriend. Concerned about what he might have learned, Knuckles returns to Haven, spying on his enemy instead of his daughter. Meanwhile, Rotor and Cobar continue to hint ominously towards upcoming bad juju.

Once again, the plot is the least interesting thing about this story. Instead, “In Transit” is full of cute moments between parents and children. In Haven, we see Grandfather Sabre is infirm while Spectre and Sojourner are seemingly unaged. This leads to an especially hilarious panel, perhaps unintentionally. When Knuckles mentions that Julie-Su insisted he never spy on Lara-Su, Sojourner expresses bafflement. Invading people's privacy is such an ingrained part of the Brotherhood, that they literally can not understand why anyone would object to it. It sort of seems like Ken is poking fun at his own writing here but who's to say? I also like Lien-Da's continued characterization as a doting mother, who is more interested in her son getting to second base with his girlfriend than in any pertinent information he may be carrying.

In addition to being a fun story, “In Transit” also looks amazing. It might have been this point that Steven Butler surpass Manny Galan as my favorite Knuckles artist. What about the cover story? It's drawn by newcomer Jon Gray. Some folks love Gray's artwork. I, personally, can't stand it. I was in high school when this issue came out and, reading it, Gray's pencil couldn't help but remind me of the shit girls I knew doodled on their notebooks. It's extremely loose, characters bending in all sorts of ridiculous, exaggerated ways. There's no interior cohesion to Gray's work, the cast members sloppily changing shape at a moment's notice. Gray's ridiculous artwork also undermines what should've been a fairly serious story. That's another reason the slap is so notorious. Gray draws it with the biggest, most oversized emotions possible.

For the first time, I think I have to rate the cover story and the backstory on different scales. “In Transit” is my favorite edition of “25 Years Later” thus far, a funny, charming story. It gets a [7/10.] The cover story would just be another mediocre Karl Bollers joint, awkward plotting choking out the smoothness, it if wasn't for the odious treatment of Sally. For totally assassinating everything lovable about the People's Princess, “Say You Will” gets a [2/10.]

Sonic the Hedgehog: Issue 133

Sonic the Hedgehog: Issue 133
Publication Date: February 2004

Despite an emotional beginning that was soundly praised by most every one in the fandom, except for those fuckheads who don't like the pre-boot verse at all, the “Home” story arc soon became more focused on driving action. Which wouldn't have been a problem if the plot heavy action was less interesting than just seeing the characters interact with each other. Especially since Karl continues to dole out tiny details about the changes Mobius underwent during the year Sonic was tossed in space.

“Home: Part 4,” which is simplistically subtitled “Finale,” continues to split the plot among different locations. Sonic fights Mecha. Tails fights A.D.A.M., the sentient computer virus still in control of the Tornado. Knuckles and the Chaotix, with assistance from Rouge and Amy Rose, faces down Robotnik's mechanical army. The threads slowly connect, leading Sonic and the Freedom Fighters to a temporary victory.

“Finale” is mostly focused on the big action sequences. The problem is that too much of the action is kind of dull. M, Robotnik's statuesque robotic daughter, isn't the most invigorating of enemies. She shoots laser beams from her eyes, which Sonic dodges until he can't. After a punch from Bunnie and a grenade from St. John, the depths of M's unoriginality is revealed. She exits the fire as a robotic skeleton. Yep, Mecha is a rip-off of the Terminator. More specifically, Kristina Loken's Terminatrix from “Terminator 3.” Considering “Rise of the Machines” had just come out a year before this comic, the resemblance probably isn't a coincidence. Sadly, Mecha isn't even as captivating a threat as that character. After humbling Espio and Hershey, Sonic easily defeats the fembot by dropping her into some sewer water, shorting her circuits. Robotnik coated his killbot in human flesh but didn't water proof it?

In fact, both of Robotnik's “children” prove underwhelming. As soon as A.D.A.M. controls of the Tornado, the virus probably should've crashed the plane into a mountain side. It might not have killed Tails – the fox is, after all, well known for his ability to fly even without a biplane – but it at least would've minimized that threat. Instead, Tails stumps A.D.A.M. by telling him riddles. Thus another element of Robotnik's flawed design work is revealed. He didn't think to program A.D.A.M. with a sense of humor. Tails' warmed-over witticisms, which includes such chestnuts as “What's black and white and red all over?,” is enough to temporarily send ADAM off-line! Christ, it's a good thing Tails didn't ask the A.I. to comprehend love.

