Mega Man: Worlds Unite - Battles: Issue 1

Mega Man: Worlds Unite - Battles: Issue 1
Publication Date: June 2015

You know, it’s weird to me. “Worlds Unite” was, by most measures, an even bigger event than “Worlds Collide.” In addition to the twelve part story being spread across four titles, Archie also released two related stand-alone issues. The “Worlds Unite - Battles” sub-series would focus strictly on combat, playing up the “who would win in a fight” element of the crossover. There would be one branded to Mega Man and one branded to Sonic. Despite being such a big event, it does seem to me that “Worlds Unite” received less promotion than “Worlds Collide.” As for the “Battles” books, which were direct market exclusive, I didn’t even know they existed until they popped up in my comic shop’s subscription box.

Maybe Archie thought the crossover would sell itself? Or maybe they just didn’t have the money to promote it. Shortly after the crossover ended, several Archie titles – including the “Sonic” books – would experience delays. The company would also cancel a number of books, including “Sonic Boom” and “Mega Man.” But I guess I’m getting ahead of myself. Let’s talk about “Mega Man: Worlds Unite - Battles: Issue 1.” (How’s that for an elegant title?)

The stories in the “Battles” books expand on the fights in the main story we only got a small look at. For example, the first story in the “Mega Man: Battles” depicts Mega Man’s fight with three of the Deadly Six. In part one of “Worlds Unite,” we only see his car get wrecked, the Zetis seemingly getting the drop on him. “Battles” goes into a little more detail. Zazz, Master Zik, and Zomom ambush the Rock as he’s on the way to the store. He transforms into Mega Man but soon gets tossed into a near-by apple orchid. While he puts up a valiant effort, the Zetis’ ability to manipulate technology is his undoing.

Obviously, plot is not the main concern here. We do get some meaningful character beats. Such as Zomom being insulted when Rock calls him a “yellow devil.” Or Master Zik psychically pelting the hero with apples, just to annoy him. These are small moments but they still give the Zetis more character development then they receive in the “Sonic” books. And though it’s totally expected of him, Mega Man refusing to go down because he knows his friends and loved ones are relying on him still displays what a wholesome, heroic guy he is. Zik coldly commanding Rock to shot himself in the head afterwards nicely deflates that moment too.

Otherwise, this story is all about Ben Bates’ stylish, energetic artwork. The dude clearly enjoys indulging in anime-style fight fest. Mega Man and the Zetis spend half of the fight springing through the air or getting tossed around. Bates keeps the sense of motion going throughout all of this, making it feel like the reader is speeding along with the combat. I also like individual panels here, like the one devoted to Zazz scratching Mega Man up. That’s depicted as a series of frenzied hand movements around his screaming head. I don’t even mind that Bates’ work is slightly sketchy in a few panels. That only adds to the story’s energetic feeling.

The second battle gives us more of a look at Zero and Axl fighting Vile outside Sigma’s fortress, which happened in the opening pages of “Worlds Unite’s” first part. That may not seem very exciting  – these guys fight all the time, right? – but just wait. Zero and Axl attempt to take down Vile for several pages, the traitorous Maverick Hunter countering every one of their attacks. That is until he’s frozen suddenly in his tracks. Silver the Hedgehog emerges from the heavens. He’s not certain of who the good guys and bad guys are in this situation and just wants to close the Genesis Portals... The one Sigma just fled through.

This battle clarifies X’s comments in part two of “Worlds Unite,” about how they got from their world to Sticks’. Narratively, there’s not a lot here. Silver’s sudden appearance is a nice surprise, though one we should see coming. The battle banter between Vile and the heroes is mildly amusing. He calls Axl a pretty boy, confirming my suspicions that he’s the token bishonen. We see more of everyone’s abilities here, including Axl’s shape-shifting and Zero’s mastery of the blade. But that’s about it.

Much like the cover story, this one is all about the artwork. Jamal Peppers’ pencils are not as dynamic as Ben Bates’ but they still look pretty damn cool. The “Mega Man X” characters are really designed to look as rad as possible. So seeing them leap around, trading blows and posing in the middle of combat, is their natural habitat. There are several eye-catching panels, such as Zero’s sword slashing at Vile or the reveal of Axl’s transformative abilities. Peppers is one of the few artists equally adapt at drawing both the “Mega Man” and “Sonic” cast, as Silver looks excellent too. My only issue with the artwork is not Peppers’ fault. Vile’s right arm is an energy mace and that looks awkward as hell.

The third and final story in this book is the only one not to be written by Ian Flynn. It instead comes from an entity calling itself “T. Rex.” (Presumably not the ghost of Marc Bolan.) It details the battle that took place between Sonic Man and the Robot Masters, when the blue hedgehog-turned-robot invaded Mega Man’s city in part two of “Worlds Unite.” Despite their best efforts, the heroic Robot Masters are no much for Sonic Man. He’s resistant to their abilities and takes them out in minutes.

