Sonic the Hedgehog (IDW): Issue 55

Sonic the Hedgehog (IDW): Issue 55

Publication Date: December 7th, 2022

I like to break IDW's "Sonic" comic into "seasons." It seems the writers do this as well. We are currently in, by my measure, the fourth season. The first year was taken up by Neo Metal Sonic's return. After that, the Metal Virus storyline took up the second "season" while, it seems, Dr. Starline's various machinations were the main point of the somewhat directionless third "season." Now, these mega-arcs don't correspond to a year's worth of comics. You know that's the case because what seems to be season four – with Surge and Kit as the primary antagonists – feels like it still has a lot of steam left and it's already December. Obviously, this latest story thread is going to stretch on for a while now. Until issue 75? Until issue 100? Who knows. Either way, it's clear that Surge and Kit aren't going anywhere any time soon, as they are the main threats of issue 55. 

Issue 55 is officially part four of the "Overpowered" arc, even though it feels more like the start of a new "episode" than another installment. Sonic and Tails have tracked Surge and Kit to the old Starline base that they have made their new home. Eggman, with Metal Sonic in tow, quickly arrives as well. He's determined to reclaim the Dynamo Cage. The four march into the base and quickly confront Surge, who is growing more powerful. Kit has also made the base harder to escape than Eggman expected. This forces a temporary truce between Sonic and Tails and Eggman and Metal Sonic, if they have any hope of taking down these dangerous mutual enemies. 

It's a classic action comic trope. The hero and his archenemy have to team-up against a stronger adversary or impending threat that threatens them both. This has happened in just about every long-running superhero comic or fighting anime. In fact, IDW "Sonic" has done this exact same gimmick before, during the latter days of the Metal Virus saga. It's pretty common throughout the "Sonic" franchise in general, now that I think about it, for Sonic and Eggman to put aside their differences long enough to defeat some world-destroying eldritch abomination or whatever. 

Even if it's practically a cliché by this point, there's a reason the "Sonic" franchise returns to this idea so often. It makes for good drama! We know Eggman hates Sonic. He never makes it a secret that he intends on crushing Sonic the minute Surge is defeated. We know that heroes and villains distrust each other. Forcing these two clashing personalities to work together adds a nice layer of tension to any story. This question of "Will Eggman betray Sonic at some point?" hovers over everything that happens in the second half of this issue, even if we can probably guess that won't happen. (Because if Eggman kills Sonic, the series is over.) Yet I still appreciate the attempt. Some fictional tropes are so overused because they work.

Having Sonic and Eggman reluctantly team up has another value too: Watching Eggman bitterly snipe at his archenemy is entertaining. In fact, the egg-obsessed villain emerges as the MVP of this issue. He gets several great moments all to himself. Such as when he detects Surge right over him, zapping her with his wrist-mounted laser. Or his ability to appreciate Starline's mad scientist skills while still making it all about his own genius, as displayed in the issue's second half. Evan Stanley and Adam Bryce Thomas clearly have fun with Eggman in this issue. He gets two amusing moments: When his attempt to sneak away from Surge is stymied by Starline's planning and when he sucks down a bottle of water what Sonic and Tails debate a truce. Good stuff. Always fun to watch Eggman ham it up. 

Eggman steals the show but it's clear that Surge is still the one getting the most character development this issue. The more we see of the electrified tenrec, the more her insecurities become clear. After realizing that Eggman and Sonic are working together, she flees into the shadows. Before slumping to the floor in Kit's command center, she hugs her knees in the darkness. She mumbles about how she's never going to be strong enough – how she's not enough – to keep her and her friend from getting hurt. It's been clear pretty much from the beginning that Surge's bravado has been a defense mechanism to cover up a bruised soul and this 100% confirms it. All of Surge's villainous acts have been motivated by the pain she feels from old wounds, with the fear of not being loved as the biggest one of all. 

I can't wait to see where the comic is going with Surge's psychological trauma. I really look forward to the details of her origins, whenever and however they emerge. But that one little nugget is all we get of angsty woobie Surge this issue. In fact, I'm beginning to wonder if Surge's thirst for power – and further special moves – isn't being played as some sort of addiction. When she digs the Chaos Emerald shard out of Eggman's mech, she desperately mutters "More. Need more." When she absorbs the power from that shard, it seems to give her a drug-like rush. One already suspects that Surge's need to be stronger, to beat back the (rather literal) voice in her head that she's not good enough, will be her downfall. If she starts to develop a dependency on getting charged up, that will add another layer of tragedy to her story. 

I'm glad Stanley sneaks these little moments of pathos into this issue, as it's otherwise focused on action scenes. With Thomas handling pencils, obviously the fight scenes are fun to look at. Sonic and Metal ping pong around the base, ending with a strong panel of the robot smashing the hedgehog into a wall. There's some really dynamic lay-outs on the page where Surge realizes her enemies are working together. Yet I have criticism alongside praise for Thomas' work this time. As noted in the past, whenever Surge's beam-weapon spewing superpowers are engaged, his art borders the incoherent. The panels devoted to Surge blasting a whole horde of Egg Pawns or ripping the legs of Eggman's mech with some eye beams are a little too stylized. There's also a few vivid facial close-ups in this issue that are a little too detailed. I don't know if we needed to see that much of Eggman and Surge's teeth. 

Nevertheless, this is a good issue... Though maybe it could've been a little better paced. After the five-way rumble, things get a little quieter. Sonic and Tails, with Eggman and Metal close behind, explore some of Starline's lab. This feels like it could've led up to some sort of revelation about Surge and Kit's pasts. That would've been a good place to end this issue. Instead, we skirt right past that and head into the second round of the fight between our heroes, their temporary allies, and the Imposters. That's where the issue ends, with a big dramatic splash page that would've made a bitchin' cover. I guess it's a sign that this issue drew me in and compelled me that my reaction was "Oh, it's over already?" at this point. Yet I still feel like kicking #56 off with the start of the fight, instead of pausing here, probably would've been a stronger ending. 