There are a few nuggets of character development that makes the finale of “Home” slightly more compelling than its prior two parts. Despite never displaying  an aptitude for heath care before, Fiona Fox now acts as the team medic, giving her some reason to be here. After Rouge offers Knuckles some help, Julie-Su squints at them in jealousy. It's a cute moment, acknowledging the sexual tension Knuckles and Rouge shared in “Sonic Adventure 2.” (This potential attraction would never be furthered developed, which is fine since this book probably didn't need another love triangle.) Most importantly, after Sonic asks Bunnie and Antoine to go on a mission together, it's revealed the former couple haven't been together for months. This plot point would develop in a stupid direction eventually but it certainly catches the reader's eye here.

Not all the character development here is satisfying. Karl continues to drop the ball concerning Princess Sally. Despite not long being kept away from the action by her parents, the Princess has once again been reduced to pining for her hedgehog love. After Sonic is injuried on the battle field, Sally runs away weeping. Is this the same Sally that was dropping backkicks on robots years earlier? Meanwhile, Karl's characterization of Shadow the Hedgehog remains simplistic. The black furred hog confronts Robotnik, threatening to murder the mad scientist for reasons I can't remember now. This is consistent with Sega's characterization of Shadow at the time. (After all, the next year would bring his solo video game, with its machine guns and motorcycles.) But, after Shadow's cute reaction to Hope in “Sonic Adventure 2.5,” it seems like a step back.

In the back pages, Ken Penders' “Mobius: 25 Years Later” arc continues. Knuckles and Rotor meet in the park at night. There, the walrus informs the Guardian that something creepy is happening with the skies, hinting at a forthcoming cataclysm. Meanwhile, Julie-Su and Lara-Su have a heart-to-heart, in the wee hours after her unveiling.

Once again, Ken Penders has presented a vague, forthcoming ecological disaster as the main adversary of his story. This is at least the second, maybe third, time he's pulled that shit. Was he traumatized by a hurricane as a kid or something? Ken's attempt at witty dialogue between Rotor and Knuckles, amid loose warnings about what's to come, aren't very interesting. The scene between Julie-Su and Lara-Su is a little better. Julie-Su seems to have developed into a slightly overprotective mother. Lara-Su continues to be annoyed that she can't have solo adventures. Julie-Su assures her that mom and dad know best. It's a bit awkward but think about this. Both Knuckles and Julie-Su believed themselves to be orphans until they were fifteen. Being slightly clingy towards their daughter makes sense, as both understand what it's like to live without parents.

After Ron Lim and Dave Manak took uninspired shots at the “Home” arc, Steven Butler returns to draw all of issue 133. Butler's strength for drawing sexy females is especially noticeable. Whether it's Bunnie's cleavage, Fiona's heaving bosom, Rouge being Rouge, or Julie-Su and Lara-Su lounging around in skimpy nightgowns, this issue has no shortage of fan service. Beyond T&A, Butler's gift for action and detail also shines here... For the most part. There's an occasional weird panel. The open two page spread shows Sonic leaping over a laser blast, which looks awkward. A later panel shows Shadow running over a body of water, displaying some weird perspective work. Yet every weak panel is overpowered by an especially strong one. Such as Bunnie triumphantly wrecking Robotnik's battle ship or Knuckles and the Chaotix heading into battle against Robotnik's robot army.

“Home” started really strong but started to falter almost immediately afterwards. There's a crumb or two of something more interesting in this issue but Sonic's grand return to Mobius could've been better handled. “Mobius: 25 Years Later” remains refreshingly low-key in comparison. Gee, does that balance out to a [5/10] or so? Sure does.

Sonic the Hedgehog: Issue 132

Sonic the Hedgehog: Issue 132
Publication Date: January 2004

Man, does it bother any one else when big plot arcs get split up by years? Just me? Okay. But, yes, the “Home” series headed into its third part as Archie's “Sonic the Hedgehog” began 2004. After a strong start, the story line would cluttered apart into uninspired action. I remember 2004 and 2005 being especially weak years for Archie's “Sonic” series. So I'm not exactly excited to be heading into these next 26 issues. Let's get this over with as quickly as possible.