This story has the thinnest script of any in this book. Apparently Fire Man talks with a weird cowboy accent. There’s a few jokes in the Robot Masters’ introductory captions. Sonic Man’s cruelty, which includes tossing Ice Man into Fire Man’s blast of flames, is a nice, villainous touch. Otherwise, this one is all about the artwork. It’s provided by Brent McCarthy, someone I’m not familiar with. McCarthy’s artwork is very stylized. McCarthy focuses on the characters’ stretchy faces and big gloves and boots. However, this approach does create a very dynamic approach. McCarthy’s graphically heavy style, especially when combined with Elaina Unger’s deep and rich colors, makes the reader feel the impact of every punch and special attack. That’s a good approach, since this is a story totally devoted to Sonic Man beating the shit out of the good guys. I think an action-packed story is exactly what McCarthy is suited to, as the early panels of Wily and Eggman talking look a little weird and overdone.

Most of the fights in “Mega Man: Worlds Unite - Battles” have foregone conclusion. If you’re reading this comic, you’re reading the main story. And if you’re reading that, you already know Mega Man looses to the Zetis. That the Maverick Hunters make it past Vile, that Sonic Man decimates the Robot Masters. But watching the wreckage get done has some value. This is not a deep book but it is a fun one. If nothing else, it’s worth reading just to see some exciting artwork from a trio of very talented artists. Was it necessary? Nah. And you won’t miss much if you don’t read it. But it is a decent little extra. [7/10]

Sonic the Hedgehog: Issue 251

Sonic the Hedgehog: Issue 251
Publication Date: August 2013

Well, here we are, guys. Issue 251 is the final part of the “Worlds Collide” crossover I’ve been talking about all month. But the comic is even more loaded than that. This is the last issue of “Sonic” connected to the original continuity. Mecha Sally makes a cameo here, alongside a spiffy re-design of Mecha Sonic. I hope you enjoyed that becomes it’s the last time we see that particular iteration of that character. Say goodbye once and for all to the “Sonic” comic we knew and alternatingly loved and tolerated for twenty years, because it’s a completely different animal from this point on.

Flynn giving the last part the super awkward subtitle “Worst of the Worst” is, I guess, somewhat justified as this part is subtitled the complimenting “Best of the Best.” Things are looking grim for our heroes. Sonic and Mega Man are captured, their friends are held back by Wily’s robots, and the mad scientist are about ready to rewrite all dimensions into their twisted vision. Luckily, the friendly Robot Masters arrive on the battlefield, sent by Roll. Knuckles, Protoman, Dr. Light, and Rush are freed up to help the blue guys. Now free, Sonic and Mega Man grab the Chaos Emeralds and go Super Saiyan. But the battle isn’t over yet...

Though it had one hell of a rocky start, “Worlds Collide” does wrap up with a properly cinematic conclusion. A lot is going on in this comic book. Flynn successfully conveys the scope of this story, showing different characters in different locations struggling against the odds. The stakes started too low but they are properly elevated now. Watching the heroes come together to save the day is satisfying. It feels like the climax of a big action movie and that’s nice.

I also like that Flynn doesn’t have Sonic and Mega Man save the day alone. The good Robot Masters make their first appearance in the crossover here, rushing in to give Sonic’s posse assistance. The Mega Man readers probably appreciated that. Without Knuckles, Sonic’s ass would be cooked. Considering the echidna hasn’t been given much to do in this story, that’s a nice turn of events. The rest of Sonic’s supporting cast is sidelined but, considering Sega and Capcom probably would have been fine with just the stars saving the day, it’s nice to see them included at all.

Of course, Sonic and Mega Man are primarily responsible for stopping the bad guys. Inevitably, Sonic transform into Super Sonic. Equally inevitably, Mega Man transforms into a similarly chromatic super form called Super Mega Man. This is absolutely the stuff of fan fiction crossovers, so it’s not surprising. Truthfully, Sonic going Super aboard the Death Egg and crushing a giant robot piloted by Robotnik is something we’ve seen before. It’s almost the exact same ending as the “Genesis” arc. Another problem is, once Super Sonic and Super Mega Man show up, the story’s tension totally deflates. The hedgehog reminds the boy robot repeatedly that they are effectively invulnerable in this form. They can no longer be hurt. Which totally throws the question of whether the heroes will succeed out the airlock. Nothing can stop them now.

By this point, Eggman and Wily’s friendship has completely dissolved. They are now begrudgingly working together, often snipping at one another from inside their death machine. Which is a different dynamic than what we’ve seen up to this point. Equally amusing is the villains choosing to sabotage each other in such a way that it costs them both their victory. It would seem hubris are Eggman and Wily’s greatest flaw. If both weren’t so certain they could outsmart the other, they probably would’ve won this. (Okay, no, they wouldn’t have, because this is a kid’s comic and they’re the bad guys. But you grasp my meaning.)