Still, I can't complain too much. Surge's angst continues to really grab my attention. Sonic and Eggman being forced to come together is a strong gimmick to build on. Thomas' artwork is excellent and I was left wanting more. We aren't quite done with IDW this year, as there's another issue of "Scrapnik Island" this month, yet I'm still feeling like 2022 was quite a good year for "Sonic's" four color adventures. [7/10]

Sonic Boom, Episode 1.34: Just a Guy

Sonic Boom, Episode 1.34: Just a Guy

Original Air Date: July 22nd, 2015

"Just a Guy," the thirty-fourth episode of "Sonic Boom," begins with a pretty amusing gag. Tails detects an incoming Eggman attack and rallies the heroes, via a superhero style montage... Except Knuckles really doesn't want to go fight Eggman today, as he made plans to see a movie with his friend Mike. When Sonic talks Knuckles into coming anyway, Mike asks if he can accompany them. Sonic dismisses the musk ox as "just a guy," which sets off a firestorm of controversy. The public criticizes the hedgehog hero for his insensitive remark, forcing Sonic to attend Amy's sensitivity training. After allowing Mike to tag along on an adventure, the ox is hurt. This prompts more criticism towards Sonic, causing the frustrated hedgehog to retire from hero-ing. With no one around to defend the village, the Lightning Bolt Society moves in to begin a reign of mildly irritating "terror."

I didn't think the term "canceling” – as in deeming a public figure persona non grata for some misbehavior, which has range from saying something a little off-color to unambiguous criminal acts – had really penetrated the wider cultural sphere by 2015. However, Wikipedia tells me that the term first started to emerge around 2014. I have no idea if this thing we now know as "cancel culture" was on the "Sonic Boom" writers' minds at the time. It's not like a celebrity saying something politically incorrect and getting raked over the coals for it until they are forced to issue an insincere public apology was a new phenomenon in. It's practically a weekly occurrence in politics. 

Since then, "cancel culture" has become a completely impossible term to talk about sincerely. The deafening right-wing propaganda machine uses the unfounded idea that "woke mobs" try and "cancel" people unjustifiably to dismiss all legitimate criticism towards them every time they do something racist, sexist, or otherwise evil... Yet it is more complicated than that, as there have been a few attempts to "cancel" people over genuinely accidental social faux-pas or harmless opinions. 

Obviously, it's a complex topic. If you expect an eleven-minute-long children's cartoon made to promote a failed video game subseries to have a nuanced take on this... I don't know what to tell ya. That just wasn't going to happen. "Just a Guy" sees Sonic making an innocuous statement and being unfairly roasted for it by the public. He calls Mike "just a guy" and the village residents' act like he dropped a racial slur. He's accused of believing that non-superpowered people are beneath him. Sonic is forced to undergo sensitivity training, which is mostly depicted as touchy-feely nonsense. This still isn’t enough and he’s criticized again by the public. While it’s certainly frustrating that some people are never pleased, leaving no room for genuine growth, this seems to be an oversimplification. Sonic is in the right, the outrage is ridiculous, and the public is depicted as unreasonable. 

In fact, Alan Denton and Greg Hahn stop just short of coming to some kind of fucked-up conclusions. Repeatedly, there are jokes from other people – mostly Amy and that old man monkey – that Sonic sees himself as superior to everyone else. Later, after the Lightning Bolt Society and Eggman causes chaos, Sonic rushes in and saves the day, ultimately doing the right thing despite all the people bitching at him. In other words: Sonic is proven to be superior to these lowly non-superpowered normies and they should just be thankful that he's around to save their stupid, inferior asses. That Sonic, being a Randian ubermensch, doesn't have to concern himself with such things as social niceties and political correctness. The Old Man Monkey even says "I was wrong. You are better than us." 

Essentially telling kids that "heroes don't have to be kind as long as they're right" is sort of fucked-up, even in a comedic context. And I guess the writers were aware of that because they pump the brakes on these Galtian instincts at the last minute. Mike the Ox points out that Eggman is coming to Sonic, ensuring that he's safe and helping save the day. After foiling the evil schemes, Sonic formally apologizes to Mike, thanks him for his help, and calls him a hero. I guess Denton and Hahn saw all those internet arguments about whether or not "The Incredibles" is Objectivist propaganda and wanted to avoid any similar confusion.

Regardless of whatever troubling political subtext this episode may or may not contain, "Just a Guy" is pretty funny. I've noted in the past, while discussing "Blue with Envy" and "Late Fees," that the "Boom" version of Sonic tends to be at his most amusing when he's bitter, frustrated, or otherwise grouchy.  And there's lots of things that happen in this episode to annoy Sonic. Mainly that Mike is the most irritating kind of person. He has no affection to his voice, suggesting a personality that lacks any depth or nuance at all. Worst yet, he doesn't know when to see himself out. In other words, he's the kind of person that's just annoying to be around. Watching Sonic gradually loose his patience with this guy, and all the other grousing he has to put up with in this episode, is funny. The hedgehog trying to stumble his way through sensitivity training or putting up with a fussy public leads to some reasonably amusing moments. Roger Craig Smith's delivery goes a long way towards improving these scenes.