With all the pieces moved into place last time, Sonic and the Freedom Fighters begin their offensive strike against Robotnik's empire. Sonic and Tails confront Eggman on his battle ship, unprepared for the doctor's new mechanical children: A sentient computer virus named A.D.A.M. and a super strong female android named M. Outside the Kingdom of Acorn, the Chaotix faced down an army of ShadowBots. Princess Sally, meanwhile, watches helplessly while her friends get their asses kicked.

Once upon a time, Dave Manak was the regular artist on this book. As the book grew more serious, Manak's cartoonish illustrations appeared less and less often. Usually, Manak only contributed to back-up stories or brief appearances during landmark issues. For some reason, Manak was brought back to draw issue 132. Along with his angular pencils, a certain degree of silly humor has also returned to the book. In “Home Part 3: A.D.A.M. & EVIL,” Tails distracts the evil computer virus with corny jokes. Vector blows away an entire fleet of evil robots with loud music, beamed from a pair of giant amplifiers. Considering the crux of this story revolves around Robotnik threatening to nuke two heavily populated cities, it's an odd decision to include jokey elements like this.

As the title indicates, this story does successfully introduce Robotnik's “children” as serious threats. A.D.A.M. proves unhackable, impervious to Rotor and Tails' attempts to combat him. Apparently, Tails' navigational computers are compatible with whatever system A.D.A.M operates on, as he causes Tails' Tornado to zip-zag through the sky. M, meanwhile, prefers to beat the shit out of people. The statuesque female robot kicks Sonic in the face, bends him over her head, and tosses him into the water. Manak's handle on action isn't the best but these moments are mildly diverting.

This is far from the only action in the book. Since getting her Chaos Emerald assisted growth spurt, Amy Rose hasn't contributed too much to the book. She hasn't had much of a chance to develop beyond her status as Sonic's number one fan girl. (Even then, Mina mostly eclipsed her in that capacity.) In “Home: Part 3,” Amy suddenly reveals herself as a massive bruiser. Armed with her magical hammer, she single-handedly destroys a whole army of ShadowBots. It's a surprising change, that's slightly hard to believe, though the book would run with it. Amy's hammer swingin' robot massacre is certainly easier to believe then Vector wub-wubing apart an equally impressive selection of mechanical soldiers.

In all this chaos, the book pauses for two brief moments of emotion. Before the ShadowBots descend on their outpost, Julie-Su and Knuckles have a conversation. She's reluctant to have Knuckles fight in this battle. After only getting him back recently, she's afraid to loose him again so quickly. This sweet moment is bordered with some nice humor, when Knuckles jokes that death ain't nothing he hasn't lived through. Julie-Su, showing her toughness again, swats at him, not appreciating the humor. This sequence certainly works better then the one devoted to Sally. Once again, Karl has reduced the Princess to pining for Sonic from a distance, her hands tied by royal bureaucracy. Gee whiz, haven't you hit that note enough already, Bollers?

For a while, I've been complaining that Archie didn't know how to utilize the new characters Sega was introducing in their more recent video games. This continues to hold true with “Home.” Both Shadow and Rouge appear in this story. Both saunter on-screen suddenly, providing heroic support when the other characters need it the most. In other words, the “Sonic Adventure 2” additions continue to float around the comic's universe, entering the story only when the writers can find a slot for them. Which is weird, considering this comic has always had a massive cast. You'd think Bollers and the bunch would be better as juggling characters.

In the back pages, Ken Penders continues his lo-fi “Mobius: 25 Years Later” epic. “The Unveiling” is, as you'd expect, devoted to Lara-Su's unvealing party. Which is like a weird puberty prom or something. Lara-Su dresses up in a pretty gown, dances with her dad, uncle, and potential boyfriend, while everyone else stares at her. Meanwhile, Rotor and his partner Cobar make a startling discovery about the dimensional fortitude of Mobius' Prime-Zone.