In the final pages of the crossover, after Sonic and Mega Man send Wily and Eggman plummeting into the planet’s upper atmosphere, they each attempt to Chaos Control their worlds back to normal. Mega Man gets the handle of it immediately and is sent back home. Sonic, however, is attacked by Eggman just as he’s about to reset his world. Thus, the set-up for the reboot is put in place.

I have very mixed feelings about this. I guess if the comic had to be rebooted, this would be the smoothest point to do so. But putting the dividing line in a crossover, in a weird continuity neutral zone, still feels like a cheat to me. Essentially, a different version of Sonic, without any of the history we know, just tossed away the version we do know. And the manner in which it happens – Robotnik tackles Sonic, causing him to fuck up the Chaos Control pattern or whatever – still feels like a desperation, last minute decision.

As you can see, I continue to be way more interested in this crossover’s affect on the main storyline than on its actual plot. Taking “Worlds Collide” on its own, it’s a mildly entertaining event. It had a rough start, a tedious middle section, but came together for an okay ending. But I still have a lot of problems with how Flynn executed this one and still don’t find it to be very satisfying as a whole. I’m giving this specific issue a [6/10] and would probably rank the entire crossover as a [5/10.]

Sonic Universe: Issue 54

Sonic Universe: Issue 54
Publication Date: July 2013

Here we are at the penultimate part of “Worlds Collide.” I know it feels like we’ve been stuck in the Egg Skull Zone for a long time but I guess it’s only been a month. Compared to the year-long arcs Flynn usually employs, this was truthfully one of the shorter events. While the quality of Flynn’s endings waver, you can tell he enjoyed writing the last third of this story more than the preceding parts, which felt pretty routine in comparison.

Chapter 11 has the subtitle of “Worst of the Worst,” because Flynn was completely out of ideas for titles by now. Deep inside the Skull Egg, Sonic and Mega Man fight Metal Sonic and Bass. (Oh, and Bass’ cool robot wolf, Treble.) They prove to be formidable adversaries. Just beyond the blast-door, Eggman and Wily prepare the Egg-Wily Machine X. The final boss weapon is enough to blast an exhausted Sonic and Mega Man into unconsciousness, allowing the devious duo to prepare their complete rewrite of all universes.

Unsurprisingly, “Worlds Collide” has been pretty heavy on the fight scene. This is, after all, a crossover partially built on the old “who would win in a fight” debate. Having previously devoted whole issues to Sonic and Mega Man’s fight and Sonic’s friends fighting the Robot Masters, Flynn centers nearly this entire issue around the four way fight between Sonic/Mega Man and Metal Sonic/Bass. It’s definitely one of the harder fights in the story, as both robots are just as powerful as their matching heroes. The usual strategy of switching dance partners is not enough to slow them down.  So I’m not entirely opposed to Flynn having the fight take up most of this issue.

Yeah, it’s pretty cool. Moreover, it looks pretty cool. Ben Bates continues to be the stand-out artist in this story. He manages to keep the fight fast-paced and furious without slipping into incoherence, like he did last time. As Mega Man cycles through the various abilities he’s gained over this story, Bates illustrates Sonic’s friends floating over his shoulders. That’s a nice touch. He even incorporates some humor, like the ridiculous face Sonic makes when he receives one of Bass’ giant boots to the gut.

It’s tempting to say Metal Sonic and Bass are just pawns in the plot. Metal Sonic, by design, has no personality beyond wanting to eviscerate his organic counterpart. Bass, however, shows a little more gumption. When Treble gets clipped by Mega Man’s lemon shooter, Bass flights into a rage, yelling “Don’t touch my dog!” It seems his rivalry with Mega Man is, like Ash Ketchum, driven by a desire to be the very best. So he has more in common with Shadow than Metal Sonic. I also think Bass switches sides at some point in the games, another thing he has in common with Sonic’s darker furred rival. See, a villain with some humanity is more interesting, even if they’re a robot.

On the Eggman/Wily front, there’s not too much to report. The two continue to work together while secretly plotting against each other. However, Flynn incorporates some little interactions that are cute. Such as the two sniping at each other, like an old married couple, as they put the purely aesthetic finishing touches on their latest death machine. My favorite bit comes when they’re explaining their evil plan to the captured Sonic and Mega Man. The two are so wrapped in their evil glee that they go to high five one another, forgetting they hate each other now.

And that brings us almost to the end. Flynn has finished putting all his pieces in their places. Robotnik and Wily are on the verge of winning, their plan to cosmic-reset-button Sonic and Mega Man out of existence nearly completed. Of course, in their arrogance, the bad guys have stuck the heroes right there in the final chamber with them. I have mixed feelings about this. It’s a cliche we’ve all seen many times before and there is something satisfying about the familiarity. At the same time, it’s hard to take the bad guys seriously when they set themselves up for defeat like that.