As in some other stand-out episodes of "Sonic Boom," I also enjoy how this episode takes its premise in some unexpected directions. After Sonic temporarily retires out of frustration, Eggman decides to sit things out until he can make the biggest impact. This once again allows the village's most mediocre wannabe villains, the Lightning Bolt Society, to fill the void. This results in a montage of a hilariously petty crime wave of mildly annoying vandalism. Dave puts a role of toilet paper on reverse and adds tomatoes to a Meh Burger order that specifically requested they be removed. The walrus helps an old lady cross the street but abandons her halfway through. I love this kind of shit. In fact, I included a similar montage in a script I wrote in college, where lame supervillains embark on an unimpressive crime spree. 

This is not the only true laugh-out-loud gag in this episode. A technique Sonic learns in sensitivity training is to go to his “happy place” when he's frustrated or upset. Yes, like in “Happy Gilmore.” While you might expect Sonic's happy place to involve running, it instead seems to be lounging in a hammock on the beach. When Mike invades that oasis of calm, Sonic goes to a happy place inside his happy place, simply a white void of nothingness. When Mike intrudes on that, Sonic inceptions himself even further... At which point the episode springs the image of a live action human male in a crude “Sonic” costume, dumping a trash bag into a waste bin. It's a truly unexpected and bizarre meta gag, which got a huge belly laugh out of me. It's certainly a better meta joke than the Lady Walrus' acknowledgment that Sonic rescues her imperiled baby all the time. 

We also get some insight into Tails', Knuckles', and Sticks' happy places too. Good shit. While I'm not entirely sure if “Just a Guy” is making a valid point about society and all that, it's probably not wise to expect such things from a goofy cartoon show like this. I don't need to know Sonic's opinions about cancel culture or safe spaces or whether people are too easily offended these days. Just as a comedy, this one has enough unexpected and fresh jokes in it to keep me laughing consistently. [7/10]

Sonic Boom, Episode 1.33: Eggman the Auteur

Sonic Boom, Episode 1.33: Eggman the Auteur

Original Air Date: July 21st, 2015

Ah, the cinema. I don't know if there's a finer form of artistic expression than the moving picture. I've been obsessed with movies my entire life and I'm far from the only one who feels that way. Movies hold a special grip on the human imagination. They are like dreams, captured on film and projected onto an enormous screen where all the thoughts, feelings, and longing of human experience can be bigger than life. The combination of moving images, sound, music, lighting, and experts perfecting their crafts captures the past, predicts the future, and compels the heart. Movies are empathy generating machines and, when executed with utmost skill, can touch the soul.

But I'm not here to pretentiously rhapsodize about the power of cinema. I'm here to review an episode of "Sonic Boom," a silly cartoon show produced for the lesser medium of television. The blue hedgehog's relationship with film is mostly a very recent one, the multi-media franchise not making the leap to movie screens until just a few years ago. Yet there's always been something very cinematic about the "Sonic" games, comics, and cartoons. The emphasis on color and motion, music and attitude, always cried out for the movie treatment. Filmmakers have inspired "Sonic" and "Sonic" has inspired filmmakers. This makes it unsurprising that the series has, from time to time, referenced or poked fun at the movie making process. "Sonic Boom" would do this in a more direct way than most with its 33rd episode, "Eggman the Auteur." 

As the title suggests, the episode deals with Eggman deciding to become a movie director. He's making a movie inspired by his own life and wants Sonic to play himself, the buffoonish adversary to the fictionalized Eggman's brilliance. Egos soon clash on the film set though, as Sonic and his friends are none-too-impressed with the doctor's solipsistic approach to storytelling. After Sonic quits the shoot, Cubot and Orbot appear to tell the hedgehog that the entire movie idea is a cover for Eggman's latest diabolical scheme, forcing the true blue hero to race into action again. 

Auteur theory first emerged in French film criticism in the 1940s and was further crystallized by director François Truffaut, mostly when discussing the films of Alfred Hitchcock. Auteur theory is the idea that, though filmmaking is a collaborative process, the director is the primary "author" of the film. That a director expresses personal themes and ideas persistently across his career. The theory is essentially the foundation of modern film criticism and has been challenged, supported, and endlessly dissected over the last sixty years. 

So, when "Sonic Boom" says Eggman is being an auteur here, it's not just a pithy title. This episode is most fun for the way it reflects on Eggman's personality, how he sees himself and the people around him. Of course, the doctor sees himself as both a persecuted underdog and an all-powerful genius, who is always building towards his lifelong dream of creating his own theme park. Sonic, of course, is depicted as an idiot and a goofball who is repeatedly crushed and destroyed. (When he's not destroying Eggman's dreams, of course.) "Eggman the Auteur" continues to develop the show's idea of its central antagonist, as someone who is totally egotistical but also extremely fragile. His movie is rift with the idea that Eggman is brilliant and perfect, that the rest of the world is stupid and weak, which seems like a defense mechanism to someone who is insecure and afraid. 

You see this the most in the episode's final scene. Cubot and Orbot telling Sonic that the whole moviemaking scheme is a ploy turns out to be a ploy itself, for Eggman to get the perfect final shot of his movie. Soon, the completed film is screening and everyone is invited... And they all proceed to laugh at Eggman's vision. "Boom" could have done a riff on the Tommy Wiseau technique, where an incompetent director's highly personal film is laughed at by the world, causing the filmmaker to lean into the idea that it was all intentional. That this expression of the torment in his soul, that he went about creating despite lacking the skills and resources necessary to do it justice, was always supposed to be funny. 

Instead, Eggman dismisses everyone from the theater and watches his movie by himself. (Well, and Cubot and Orbot.) He even cries a single tear. It's a weirdly poignant moment. It means a lot to him to see his story, told his way, on a massive screen. Creative minds are always advised to create their stories with an audience in mind. But let's face it: The most important audience is ourselves. Eggman's movie may suck from all barometers of objective quality. Yet it expressed something very close to his heart, an idea inside him that he desperately needed to get out. This is why movies like "The Room" or "Glen Or Glenda?" compel people so much and have won audiences all over the world, despite lacking the traditional professionalism we expect from mainstream films. Auteur theory is the theory that all movies are most about the filmmaker themselves. This is especially true of cinematic stories made by someone with more of a dream and vision than talent or money. 