Last time, I compared unveilings to a bat mitzvah. I think Ken was still kind of going for that but the purpose of the ceremony seems different. Instead of Lara-Su entering adulthood, and becoming responsible for her own actions now, the unveiling seemingly has a different purpose. It's about presenting Lara-Su as a sexually mature individual, ready to be romanced. Which is pretty creepy and exacerbated by Lara-Su dancing with both her father and her uncle during the ceremony. This can't help but bring to mind those symbolically incestuous “purity balls” that were all the rage among Christian nut jobs a decade ago. Considering Knuckles was so eager to abandon traditional in the last issue, it's weird that he would be so insistent on something as traditional and regressive as an unveiling. (There's also a really lame panel where Julie-Su insist that Mace, Knuckles' previously unmentioned half-brother, get married soon. This does not seem in character for her.)

Once you get past the creepy subtext, “The Unveiling” isn't a bad story. Lara-Su continues to express ambivalence, if not outright disinterest, in tradition. The best panel occurs when Knuckles retreats to the balcony. He bemoans how quickly his daughter has grown up. It's a cliched moment but a sweet one, that any parent can relate to, especially once Julie-Su comforts her husband.

This story also introduces us to Argyle, Vector's son. Unlike his braggart, blowhard dad, Argyle is shy and soft spoken. As the son of a braggart blowhard, that seems like a realistic development. A cute moment has Argyle cutting a rug with Lara-Su, continuing to develop their romance. (By the way, we never meet Vector's “wife” so this in no way disproves my head cannon that he's queer as hell. Argyle could be adopted, for all we know.) These small, character-driven moments are certainly more interesting than Rotor discovering that repeated dimensional travel has weakened the physical laws of the universe, leading to another one of those prophecized disasters that Ken loves so much.

The cover story has one or two interesting moment, mostly thanks to a clever action beat, but remains a bit on the dull side. The back-up story creates some unfortunate implication but is otherwise pretty good. If the post-time jump world continues to go the way I remember it going, things are going to stay that way for a while now. [6/10]

THE 2003 SONIC THE HEDGEHOG COMIC BEST/WORST LIST!

 
2003 was probably the best year Archie's “Sonic the Hedgehog” book had had in a while. Which isn't saying too much. The comic's quality was more consistent then outright excellent over these twelve months. There was some lame arcs and one or two lame cover stories. However, most of the issues in 2003 were readable, decent, and not terrible at the very least. The artwork also took a  swing up in '03, with Ron Lim making fewer appearances. The year brought the 125th milestone which was, if nothing else, way better then the year that brought the 100th milestone.

The main book is still the only “Sonic” book Archie was publishing at this point. Once again, only thirteen issues will be covered in this retrospective Which are:

Sonic the Hedgehog: Issue 119-131

BEST COVER STORY:
Karl Bollers, "Home Part 1: The Blue Blur Returns" (Sonic the Hedgehog: Issue 130)

Dan Drazen loved this one too. While issue 120's “She's Gotta Have Him,” also from Karl Bollers, has the advantage of not setting off a disappointing story arc, the first part of “Home” is clearly the standout story of 2003. Sonic being reunited with his friends and family produces some touching moments, such as Tails tackling him in affection. What's better though is the hedgehog's reunion with Sally. In a beautifully composed moment, he greets her at his own memorial. The tearful reunion crescendos with an intense kiss. The cherry on top is some humor, in the form of paparazzi snapping the two's picture. “Home” immediately falls into some mediocre plotting but that first half of that first story still holds up.

WORST COVER STORY:
Benny Lee, "Caterkiller is Coming" (Sonic the Hedgehog: Issue 119)

The “Tossed in Space” story arc presented some underachieving stories, for sure. Benny Lee's “Red Chaos” was probably the most underwhelming one. Yet those joints at least had interesting ideas behind them. “Caterkiller is Coming” was mostly just lame, a story whose lameness I have always remembered. Turning Caterkiller into a giant tank-train was a weird decision. Sonic shows off a ridiculous ability to phase through solid matter, never mentioned before nor ever again. Lee also contributes some seriously bizarre dialogue that also distracts the reader.