It’s true that this event is picking up speed as it nears its end. I have my qualms. Bass is interesting enough here that I wish Flynn had given him a bigger role throughout the crossover. He would’ve been preferable over the various faceless Robot Masters we encountered. Still, this is a pretty good comic book. I had fun reading it. [7/10]

Mega Man: Issue 27

Mega Man: Issue 27
Publication Date: July 2013

“Worlds Collide” is quickly nearing its conclusion. Only two more of these left to go! This is the last issue of “ Mega Man” I’ll be reviewing, at least until the next crossover. It’s a bit of a mixed blessing. The crossover improves a lot in its last third. Yet the event’s end also means the “Sonic” reboot - and all the complicated feelings it brings with it - will properly begin soon. Let’s get through this together.

Part ten of “Worlds Collide” is subtitled “No Holds Barred” and, sadly, features no Hulk Hogan cameos. Dr. Light plummets from the Skull Egg but is rescued by Shadow. Rock’s dad implores him to get on the floating battle station and stop the villains’ plan, as the fate of the multi-verse depends on it. The two blue heroes face off against new threats inside the ship but also receive help from old friends.

Ben Bates’ artwork really continues to be the star attraction here. There’s a dynamic sense of motion here to rival Spaz, while Bates also keeps the cartoony facial expressions that characterize Tracy Yardley’s work. It’s the best of both worlds. While the issue looks great, some times the action scenes are a little too dynamic. A fight between the good guys and a trio of evil robots known as the Mega Man Killers is a little hard to follow. There’s lots of spinning and dashing and it’s tricky for the reader to keep up.

But at least Flynn is continuing to raise the stakes in the crossover’s last third. During the battle with the Mega Man Killers, Tails takes a blaster right to the face. Considering a problem I’ve had with this book is general lack of danger, seeing one of the Sonic franchise’s most beloved characters pushed to the edge of death at least lets us know that things are serious. Flynn also continues to emphasize that Eggman and Wily are threatening the entire universe. Which helps solve another problem I had: The crossover having no repercussions on either series’ on-going plots. (Of course, we now know that Sonic essentially sacrifices his own universe to save all the others, but we’ll get to that later.)

Another thing making this issue a little more compelling is Wily and Eggman’s friendship disintegrating. Wily does not take Robotnik’s attempt to murder Dr. Light well. Apparently, he wants to see his rival humiliated, not killed. Which might explain why Wily constantly gets his ass kicked by the good guys. He’s another one of those types that has the resources to just carpet bomb his enemies out of existence but weirdly refuses to do so. Sadly, the schism between the villains isn’t given room to breath here. Wily and Eggman have to put their differences aside for now, so the showdown can continue. It would’ve been cooler if Flynn had incorporated a fight between the two into the actual plot.

After a few issues of build-up, this one also brings two major characters into the fray. Sonic and Mega Man actually do fight the Chaos Devil here and find him to be quite difficult to defeat. His eyeball is his weak point but it’s surrounded by water that can be reshaped. Luckily, Duo appears to hold the monster back, so Sonic and Mega Man can progress towards the final boss battle. I have zero familiarity with Duo but he’s a super powerful, slightly spacey robot obsessed with maintaining a balance between good and evil. So that’s cool.

As strong as Duo is, he can still only hold-off the Chaos Devil, not defeat it. Which creates a plot hole of its own. If the Chaos Devil is so powerful and neigh indestructible, I don’t know why Wily/Eggman didn’t just drop him into the battlefield to crush Sonic and his friends. Yeah, I know they can’t control him but a battlefront situation would be ideal for a beast like that. Just point him the direction of what needs to die and let him loose. But that would also end the story way too soon and I guess we can’t have that.

Flynn does incorporate some cute humor into this one. Sonic and Mega Man banter while navigating the Skull Egg, causing Tails and Rush to give each other an exasperated, knowing glance. Flynn also has fun depicting a confrontation between Rouge and a Robot Master named Jewel Man. Also, keep your eyes peeled for a cameo from Big the Cat. This seems to make the Off-Panel strip canon for once, as that depicts Eggman and Wily realizing Big would make a useless Roboticized Master. Which is pretty funny.

There’s definitely some flaws here but by keeping the action lively and letting us know the heroes are actually in danger, Flynn creates a pretty entertaining comic book. [6.5/10]

Sonic the Hedgehog: Issue 250

Sonic the Hedgehog: Issue 250
Publication Date: June 2013

With its 250th issue, Archie’s “Sonic the Hedgehog” comic had officially been in print for twenty years. That was a major accomplishment in the precarious world of comics, where even major superhero characters can’t go more than a few years without being rebooted. Even more so for a silly licensed book based on a video game series that was, let’s face it, way pass its peak popularity and cultural relevance. Take that as a lesson, kids. If you can cultivate an obsessive fandom partially composed of autists and furries, your comic book will run for decades too.

Sadly, the comic’s porcelain anniversary did not come during the smoothest time. The book was wrapped up in the back half of the “Worlds Collide” crossover, meaning Sonic had to share the spotlight with Mega Man. The book was also two issues away from having all its continuity wiped out. It’s kind of hard to seriously celebrate a comic’s success when the book is busy boosting another series and about to throw its entire history in the trash.