I kind of doubt writer Sam Freiberger and the rest of the "Sonic Boom" set out to make an exploration of Eggman's psyche and the personal power of cinema. Instead, "Eggman the Auteur" is mostly about having fun goofing on your standard movie set dilemmas. The ever flexible "Sonic Boom" cast – except Sticks, who is totally absent from this episode – easily slot into Hollywood stereotypes. Eggman is the egotistic director, convinced of his own genius, who surrounds himself with simpering yes men. (In the form of robots programmed to agree with him.) Sonic is the temperamental star, who wants to take over the movie and is constantly feuding with the director. Micromanaging Amy fits the role of Sonic's agent, always making outrageous demands on behalf of her client. Doofusy, impervious Knuckles becomes the much abused stuntman. Probably the funniest of these ideas is Tails taking on the role of story editor. He analytically goes through Eggman's script and picks it apart, rearranging and rewriting it on the spot. Maybe I just think that's amusing because, as a writer myself, I relate to that. 

All of these contrasts are funny because they perfectly match the character's established personalities while also commenting on behind-the-scenes drama. In fact, the whole episode is pretty funny. The dialogue all throughout is pretty sharp. A well-timed rumbling matches Sonic's opening speech about Meh Burger. Tails' enthusiastic response to Sonic asking if he wants to throw also made me smile. So did Eggman comparing his cinéma vérité style to brunch or his use of the made-up term quadrilogy. There's some decent physical comedy, in the increasingly absurd ways Knuckles is abused and Dave the Intern's failed attempt at catering. Also, Eggman says "I hate that hedgehog," a throwback I'm surprised this show didn't make sooner.

It's possible that me being a fucking nerd about movies caused me to get a whole lot more out of this episode than your average viewer. I do think Freiberger and the rest do touch on some interesting themes here while expanding on Eggman's character, even if most of this review has been me talking out my ass and reading too much into things, like always. And even if you aren't a cinephile like me and have some personal insight into this episode, it's still got plenty of solid gags and good natured chuckles up its sleeve. This one gets a thumbs up from me. [7/10]

Sonic Boom, Episode 32: Mayor Knuckles

Sonic Boom, Episode 32: Mayor Knuckles

Original Air Date: July 20th, 2015

“Sonic Boom” races into politics with its thirty-second episode. The Ed Wynn sounding Mayor Fink, the seat of political power in Sonic's village, decides he wants to take a couple hours off to go fishing. Knuckles is the first person who walks into his office, so the mayor temporarily gives his power to the echidna for the afternoon. Knuckles is instructed to just stamp everything that comes across his desk. This, immediately, goes wrong as Knuckles approves every crazy bill that's presented to him. The town is plunged into chaos, Knuckles' friends turn against him, and even Eggman gets pissed off by the whole thing. 

I don't think "Sonic Boom" was making any sort of political statement with "Mayor Knuckles." Nor do I imagine Reid Harrison, by far the most gag-centric of "Boom's" regular crop of writers, intended a message. However, once politics enter the matter, one can't help but see certain things. It wouldn't take too much work to perceive "Mayor Knuckles" as a criticism of government spending too much on niche projects or glad-handing politicians that promise to please everyone, without considering the realistic consequences of that. Mayor Fink, from his name on down, definitely seems to be a self-interested fool. Him assigning Knuckles, the biggest buffoon in the village, any sort of power is obviously the clearest sign he's foolish. So maybe we should just read the message here as "politicians are smart enough to get elected but not smart enough to lead." 

All of these are, I suppose, valid interpretations but they are all kind of a reach, even by my standards. Instead, I think there's only one clear moral to "Mayor Knuckles." That would be "power corrupts." Knuckles enjoys the feeling of stamping shit. (I think this episode was largely inspired by the pure satisfaction of laying your stamp of approval on something.) He enjoys the praise people give him, for approving whatever stupid idea they have. His position allows him to change everything but this shields him from the consequences. Most of all, he enjoys the power to decide things. Keep in mind, this whole episode takes place over the course of a few hours. By the end, Knuckles is ready to grant himself absolute power over everything. The message that nobody should have that kind of power is clear, even if everything around it is goofy absurdity. This idea even extends to the other characters. Everyone in town having their ideas approved inevitably leads to chaos. Nobody should have absolute freedom to get whatever they want nor the authority to grant that freedom to anyone. 

While most "Sonic Boom" episodes seem to have a message of some sort, I think making the audience laugh is the show's primary goal. Luckily, "Mayor Knuckles" succeeds in that regard as well. The confounding bureaucracy of government work is always a good source for laughs, especially when surrounded on all sides by sheer goofiness. Eggman's constant frustration with his inability to get discussion time with the mayor, constantly being told to "take a number," even though the number dispenser is empty, speaks to a very real type of frustration. Once the absurd number of new bills and laws Knuckles has approved start to kick in, you get some really fun goofy shit. Like Eggman forced to try and activate his wrist-mounted laser with his elbow. Or the reoccurring walrus lady refusing to walk because the moving sidewalk she asked for has stopped working. 

I think most sitcom episodes can be boiled down to a simple pitch. This is absolutely true of "Sonic Boom," where the stories have to be even more constrained to fit a limited runtime. "Mayor Knuckles'" pitch is right there in its title: What if big dumb-dumb Knuckles became mayor? And it's certainly a funny enough premise to support an eleven minute cartoon. The contrast between Knuckles' idiocy and the elevation of his newly assigned role is a consistent source of laughs. Knuckles is obviously too goofy to do this job. The lady walrus simply asking him if he "wants to live in a world without moving sidewalks" is enough for him to approve the bill. He says a list is too long to read before approving it anyway. When the garage man asks for some time off, Knuckles waits exactly 12 seconds – which hilariously plays out on-screen – before deducing there are no consequence to this. 