BEST BACK STORY:
Romy Chacon, "Song Bird" (Sonic the Hedgehog: Issue 121)

There were other candidates for this slot. Ken Penders' “When There Was Only One Guardian” from issue 122 and Romy Chacon's “The Royal Signet” from issue 120 nearly got the nod. Both of those stories had flaws but still summoned up some decent emotion. Ultimately, I signaled out another Chacon production.

With “Song Bird,” Mina Mongoose finally finds her purpose as a character. She becomes the pop sensation of Knothole, providing fight songs to the resistance against Robotnik. Watching the sheer joy on her face as she finds her calling is quite touching. While the love triangle wouldn't be buried quite yet, it is handled with some humor. I especially like Nicole's dismissive attitude towards pop music. Add it all up and you got a pretty decent five pager.

WORST BACK STORY:
Mike Gallagher, "Better Read Than Dead" (Sonic the Hedgehog: Issue 126)

Thanks for making my job easy, Mike Gallagher. “Better Read Than Dead” is an unnecessarily meta act of self-indulgence. Gallagher writes his boss, editor Justin Gabrie, as a superhero who saves Sonic from the villain Deadline, a grim reaper lookin' motherfucker who tries to get his shitty fan fiction published in the comic. So, right away, it removes the character we care about in favor of the editor's self-insert. The way the villain is defeated – by calling on the sometimes mediocre talent behind the book – is equally self-serving. Some stupid jokes take us out and thankfully end this awful story.

BEST STORY ARC:
Karl Bollers, "Sonic Adventure 2.5" (Sonic the Hedgehog: Issues 124-125)

The only reason “Heart Held Hostage,” from issue 122 and 123, didn't win this honor is because of Karl's weak characterization of Princess Sally. Instead, I went with “Sonic Adventure 2.5,” Archie's big event of 2003. The story line is one of the most satisfyingly constructed stories of the year. Karl successfully juggles a number of plot points. He brings Shadow back into the book, revives Knuckles the Echidna, reveals that Mobius is really a future Earth, and packs in a number of big action set pieces. True, some of them are a bit convoluted. But, over all, “Sonic Adventure 2.5” is a good read.

WORST STORY ARC:
Ken Penders, "Afterlife" (Sonic the Hedgehog: Issues 120-123)

The “Tossed in Space” story line was probably the most disappointing arc Archie published in 2003. Those stories were subpar but they contained potentially interesting ideas. Penders' “Afterlife,” meanwhile, never got off the tarmac. Knuckles could've done anything while exploring echidna heaven. Instead, the goddess Aurora recapped his entire life up to then, including his very recent history, while hammering home the tired point of his great destiny once more. In the end, Knuckles wills himself back to life even though, you know, it probably doesn't work that way.

BEST COVER ART:
Sonic the Hedgehog: Issue 130 – Patrick Spaziante

“Tossed in Space” might have been disappointing but the covers were usually pretty cool. Issue 127 and 128 featured some eye-striking visuals. Yet, me being a sentimental old fogie, the cover that tugged my heart strings the most won this award. Issue 130 features the stirring image of Sally, weeping by Sonic's gravestone. Behind her, framed by a setting sun and billowing leaves, Sonic gingerly approaches her, a very confusing set of emotions racing through his mind as well. As always, Spaz' combination of dynamism, detail, and skill makes the image unforgettable.

WORST COVER ART:
Sonic the Hedgehog: Issue 129 – Patrick Spaziante

The utterly brainless “magazine cover” gimmick shackled Spaz' hands for the first half of 2003. For seven issues,  he drew the characters standing in static, overly arranged poses in front of a white background. It was dumb. And, for reasons I can not understand, Spaz more-or-less returned to this gimmick with issue 129. The story presented many opportunities. Spaz could've, say, drawn Sonic and Tails' parents before a council of alien judges. Instead, he stuck Sonic and the Prowers in another white void, framed by text, calmly talking to each other. Come on, man, you can do better then that.

BEST STORY ART:
"Heart Held Hostage" - Jay Axer (Sonic the Hedgehog: Issues 122 and 123)

Surprisingly, there was a lot of good art in the book in 2003. Art Mawhinney contributed some fine work in the first part of “Afterlife” and 120's “The Royal Signet.” Steven Butler, meanwhile, did an excellent job with 119's “Dust Bunnie,” 120's “She's Gotta Have Him,” and 131's “Mobius: 25 Years Later.”