But never mind all that. We’ve got a crossover to sell! Part nine of “Worlds Collide,” subtitled “All Out War,” begins with Sonic, Mega Man, and their friends stationed under the Death Egg. Inside, Wily and Eggman are preparing another Genesis Wave that will completely reshape both of their worlds. The villains send a massive army, composed of every Robot Master Wily has ever built, to stymie the heroes. Sonic and Mega Man try to fight their way through the forces, so they can rescue Rock’s dad and stop the bad guys.

Last time, I said I had the feeling that Flynn was just wasting time in the middle act and really wanted to get to the big fight scene. This issue holds that out. Flynn is so eager to get to the violence that he doesn’t even properly introduce Shadow and Omega. They, along with Silver and Blaze, show up at the beginning without an immediate explanation. We couldn’t get a panel or two showing them teleporting under the Skull Egg? It seems a little sloppy, adding to a comic story arc that already seems a little sloppy.

It seems this issue is mostly about luxuriating in the literally hundreds of Robot Masters that Wily has built over the many “Mega Man” games. The issue opens with a two page spread showing off a few of them. Some of them have more general purposes, like spraying water or generating walls or concrete blocks. Others are way more specific. Over the years, Wily has created clown, vampire, water pump, pirate, flying saucer, sheep, magician, mosquito, electric plugs, centaur, swami, Indian Brave, and pineapple I think themed robots, among many others. No, we never get much in the way of development for any of these bots. However, one thing Capcom is really good at is designing visually appealing characters. So all these weird robots are neat looking, if nothing else.

Flynn seems to delight in contrasting the various Sonic characters with similarly themed Robot Masters. Napalm Man’s countless fireballs are met by Omega’s equally impressive fire power. Blaze faces off against six separate pyromaniac robots. Vector fights Snake Man. Charmy fights Hornet Man. Espio fights the ninja-themed Shadow Man. Tails flies against a trio of flying Masters. Sonic races against a cadre of fast Masters. Amy faces off against Splash Woman, seemingly the only female member of the Robot Masters. There is, admittedly, some minor fun in seeing so many different variations on the same sort of archetypes.

The business aboard the Skull Egg proves a little more compelling than the battlefield. There’s a tense conversation between Dr. Light and Dr. Wily. This moment gives us a look at Wily’s neurosis. He really, really resents Dr. Light. He’s obsessed with what he perceives as Light’s lack of vision and the belief that Thomas is jealous of his genius. Dr. Light silences him by pointing out both doctors’ tendency to try and control things they can’t handle. It feels a bit like an asshole kid trying to stand up his dad and failing spectacularly.

All that’s well and good but Eggman’s approach is more direct. Upon realizing Dr. Light is a serious threat, that he’s aware of their plan and has been feeding information to Sonic and Rock, he decides to just straight-up murder him. Coldly and calculating, he grabs Dr. Light, drags him to the Egg Skull’s port, and tosses him out. And he’s smiling as he does, cutely waving as Light falls to his doom. That’s how you make an intimidating villain, by showing them wiling to do anything to further their goals. Sort of wish he had done this a lot sooner.

But, hey, it’s a pretty looking comic. Ben Bates comes aboard for this crossover and does stellar work. He’s the first artist to work on this crossover that feels like he knows how to write characters from both franchises. The Sonic and Mega Man cast not only look like they can co-exist but also looks awesome together. The action sequences are beautifully executed, with a sense of motion and speed. Everyone looks awesome, with lots of funny facial expressions.

Oh yeah, there’s a reprint shoved in the back too. In order to celebrate the “Sonic” comic reaching 250 issues, half of issue 229 is reprinted after the cover story. I guess this story was chosen because both this one and that one deal with the Genesis Wave rewriting the world. However, I really don’t understand the intention behind reprinting half of a story. Is this supposed to drive people to the back issues? Because it really feels like Archie wants to prestige of a double-length issue without actually writing a double-length issue. I do like the little “yearbook page” included, which features some pithy remissness from a few of the artists and writers.

So it’s a nice looking book that’s packed full of action and one or two decent character interaction. Eh, I guess I’ll take it.  [6.5/10]

Sonic Free Comic Book Day 2012

Sonic Free Comic Book Day 2012
Publication Date: May 2012

It's Free Comic Book Day time again, readers. At least, it's time for us to, once again, flash back to that specific day in 2012. For the past two years, Archie gave away genuinely new comic books to celebrate this day. That was pretty cool as, the two years before that, they were content to simply throw some reprints at us. Well, the company was in a lazy mood again in 2012. 2012's FCBD edition of “Sonic” simply reprints issue #230. I'm not sure why Archie felt the need to reprint a story that was still so recent, other than 230 more-or-less setting up most of the current conflict in the book's then-on-going story line.