Probably the best gag here is when Knuckles draws a picture of himself stamping stuff and then stamps it. As funny as seeing Knuckles in a position of power is, the occasional display of brilliance the character has is well used too. Despite being so dumb he can't pronounce "library" correctly, Knuckles quickly gains a mastery of government forms. Subverting expectations like that for laughs is good shit.

This is at least the second time Knuckles and his friends have been put at odds, due to him getting caught up in some wacky scheme. (It happened in the comic book too.) Sticks is the first of the gang to turn against him, after he approves a mall to be built by her burrow. This matches Sticks' already paranoid opinion about any form of authority. Which us to the least surprising reveal about that character they could've engineered: Sticks is a libertarian. She goes on a rant to her friends about how the government needs to stay out of people lives. When Sonic points out the valuable existence of public-funded programs like firefighters and sewer system, Sticks concedes the point and then retreats back to her paranoid ranting. Just like a real libertarian! And considering this village is repeatedly attacked by Eggman, forcing independent vigilantes like Sonic and his friends to step in, they should probably be spending more on disaster averting programs in general. 

In fact, I was pretty surprised to see the village has a mayor at all. "Sonic Boom" has never given us much of a look at the local government. Since there are police officers, businesses, and forms of currency, I guess it was a given that there would be elected officials. Yet other times, it's definitely seemed like just a bunch of people living out in the jungle, without much in the way of societal structure. Considering this is a silly comedy primarily for children, I'm not surprised that the writers seem to be making the setting's system of government up as they go along. 

There's even repeated mentions of paying taxes here. Do the Gogobas pay taxes too? Are they exempt under some religious rule or do they just guilt people into never having to do that? Are Sonic and his friends paid to protect the village? Because I've seen them cash paychecks before. How does Eggman, whose status as a citizen of this town seems to vary from episode to episode, fit into all of this? Obviously, I'm overthinking how orderly the show's setting is at any given point is dependent totally on whether it's funny or not. I'm just saying though, they better address what level of democracy this village is on or else I'll complain. 

Anyway, "Mayor Knuckles" is another really funny, joke-packed episodes from Reid Harrison that successfully exploits its goofy premise for as many yuks as possible. There's just a lot of good silliness here, like the inevitable way Knuckles rubber-stamping rampage is averted. Or good uses of minor characters like Dave the Intern, Fastidious Beaver, and even Eggman's Octobot. Only a couple of meta jokes – Mayor Fink waiting for Knuckles to enter his office and kick off the story – fell flat for me. Otherwise, this is goofy fun that is executed smoothly. That gets my rubber stamp of approval! [7/10]

Sonic Boom, Episode 1.31: Closed Door Policy

Sonic Boom, Episode 1.31: Closed Door Policy 

Original Air Date: July 17th, 2015

If that title seems nonsensical, don't worry, it'll make sense soon enough. Amy has to cut a battle with Eggman short, because she promised Sticks a night out on the town. Once they're at Sticks' burrow, Amy is overwhelmed by what a hoarder her friend is. She immediately throws a yard sale to sell all of Sticks' useless shit, much to the badger's consternation. During the sale, Amy removes a surfboard from an ominous stone door. This unleashes a race of subterranean frog creatures called Froglodytes, who then kidnap Sticks. This forces Amy, Sonic, and the others to descend into the Froglodytes' lair to rescue their friend. (See, that's why the door needed to be closed.)

You'll notice, from the above plot synopsis, that this episode changes premises like three or four times. The opening scene involves Eggman using spider-bots – which look a lot like the can bots from "Dr. Eggman's Tomato Sauce" – to turn cocoanuts into bombs. "Okay," I thought, "that's a wacky enough idea for this show. You could get eleven minutes out of that." That's before the swerve, where Amy meets up with Sticks. "Oh!" I then thought. "This is going to be another episode about contrasting Amy and Sticks' personality. Maybe, where "Into the Wilderness" had Sticks teaching Amy about survival tactics, this one will have Amy teaching Sticks about how to have a proper night out on the town. To be girly and shit. A nice character centric installment with plenty of potential for gags and funny situations."

That would probably be a good episode but, nope, that's not what happens. Instead, Amy discovers Sticks' pack-rat tendencies and the focus of the episode switches totally to the yard sale premise. "Alright," I said to myself, doubting my intuition by this point. "Yard sales are a totally cromulent sitcom set-up. I can see "Boom" having some fun with that." All of this is before the Froglodytes appear, shifting the premise in its by-far wackiest direction yet. I think the only reason "Closed Door Policy" didn't become about something after that is because the episode only had to run for eleven minutes. If nothing else, I can't criticize this one for being predictable. It's free-association, cartoony writing definitely kept me on my toes.

Ultimately, "Closed Door Policy's" ever shifting concept actually works in its favor. By the end, the seemingly chaotic plotting even starts to build on itself. Many of the random objects introduced during the yard sale portion of the episode are then fashioned into weapons to fight the Froglodytes with. Hey, that's pretty clever! Plus, it leads to a suiting-up montage set to totally-not the "A-Team" theme, a joke I'm always happy for the show to return to. They even bring the exploding cocoanuts back around at the very end. The unifying idea throughout the otherwise unfocused script is that Amy learns to appreciate Sticks just the way she is, which is enough to cause this goofy, short cartoon to still feel coherent and satisfying in the end. 

