Sonic the Hedgehog: Issue 11

 

Sonic the Hedgehog: Issue 11
Publication Date: March 1994

I don’t think there’s a more divisive name in “Sonic the Hedgehog” fandom then Ken Penders. Especially following his asinine lawsuit that made the complete universe reboot necessary, Penders has become widely hated, to the point where his last name is best spoken when scream to the heavens in a fiery rage. (Try it. PEEENNNDDDEEERRRS! Feels good, right?) Even before then, Penders’ overly-wordy writing, ass-ugly artwork, and preferences towards melodrama and convoluted plotting were widely criticized. Yet I often find myself in the unlikely situation of being a Penders Defender. The guy invented most of the comic’s mythology, broadened its supporting cast considerably, and I honestly love a lot of the stories he wrote. Little of what would make Penders’ such a controversial name is noticeable in Issue 11, the first time he ever wrote a “Sonic the Hedgehog” story. For the most part, it reads and feels like the goofy comedy that characterized the comic’s early years.

 
In the first story, the Freedom Fighters sans Sonic encounter a Robotnik factory polluting a local river. Sonic is elsewhere, having just beat the shit out of Scratch and Grounder. Over to the factory, he takes a short cut through an inter-dimensional highway that cuts through time and space itself. But he takes a wrong turn and winds up on Anti-Mobius, where good is evil and evil is good. Thus, Robotnik is a kindly veterinary and Sonic and the Freedom Fighters are violent, tyrannical hooligans. Sonic scuffles with his evil double before making it back home.

When I said that “The Good, the Bad, and the Hedgehog” mostly plays like a regular Sonic story from this time, I was being honest. However, it’s easy to see the signifiers that would soon become Ken Penders’ trademark. Firstly, the story is sprinkled with references to subjects slightly outside Archie’s reader base. Sally calls Sonic with her Super Secret Sonic Signal Watch, an object never heard of before or since and obviously based on Jimmy Olsen’s Signal Watch. The Cosmic Interstate is peppered with references to Beatles’ lyrics, even giving the Yellow Submarine a cameo. One panel name-drops Lois Lane and Margo Lane. Kids in 1994 probably knew who Superman’s girlfriend was but the Shadow’s girlfriend? (I mean, the movie wouldn’t even come out for another four months.) Another mentions Cosmic Rays, the shit that gave the Fantastic Four their powers. “Zip-A-Dee-Doo-Dah” is sang at one point. Most obviously, the whole concept of Anti-Mobius is obviously pulled from Star Trek’s Mirror Universe. Even an off-hand shout-out to “Wizard of Oz” skews slightly older then the six year olds that were buying these comic books at the time.

Aside from the gratuitously peppered references, Penders’ love of somewhat awkward dialogue is noticeable. Seems like there’s more word balloons, editor note boxes, and wordy signs in this issue then the last two combined. This becomes intrusive when panel space is taken up by notes explaining the mirror universe concept. Once Anti-Sonic shows up, the dialogue becomes especially groan-worthy. “What’s the hassle, Schmassle?” “I know the deal, Schlemiel?” Keep in mind, the comic was still characterized by puns and lame jokes at this point. Also, the main story ends with Sonic and Sally kissing, foreshadowing Ken’s more prominent use of romance.

Still, it’s not all bad. Anti-Sonic is a fairly ridiculous character. Only a grandma would identify sunglasses and leather jackets with ruffians in 1994. Yet at least he’s a threat. When Robotnik so often feels like an incompetent clown, a character that can actually keep up with Sonic makes more of an impression. Making Robotnik a kindly veterinary in the mirror universe is also mildly clever.

The two back-up stories aren’t worth writing about much. The first has Coconuts capturing the other Freedom Fighters (except for Bunnie, who is once again absent from this entire issue.) and planting them on a cartoonish collection of explosive. Coconuts underestimates his enemy’s main attribute, his speed, which does not speak well to his villain credentials. Mostly, the issue seems written around a silly maze gag. The last story, “Food for Thought” is most noticeable for just being fucking weird. Sonic eats too many chili dogs before bed and has a bizarre dream in which his friends become food items. Sonic is a chili dog, Sally is an ice cream cone, Tails is a box of French fries, and Robotnik is a giant hamburger. Who is also a chef, preparing the Freedom Fighters as foods. Aside from the barrages of laid-on-thick food puns, the story is mostly just weird. Art Mawhinney’s gorgeously penned artwork actually pushes the story out of the realm of funny to slightly disturbing. Mawhinney’s talents were probably better used when not drawing odd fever dreams.

That rounds up to about a six, I guess. [6/10]