Turns out, though, I won't have to review a comic book I reviewed not that long ago with this one. Because Archie does include some extras here. In the back of the comic, after “Two Steps Back...” concludes, are a series of brief text stories detailing a different Freedom Fighters' reaction to the artificial Genesis world breaking down and everyone being zapped back to the Prime Zone. It isn't much, as each story is only a single page long, but at least it gives us something to talk about. Tales about Tails, Knuckles, Amy Rose, Bunnie, and Rotor are included within. This collection is given the rather awkward title of “Sonic: Genesis Awakenings”

Tails' story details him aboard the Tornado, watching Sonic sneak onto the Death Egg, before being attacked by the Flying Fortress. The Genesis Wave is then reversed, zapping him back to reality. Of all the stories in this collection, it seems the most superfluous. Tails' was actually involved in “Genesis,” so there's not too much new information here. The opening paragraphs gives us a peak inside the fox's mind during the infamous moment in “Sonic 2,” at the beginning of the Wing Fortress Zone, when the Tornado is shot down and Sonic bails out, leaving his friend behind. The conclusion mostly exist to describe the brief moment of confusion everyone on Mobius felt as reality is restored back to normal.

The rest of the “Awakenings” stories are focused on characters that weren't directly involved in “Genesis,” given us a peek at other corners of Robotnik's Sega-ified artificial world. Knuckles' story has him patrolling Angel Island, reflecting on his mission and his loneliness, before he's reunited in the Prime Zone with Julie-Su and Charmy. There's some nice juxtaposition between Sega Knux's solitary life and Archie Knux's companionship. But otherwise there's not much purpose to this one. Though Charmy mentions being detectives with Vector and Espio in the Genesis World, so I guess that's the official Sega bylaw concerning that trio now, as dumb as that idea is. (There's also something a little poignant about this, as it's also Julie-Su's last appearance in the book before the Frightful Pendersing removed her from the universe. Her lines about feeling like she was back inside the Twilight Cage may be foreshadowing of the “Endangered Species” arc.)

Amy's story drums up often forgotten bits of her personal history. In the Genesis world, Sega Amy plays with Tarot cards, decides her and Sonic are destined to be together, and briefly mentions Metal Sonic and Little Planet. This image of classic Amy as a flightly, love-struck little girl is then immediately contrasted with Archie Amy, a hammer-swinging hard-ass designated with keeping an eye on Geoffrey St. John. It's another example of how far the character has come... And a good example of why I prefer Archie's modern take on Amy versus the very boring version Sega first created for “Sonic CD.”

The last two stories are potentially more interesting as they concern characters that don't really have counterparts in Sega's classic games. Apparently, Bunnie spent Genesis inside a Prison Egg, trying to encourage the more animal-like mobinis around her that everything would be okay. What makes this little one-page tale interesting is Bunnie's reaction upon returning to the Prime Zone. She is startled for a second by her now-robotic limbs. While foreshadowing what happened to her in issue 232, it also gives us a peek at the mental compromises Bunnie faces everyday as a cyborg. (Flynn also points out that, in the Genesis world, Bunnie and Cream are cousins. Because all rabbits have to be related, I guess? That seems a little racist, bro.)

Rotor's story is the one that acts the most like a proper epilogue to “Genesis.” It begins with 'Boomer' back in the Oil Ocean Zone, watching the sky fill with white light, and having a conversation with Sally that he finds odd. Awakening back in Mobotropolis, Rotor debates putting on his nanite battle suit before deciding his friends have the situation handled. There's a definite ironic edge to Rotor trusting in Sonic's ability to get things done, considering all the bad luck that will befall the Freedom Fighters. However, Rotor's story here is probably the one with the least meat on its bones. It seems to mostly exist as a primer on what happened right at the end of “Genesis” and right at the beginning of “Two Steps Back...”

The “Genesis Awakenings” stories are an interesting experiment. Flynn actually shows himself to be a decent writer of prose. The wording can occasionally be a bit childish but it draws you in. His focus on character work remains strong. I could see him transitioning into a career as a decent YA writer if the comic book thing ever dries up. I honestly wish Archie had done this sort of thing more often. As a Free Comic Book Day special, this is still mostly a bit of a cheat. But at least it's better than just a full-on reprint. I'll give it a [7/10] mostly for the novelty factor.

Sonic the Hedgehog: Issue 234

Sonic the Hedgehog: Issue 234
Publication Date: February 2012

Antoine is prominently placed on the cover of issue 234 and there's good reason for that. “Unthinkable,” 234's cover story, begins with Elias and his family preparing to be escorted out of Mobotropolis. Following Naugus' rise to the family, the royal family no longer feels welcomed. As they pile into the Mobo-Cruiser – first time in a while we've seen that – the Freedom Fighters gather around as their personal bodyguards. But Eggman is ready, his Death Egg looming in the sky above. He sends a small army of Egg-Swats, led by Mecha Sally and a Metal Sonic, to ambush the motorcade. Elias and his family get to safety but the Freedom Fighters pay a horrible cost.