Of course, that draws attention to a reoccurring issue with this show: Who is Amy Rose? I've noted before that she's the least well defined member of the "Sonic Boom," a show where everyone else fits into easily understood roles. What shape her personality takes really seems to depend on who is writing any given episode. Her straight woman qualities are downplayed here and her girly side is briefly mentioned. (With the prerequisite SonAmy tease.) The manic side of her personality manifests as a desire to micro-manage her friends. The script then proceeds to mock and punish Amy for this tendency, which she's only just begun to display in recent episodes. I don't mind that so much. Who doesn't love to see a busy body brought down a peg or two? But I am a little confused by this show's continued uncertainty with what to do with Amy. 

And as I've said before in the past, "Boom" can get away with these kind of inconsistencies as long as they are funny. The yard sale portion of the episode seems to split the cast into pairs of twos. While Amy tries to sell all of Sticks' useless junk, the badger insists it all has important meanings. This introduces some likably goofy gags, such as ones about a piece of moss. Tails and Knuckles get paired up, the hyper-smart fox and the hyper-stupid echidna having an amusing back-and-forth. Lastly, Eggman appears and attempts to steal a comic book, causing Sonic to harass and haggle with him. Like I said, it would've been really easy to do a whole episode like this. Just letting the established characters play off each other within the totally mundane setting of a yard sale. Other sitcoms, and episodes of this very program, have done plenty with less than that. Maybe Eggman needs to buy something from the yard sale to complete his latest doom machine. Ya know, that would've worked just fine.

However, I am glad those crazy Froglodytes show up. An underground race of amphibious, caveman-like savages only seem like they fit this universe a little better than these hideous pepper people last time. (And it's pretty easy to imagine something like them showing up in early Archie or Fleetway.) They aren't the funniest critters. They talk like boring normal people, which is obviously the joke, but it's not delivered with much comedic spark. Nevertheless, they lead to a number of decent gags. Such as Amy's reaction to the ominous moaning the door makes. Or Sticks pointing out that all these guys live in her basement. Sometimes, you just need something crazy for the heroes to fight in the last act. Cavern-dwelling batrachian Neanderthals are more interesting than just another Eggman robot. 

Though the episode probably could've made more of the fact that one of Sticks' insane conspiracy theories turned out to be real, for once. How exactly did she wrangle all those Froglodytes into her basement? It's pretty rare that this show ever looks back, so I guess that's an answer we'll have to look to the realm of fanfiction to answer. Anyway, despite an unconventional structure, this one is fun and kept me solidly amused throughout its brief runtime. And isn't that what it's all about? Keeping me happy? [7/10]

Sonic Frontiers Prologue: Divergence

Sonic Frontiers Prologue: Divergence

Original Release Date: November 1st, 2022

Sega's promotional machine for "Sonic Frontiers" doesn't just include a measly eight page comic book. A six-minute animated prologue with the ungainly title “Sonic Frontiers Prologue: Divergence” was also released in the run-up to the game's drop date. Like the numerous other bits of "Sonic" animation that Sega has made in the last few years – which I will get around to reviewing, once I've talked about every other "Sonic" cartoon – this was released through the official "Sonic" YouTube channel. Much like a lot of those other shorts, this was also directed by Tyson Heese, another ascended "Sonic" fanboy. Much like the game itself, Ian Flynn provided the script here. Evan Stanley is also listed as a "creative consultant." All of this essentially makes this cartoon the closest we'll ever get to an animated adaptation of the "Sonic" comics.

So what is "Sonic Frontiers Prologue: Divergence" about? Instead of operating as a prologue to the entire game, as the "Convergence" comic did, this simply introduces Knuckles' side of the story. He broods on Angel Island, reflecting on the ancient past of the echidna tribes that lead to him being the last guardian. While exploring some floating ruins, he discovers a strange relic that transports him to another island. There, he fights a group of hostile machines before quickly becoming outmatched.

If it had no other value, "Divergence" would hold a special place in "Sonic" animation history just for being utterly gorgeous. The animation is so fucking smooth here. A scene of Knuckles gliding through the Sky Sanctuary or punching a rock wall have a grace and speed to them that truly impresses. Once the action scene begins, "Divergence" uses those same qualities to create a hard-hitting battle. When Knuckles slams through those robots, you definitely feel it. Seeing a "Sonic" character actually move in animation with such speed and power is deeply gratifying. It's how I've always wanted to see these guys animated, the quickness and power they hold truly being displayed. 

"Divergence" is, I'm very happy to say, very much a Tyson Heese production too. The way Heese always gave the characters so much personality in his artwork is also reflected here. It's the little things. Like Knuckles punching a tree so a fruit will fall down into the lap of the hungry Chao below, something that he does casually while walking by. The Chao is so happy afterwards. Or the way one of the enemy robots leaps onto a cliff and balances on one foot before Knuckles knocks him back with a rock. Even Knuckles calmly doing a spiral while gliding. Little bits like that add layers to the characters, which makes the world they inhabit feel more alive. Heese also makes sure that Knuckles has sharp fangs barred during the action scene, a quirk he likes to include with the character that few other artists do. 

What I really like about "Divergence" is that it captures the tone of what I've always wanted a "Knuckles" solo story – and a "Sonic" animated series in general – to have. Aside from a stray Flicky bird and some Chao, Knuckles is alone through most of this short. Voiceover narration gives us a peek into his mind. And it's a distinctly melancholy experience. Knuckles feels the weight of his ancestors' sins, reflecting on how the Knuckles Tribes' violent ways probably cursed him with the duty of protecting the Master Emerald. He talks about being solitary and how he likes it that way... Yet you can tell he longs for more too. When combined with the gorgeous orchestral score, it creates an introspective atmosphere. 