Yet, for the second year in a row, Jay Axer wins this spot. The “Heart Held Hostage” arc – I went ahead and counted both of them – featured some of his best work yet. Axer's trademark detail made Knothole, Castle Acorn, and Nack the Weasel's hiding spot look like real places, full of detail. His sense of action made sequences, like the weasels rushing into the village and Sally's escape from Nack, really pop. Axer also found a way to incorporate emotion into his art. Especially notable are Sally and Sonic's confession of love and Mina's world literally shattering apart in response. Axer wouldn't contribute to the book often after this year which was a real shame.

WORST STORY ART:
"The Prince and the Revolution" - Ron Lim (Sonic the Hedgehog: Issue 121)

He only showed up a few times in 2003 but Ron Lim still occasionally sullied the book with his crappy illustrations. His work on 119's “Caterkiller is Coming” didn't do a mediocre story any favors but his drawings for 121's “The Prince and the Revolution” - otherwise a decent story – were weaker. Sonic and friends were drawn as lopsided, big headed, and noodle-limbed as ever. Lim's weakness for facial expressions become even more apparent in this story, which is directly concerned with characters' feelings. There were two deciding factors that causes this one to sink below Lim's usual shoddy standards. First is an army of utterly indistinct robots that appear briefly. Second is the final panel. Lim's attempted to draw Sally rolling her eyes. Instead, she appears to be having a stroke, her eyes receding into her skull.

BEST NEW CHARACTERS:
M:25YL Knuckles and Julie-Su

2003 provided few great options for this category. While the “Tossed in Space” arc introduced many alien species, few of them were very memorable. I very nearly gave this slot to Captain Oe, from issue 127, who only appeared briefly but at least seemed like a pretty good guy. Instead, a better candidate emerged from the year's final issue.

The Mobius Encyclopedia considers the “Mobius: 25 Years Later” versions of the “Sonic” cast distinct from their present timeline counterparts. Which is how I can justify giving the Best “New” Character award to Knuckles and Julie-Su. Unlike his dad, Knuckles appears to be a pretty good parent. He cares deeply about his daughter but respects her privacy and doesn't manipulate her feelings. Julie-Su, meanwhile, has grown into a patient mother, a equal to her daughter's father, willing to stare down his temper. Their futuristic outfits are pretty neat too.

WORST NEW CHARACTERS:
Ceneca-9009

Ceneca-9009 is responsible for the death of an entire planet's population. And she's not a villain either. Instead, we are suppose to feel sorry for Ceneca-9009, a scientist who bumbles into alien civilization and attempts to “save” them while completely ignorant of the species' culture or even their basic biological needs. That alone would probably be enough to make her the worst new character of 2003. However, this dumb-ass also filled the book with heavy-handed techno-babble.  Her overly mannered speech made it equally difficult to care about her strife, even beyond her status as an engineer of genocide.

BEST IDEA:
Sonic and Sally make it official

Two very important things happened in Sonic's world during 2003. First off, the book finally buried the Sonic/Sally/Mina love triangle forever and ever. This first positive element is a direct result of the second. After years of fiery sexual tension, noncommittal flip-flopping, and obviously romantic implications, Sonic and Sally finally declared their love for one another. They even essentially announced their engagement, letting the King and Queen approve their eventual marriage. If you need further proof, the hedgehog and the Princess made out, like, three times. That's as close as this G-rated book could get to physical intimacy. This was a development that was way damn overdue.

WORST IDEA:
Death cheats

Sadly, Sonic and Sally's status as honest-to-God lovers was cut short by the blue hedgehog's “death.” Granted, the book didn't pretend he was really dead, only tossed across the cosmos. Knuckles didn't get that gratitude, as he actually did shuffle off this mortal coil for a few months. Killing characters off just to revive them a little while later cheapens the mourning other cast members feel. It makes death seem like something anyone can easily escape, reducing the overall tension for any future stories. It's also something the book has done before and better. I know dying and returning to life is standard practice for comic book heroes. But shenanigans such as these is one element I don't want to see Archie inherit from their big brothers at Marvel and DC.