Sonic the Hedgehog: Issue 264

Sonic the Hedgehog: Issue 264
Publication Date: September 2014

“Sonic Unleashed” will forever be known as the game where Sonic turns into a werewolf. (They called it the “WereHog,” even though that sounds more like someone who turns into a monstrous pig under the full moon.) Like all things in this franchise, this concept has its fans. Most, however, thought it was a really dumb gimmick, present company included. Archie and Ian Flynn’s decision to bring the Werehog into the comic struck me as both desperate and unnecessary. Even worst, as with everything concerning the reboot, it was stretched out for far too long. Sonic’s transformation into the Werehog was first teased in October of 2013. He wouldn’t actually transform until issue 264, published in September of 2014, almost a year later.

Even then, we don’t see the full Werehog until the very end of “Control, Part One: Breaking Point.” Sonic and the Freedom Fighters, using Eggman’s pilfered intel, have tracked a Chaos Emerald to the Rocky Jungle Zone. There, they encountered some old friends. Mighty the Armadillo and Ray the Flying Squirrel have been living in the jungle for some time, fighting the Doctor’s forces. Mighty has also been studying with a wise old sloth named Master Moss. Upon meeting him, Moss immediately recognizes some darkness inside Sonic. That darkness is revealed when the Freedom Fighters fall into the local Egg Boss’ trap.

This issue also reintroduces someone way more important than the dumb Werehog. Mighty is back. Oh yeah, Ray too. Since Sega retconned the Chaotix into a trio, the “SegaSonic Arcade” buddies have increasingly become a duo of their own. Though they sport the new outfits they wore right before the reboot, the two have definitely undergone some changes. Mighty’s complexity over his tangled past has been reduced to issues with self-control and anger. Ray’s stutter is gone, a plus for readability but a minus for stutterer representation in pop culture. Still, the important stuff is intact. Mighty is still defined more by his love of his friends than his prodigious strength. Ray is still Mighty’s adopted kid brother, sweet but bland. More than anything else, it’s nice to see these two again.

The situation the two are reintroduced in strikes me as a little odd though. They’re living in a giant onion with a slimy green sloth. Flynn makes no attempt to distinguish Moss from the classical zen master archetype. It probably would have been more interesting to see Mighty’s anger problem play out, with his tutelage under Moss as the concluding chapter. Imagine a dramatic scene where Mighty lashes out at Ray, perhaps that being the moment he realizes he has a problem. That would have been compelling! Instead, we’re tossed right into this as the status quo.

And that’s because Moss is simply a plot device. Flynn knew if he was adapting “Sonic Unleashed,” he had to include the Werehog. But having Sonic be a raging, uncontrollable monster all night, every night, would have really complicated this asinine Shattered World Crisis Flynn is telling. So the Werehog’s introduction comes along at the same time as someone who can teach Sonic to manage his new condition. Never mind that the threat of Sonic becoming a savage beast, who rips friends and enemies alike to shreds, would have made for a hell of a story.

But that’s the problem with the Werehog, isn’t it? It’s not a way to challenge Sonic and his friends in a new, interesting way. It’s not a way to introduce some monster movie tension that comments on Sonic’s personality and the traditional werewolf story subtext. Hell, it’s not even an Incredible Hulk situation, where Sonic has access to a beast mode that decimates his enemies but endangers his loved ones. It’s a game play mechanic, another gimmicky power-up. But at least we’re done waiting for the stupid thing, with its ridiculous shoes and goofy stretchy limbs, to finally arrive. The Werehog’s arrival would make a good cliffhanger, if we didn’t already know it’ll be rendered harmless soon enough.

At least the issue looks good. After previously contributing the cover to issue 258, issue 264 would be the celebrated Tyson Heese’s debut as an interior artist. And, yeah, he’s pretty damn good. Heese’s aptitude for hilarious, goofy faces is on display here in almost every panel. His action is fantastic, with a real sense of movement. He’s an artist who perfectly captures the characters as they exist while also putting a unique spin on them. All of this is well and good since Hesse is a despicable human being who is somehow living the nerd dream and also built like a linebacker, the fucking bastard.

Also, we’ve got a back story, from a new pair of writers. Say hello to Jonathan Bailey and Joey Esposito. “A Nice Day to Start Again” does not feature Billy Idol. Instead, it follows Bunnie and Antoine as they continue to help people in cities still threatened by the world shattering. During the chaos, they rescued a young couple on their married day. The duo managed to salvaged the kids' wedding to a degree. Afterwards, Bunnie and Antoine reflect on their time together as husband and wife.

I was really hoping “A Nice Day to Start Again” would delve into Bunnie and Antoine's relationship a little more. That aspect of their relationship, post-reboot, is still a little underdeveloped. Unfortunately, the back-up is more focused on action than anything else. There's several panels devoted to Antoine and Bunnie flying around, dodging falling debris and a billboard, in order to rescue the newlyweds. Afterwards, there's a short scene were Bunnie wonders about if her and Antoine's love can last, since they're still new to it themselves. I wish this was expanded on more, instead of just one short page shoved into the back. James Fry, after a long break, comes back to pencil and does okay.

So I have a lot of mixed feelings about this issue. I'm happy to see Mighty and Ray back. The back-up story is well-intended, though it stumbles slightly. Then there's all that bullshit with the Werehog, a concept I have so many problems with. At least the artwork is solid overall. [6/10]