As far as “Sonic the Hedgehog” comics go, “Unthinkable” is a very tense action story. The stakes seem higher than ever, with the future of the monarchy and our four-color friends hanging in the balance. There's actually something ominous about the way the Death Egg appears in the sky, dropping enemy shoulders. Maybe things feel so serious because the Freedom Fighters get their asses kick. The newly weaponized and even more powerful Mecha Sally completely catches them off-guard. The Tornado is destroyed, yet again. Bunnie is still adapting to her newly wholly organic state, which means the Freedom Fighter is down one of their strongest members. Things escalate as more and more enemy robots converge on the location, the hero's feeling genuinely overwhelmed.

Another reason this conflict feels more weighty than usual might be due to the extra emotional weight. The Freedom Fighters are still not use to their beloved Princess being a killer robot enslaved by their greatest enemy. Mecha Sally is cruel and efficient, slicing through enemies with wrist-mounted laser swords. (An addition Flynn would keep after the reboot undid everything else.) As Mecha Sonic did, she also retains just enough of her normal personality to make her robotic state even more shocking. Such as when, in a nice touch, Flynn has her quote SatAM classic “Sonic's Nightmare,” by asking Sonic where he was when the brain's where passed out. At this point, Mecha Sally is still a shocking development and the book is using her excellently.

Usually, the comics open with a brief narration box, introducing readers to the comic's world. This issue is a little different. It opens with an excerpt from Antoine's journal, talking about the days' events. This is a memorable approach, giving us a look into the mind of one of the most complex Freedom Fighters. He continues to express annoyance at the direction the kingdom and his wife's current state has taken but remains optimistic about his friends. About how besides them is always an honor. This is especially poignant considering what happens near the end of the issue.

Because this is the issue where Antoine dies. I mean, sort of. When Robotnik orders an about-to-self-destruct Metal Sonic to attach itself to Elias' Mobo-Cruiser, Antoine races over on a hover board, grabs the robot, pulls him away, and receives the full brunt of the explosion. In a shocking series of panels, he's tossed to the ground in a heap. Bunnie cradles his body and begins screaming wildly. Sonic is stunned and silenced, forced to do a very rare thing: Stand still. It's a shocking, powerful event. As originally planned, it was meant to be Antoine's death. Flynn ultimately just put him in a coma instead, realizing fans would be royally pissed if he killed one of the book's most beloved character. (And the whole ordeal ended up being unresolved because of the reboot.) If Antoine really had died here, it's a heroic and weighty death, one worthy of him.

Helping sell this serious moment is some excellent artwork from Steven Butler. His more humanoid features on the furries look a little odd, especially Mecha Sally's weirdly shapely robo-hips. But when the book needs serious mood and grit, Butler can provide it. Eggman looks especially intimidating aboard the Death Egg. The panels devoted to Antoine's sacrifice are obviously the most important. You feel the impact of the blast leap off the page, before Butler pulls back, showing Antoine's lifeless body bouncing across the battlefield, his sword landing in the ground. Which leads to a panel of Bunnie, watching horrified, the panel around her crumbling as she watches her love be fatally wounded. It's great stuff. Butler even manages to make the somewhat silly Egg-Swat design – a combination of Robotnik's old SWATBots and the sillier Egg Pawns from the Sega games – actually kind of intimidating.

Next up in the back pages is “Dark Hearts.” The story takes place slightly before the cover story. Naugus uses his staff to contact Eggman. He promises to give the doctor some intel in exchange for further information. Naugus realizes that this Robotnik is not technically the same one he knew and asks to hear the former Robo-Robotnik's previous encounters with the presumably identical version of Naugus that existed in his dimension. Eggman happily tells him, describing a brief adventure in the Zone of Silence. Naugus, in return, informs him about Elias' caravan leaving that day.

“Dark Hearts” mostly exists to inform us of two things. First off, no, despite what he's said, Naugus is not putting his villainous past behind him now that he's king. He's colluding with the enemy to help assassinate the former ruler, and apparently doing so behind St. John's back. The story is also here to inform new readers of Eggman's convoluted origins. Beyond that, “Dark Hearts” is devoted to a mildly amusing encounter between the classic SatAM version of Robotnik and all of Naugus' various weirdos. And there is a certain degree of novelty in seeing that Robotnik again after so many years. Mostly, it's worth reading for Ben Bates' artwork. Bates has fun with the Zone's fantastical world and Naugus' bitching crystal throne.

I remember having pretty mixed thoughts about this issue and the surrounding story arcs when it was new. I mostly remember feeling like my heart was being jerked around, watching these characters I love get tortured by fate. In hindsight, and mostly because the reboot I didn't know about then is just around the corner, this issue plays a lot better. Yes, it's an emotional gut punch but it's not done cheaply or simply for shock value. In fact, the emotional weight of this story makes it one of the best in a while and an early contender for best of 2012. [8/10] 

Sonic the Hedgehog: Issue 232

Sonic the Hedgehog: Issue 232
Publication Date: December 2011

As Archie's flagship “Sonic” title wrapped up in 2011, the book was going in all sorts of new directions. Issue 232's cover story, “Dark Tidings,” begins with Naugus happily accepting love from the populace of Mobotropolis. This greatly annoys Sonic but he has a lot of other things on his mind. He races around, informing others of Sally being roboticized and trying to set things right. Meanwhile, Bunnie faces a new discovery of her own.