In fact, Flynn's script even manages to bring a little pathos to the situation here. On a narrative level, "Divergence" is simply meant to introduce us to "Frontiers'" world. It teases us with the mysteries inherent to the story and already displays the game's goal of creating a functional "Sonic" continuity. Yet Knuckles' opening line about liking to be alone comes back in a meaningful way at the end. If he hadn't been alone, maybe this would've ended a different way. That ironic quality to the script gives "Divergence" something that feels like an actual ending, which these promotional things rarely have. 

Really, the only criticism I have towards "Divergence" is that I don't particularly care for Knuckles' voice. Dave B. Mitchell, who has been voicing Knuckles in the games since 2019, provides the English voiceover. I just find his voice a little too gruff. People love to give Knuckles these tough guy baritones and it never sits right with me. Nobutoshi Canna – who has been Knuckles' Japanese voice actor for years now – does a much better job in the Japanese dub. He has a matter-of-fact quality to his voice that I think suits the character better. 

Overall though, "Sonic Frontiers Prologue: Divergence" is a real treat. I've watched it several times while writing this review and I think it might be my favorite piece of "Sonic" animation in years. I'd really love a feature film or an entire series with such a grand visual palette, loving animation, and a character-driven tone like this. I imagine that wouldn't be monetarily practical but a guy can dream, you know? It reminds me a lot of the "Sonic CD" opening animation, which treated these characters and their world with a sense of speed and awe. I hope young kids watching this short will have the same reaction I did to that piece of animation. Who's to say? Either way, "Divergence" is fantastic. [9/10]

Sonic the Hedgehog: Tails' 30th Anniversary Special

Sonic the Hedgehog: Tails' 30th Anniversary Special 

Publication Date: November 16th, 2022

Just as Sonic had his 30th anniversary last year, 2022 brings with it a significant anniversary of its own. "Sonic the Hedgehog 2" came out in 1992, which was three whole decades ago now. While the second proper game in the series introduced a number of new elements – and is still regarded as one of the best "Sonic" game – the sequel made one contribution to Sega lore that outshines all others. It introduced Miles "Tails" Prower, Sonic's best bro, to the world. While the rest of the Sonic-sphere has largely devoted 2022 to the new movie and game, IDW decided that Tails needed a comic book to honor his own pearl anniversary. 

Now is as good a time as ever to reiterate a fact that probably should get me thrown out of the "Sonic" fandom. Tails is a beloved character among Sonic fans, considered one of the essential cast members even by people who dismiss all of Sonic's other friends. He is many fans' favorite character and is widely beloved far and wide. Yet here's the truth: I am, relatively speaking, indifferent to Tails. There have even been times, over the years, where I flat out didn't like Tails. I don't hate the two-tailed fox or anything. I've long accepted that he's a commonplace part of the franchise. When badly written he is, at worst, simply annoying and never offensive. But I've never been all that attached to the guy.

My general indifference to Tails probably boils down to when I became a fan of the series. I'm old, older than Sonic. When the franchise was in its infancy, Tails was simply Sonic's little buddy. He was there to learn moral lessons or be rescued when the plot necessitated it. He didn't really do anything cool on his own and sometimes even got in the way. Over the years, Tails would gain a more distinct personality that saw him become a genius inventor. Yet even this always struck me as a desperate attempt to give the fox some sort of personality outside of his hero worship for Sonic. Many times, I feel like modern "Sonic" media overcompensates for Tails' kid sidekick status by making him too hyper-competent. (This is most apparent in the older Archie comics, where Tails gained a grand destiny as a "chosen one" that didn't go anywhere for years.)

I guess what I'm saying is Tails had more growing pains over the years then Sonic – whose personal has remained relatively intact the whole time – has. Nevertheless, Sega saw his popularity and tried to capitalize on it... Sort of. The fox got two handheld games to his own, one of which wasn't even released in America for years. Since there's no "Sonic" game fans of this franchise won't dig into, "Tails' Sky Patrol" and "Tails' Adventure" are now relatively well known in the U.S. They are familiar enough that this special marks the second time a U.S. "Sonic" comic has unearthed villains from this overlooked Game Gear title for story material. 

In fact, "Flying Off the Rails" – the story that comprises pretty much all of this special – is a homage to two forgotten "Sonic" game. Tails' tale is set on Flicky Island, the setting for "Sonic 3D Blast." Sonic and Tails arrive on the island for a vacation and to catch up with the native flicky population. Instead, they find the tropical paradise strangely empty, with railways running everywhere. Tails quickly deduces that Witchcart and her minions are responsible. He's right, as the witch is capturing the birds in crystals to learn their secrets. After being overwhelmed in a four-on-one fight, Sonic is captured too. It's up to Tails to traverse the island's treacherous zones, rescues the Flickies, and defeat Witchcart and her goons. 

Another reason why, maybe, I've never loved Tails the way many do is because the characters has been stuck constantly repeating the same story arc for years. The fox is super talented but lacking in confidence, which is exacerbated by always being in Sonic's shadow. He has to learn to overcome his own insecurities and stand on his own as a hero, which he usually does without even realizing it. "Sonic Adventure" did this, the comics did this, "Sonic X" did this, even the movie did it a bit. People have been going back to this well with Tails for far too long now. 

"Flying Off the Rails" essentially does this again. The earlier pages has Sonic constantly leaving Tails in the dust, emphasizing that he's the kid sidekick and that maybe Sonic doesn't take him very seriously. By the end of this story, the little fox has undone Witchcart's entire scheme by himself and rescued Sonic. Sonic has so much faith in the boy that he lets him fly off and deliver the final blow himself, which really surprises Tails. That "Flying Off the Rails" does this exact same storyline again is a little baffling, since it's confirmed that these events take place after "Tails' Skypatrol." You'd think the little guy would be confident already after that!

Despite following the exact same Tails plot that seemingly every Tails story must follow, I still enjoyed "Flying Off the Rails." It actually does something kind of clever, that suits a special designed to celebrate Tails' thirty years with the series. Over the course of this comic, we see Miles evolve from Sonic's childish sidekick into an inventive tinkerer who improvises amazing, plot resolving technology out of what's lying around. He starts out feeling insecure around Sonic and ends this issue with a handful of accessories that handily defeat Witchcart. In other words: This issue tracks the way the two-tailed fox's personality and role in the series has shifted over the years. That's clever! 

Structurally speaking, this issue also has a deceptively simple script. Plot-wise, "Flying Off the Rails" feels a lot like a video game. Tails travels to the different regions of Flicky Island, all of which are very distinct from each other. In every area, he battles another one of Witchcart's henchmen. After he defeats each one, he gains a new piece of equipment that helps him defeat the final boss. He also frees Flickies from prison crystals at the conclusion of each section, furthering the feeling that this comic is adapted from a classic "Sonic" game. 

While this story structure is tedious on its surface, Ian Flynn includes enough variety here to keep things interesting. It helps that each "Sonic 3D Blast" stage– which, let's face it, most fans have probably forgotten the details of – all come with their own gimmicks. Smartly, Tails uses the environment to help defeat the Witchcarters in each area. The prevalent springs of Spring Stadium, the pitfalls of Rusty Ruins, and the industrial tubes of Gene Gadget all play their role in the bad guys' downfalls. To further make each encounter more novel, Tails has to devise different strategies to defeat each enemy, all of whom have their own style of attack. This highlights another difference between the fox and his idol. He can't brute-force it like Sonic would. He's got to outthink the opponent. 

And what of those opponents? While "Sonic" devotees are passionate enough that it's not unfair to call the otherwise forgotten bosses from "Tails' Skypatrol" "fan favorites" as they are, Witchcart and her eponymous goons were given a boost by their appearances in the post-reboot Archie comics. Those versions were redesigned – and at least one of them renamed – to fit the modern style of the series. Which means those takes on the gang are thoroughly off-limits now. Instead, IDW's iterations of the Witchcarters are taken directly from the Game Gear. Each one of these guys looks right out of a thirties cartoon, just the way Naoto Ohshima would've liked it. 

So let's meet the new-old versions of Witchcart, Bearranger, Carrotia, and Fuck-Wulf​ Hocke-Wulf. Since the Archie versions weren't established much, we might as well be meeting them for the first time. Flynn gives each goofy goon a distinct personality trait. Bearranger is excessively angry, peppering his speech with old-timey minced oaths, and prone to violent outbursts. Carrotia seems bored and impatient with everything, as signaled by her perpetually droopy eyelids. She's so apathetic that she is relieved when Tails defeats her, that she can now get back to doing nothing. I love her. In my head, she sounds Aubrey Plaza. Hocke-Wulf is the least well defined, functioning mostly as a sneaky villain type who enjoys bullying anyone smaller than him. But at least he's not another wacky, zany lunatic like his Archie counterpart was. (A distinctive, Muttley style chortle being the sole remaining element from that Bean-ified version of the guy.)

Witchcart’s lackies ultimately prove more memorable than the villainess herself. Befitting her fairy tale witch appearance, Flynn gives her the gimmick of speaking in rhyme. This is mildly annoying, an attitude Sonic and Tails share. Tails even calls her on her half-assed rhymes in one panel. Besides that, Witchcart is just a functional baddie going about her business. She doesn't even make her evil plan all that clear. She wants to unlock the secrets of the Flickies and expresses a desire "to rule," which is pretty vague. She also shares Eggman's love of building amusement parks based on her own image, if the fort she builds with her face is any indication. IDW's classic inspired Witchcart is a step down from Archie's Wendy Naugus, even if the other characters definitely got upgrades here. 

Despite the qualms I have with this issue, it's actually a lot of fun. A big part of that is the gorgeous artwork. Aaron Hammerstrom provides the pencils here and they commit fully to the Classic Sonic look. "Flying Off the Rails" often looks exactly like Genesis era "Sonic" box art come to life. This includes the colorful, very nineties pastels Hammerstrom often fills the backgrounds with. The characters perfectly fit the classic style but Hammerstrom doesn't use that as an excuse to make things less expressive. In fact, the little faces he has everyone make are often hilarious. Even the Flickies get adorably detailed facial expressions. The action scenes are great too, Hammerstrom somehow managing to make Tails look bad-ass in the final pages, when he has all his gear, despite the cutesy artwork. Great work. 

My only real issue with the "Tails 30th Anniversary Special" is that it foregoes a back-up story, in favor of a text article running us through the process of making the comic. I definitely would've preferred a second story, though considering how much "Sonic" content IDW is putting out right now, it's not a big loss. I'm all for behind-the-scenes insight but this article is clearly designed for young kids. It explains simple phrases like "thumbnails" or what a script is. The writing style is also heavy on the exclamation points, making the author seem a little overly enthusiastic. It is neat seeing the various stages of the artwork though. But the only really interesting nugget here is that Flynn needed special permission from Sega to bring the Witchcarters back. Special attention is drawn to Hammerstrom having to beef up the villains' designs, this also makes it sound like their appearance here might be a one-time only deal. 

Or maybe not, considering the Classic/Modern divide Sega has insisted on for years now might finally no longer be an issue. There's even a joke here about Sonic looking at Witchcract's rails and thinking he'll learn to balance on them someday. If the recent past being an alternate universe conceit is truly done for, hopefully IDW can sneak the antagonists here or Mighty into the main book. As for "Tails 30th Anniversary Special," it's beautiful to look at and better written than it had to be, even if it didn't turn me into a Tails obsessive overnight. [7/10]