I have no idea if Ian planned it this way. Honestly, considering he's complained about “Genesis” being a rushed development, I suspect things were originally suppose to go differently. Either way, it seems “Dark Tidings” is here to set up an entire year worth of story arcs. The citizens of Mobotropolis are crying out for Naugus to become their new king, giving Elias a headache. Sonic is trying to consolidate the Freedom Fighter forces in the face of their latest loss, eventually heading to the Floating Island to get Knuckles' help. Geoffrey St. John ends up getting arrested for treason. Bunnie has been resorted back to a fully organic state. It's a lot to take in and, to Flynn's credit, he balances it pretty well.

Ultimately though, this is not the most important development. Sonic, in a moment of anger, reveals to Elias what happened to his sister. Elias responds in abject shock. When Sonic explains the circumstances to Knuckles, the echidna's reaction is hot-headed anger. The conversation gets so heated that Sonic and Knuckles nearly come to blows. Sonic is processing his grief in his own way. His drive to solve the problem, to push through his pain and anger to a viable solution, is certainly in character. By far, the most touching sequence comes when Sonic attempts to talk to Nicole. The A.I. responds with a simple text screen, explaining that she watched her closest friend sacrifice herself. It's a powerful moment and the kind of raw emotion this issue needed a little more of.

As for the continuing intrigue of Mobian politics, I'm not sure how to feel. The citizens of Mobotropolis come off incredibly badly here. Their willingness to turn so completely on the heroes they've known and supported for decades, in favor of a clearly shifty motherfucker who has previously been a villain, makes them look like idiots. This may be intentional on Flynn's behalf. At one point, someone in the crowd with a clearly uninformed grip on what a monarchy is asks why the city can't pick their own kings. Yet it's mostly another month of a pretty shaky plot point being pushed through. Flynn was determined to follow this “Naugus is the true king” plot point out until its logical conclusion the reboot.

Ben Bates is still on penciling duty and his work looks notably different from the last issue. The artwork is a little looser and more cartoony than Bates' previous work. The character's facial expressions are more exaggerated and comical. Usually this works pretty well, especially when focused on everyone's highly emotional states. However, when the focus turns to Naugus' villainous proclamations, his threat level is underminded a little by looking so goofy. Bates' work is energetic and, I guess in a story low on action like this one, that kinetic focus went to the looks and appearances of the cast. It works all right.

One of the many plot points introduced in “Dark Tidings” is the reveal that Naugus' magic has inadvertently returned Bunnie to an organic state. “Fragile” focuses on Bunnie's reaction to this change. Antoine notices his wife sulking in a corner. Antoine is happy that Bunnie has finally been returned to normal, a goal they've been running towards for years. Bunnie, however, is feeling uncertain. She no longer has her super powers. She can no longer be the team's muscles. She feels newly fragile and weak.

The emotional core that only showed up a little in the cover story blossoms in a serious way with “Fragile.” Bunnie's reaction to her changing state is totally natural. At this point in her life, she's been a cyborg longer than she hasn't been. So suddenly loosing her powers and abilities is a big shock. Mostly, “Fragile” is focused on Bunnie's doubts and Antoine showing her love and reassurance. And that's why these two are maybe the book's best couple, due to how much they clearly love and support each other. Jamal Peppers' artwork is really strong. He smartly contrasts Bunnie's superpowered past with her currently weakened present. His grasp of facial expressions and body language further roots this story in emotion and meaning. The story was written by entities calling themselves Scott and David Tipton, who were not seen before or after, but the duo clearly knows these characters extremely well.

So there you go. You've got a cover story that's not too bad. There's a lot of plot going on and not all of it is horribly interesting. However, when the emotional core shows itself, it's pretty good. That same element is what makes the back-up story probably the year's best. So I guess that even outs to about a [7/10]. About a third of that positive score is thanks to “Fragile,” though I liked “Dark Tidings” okay as well. Sometimes, that's how it goes.

Sonic the Hedgehog: Issue 231

Sonic the Hedgehog: Issue 231
Publication Date: November 2011

So now we arrive at the Mecha-Sally saga, the final super-arc Archie's “Sonic the Hedgehog” comic would attempt before the Ken Penders lawsuit forced a complete continuity reboot. Back in 2011, we had no idea that the comic book as we knew it would be ending suddenly in the very near future. We only knew that this storyline was an unusually grim and long one. If Ian Flynn could ever be said to “loose” it, in my opinion, this was that point. We've got a long journey ahead of us, my friends. Let's start.

“Lost in the Moment” begins with Sonic still aboard the ruined Death Egg, in the grasp of Mecha Sally. Eggman quickly learns that the Death Egg's power source is missing and his back-up plan – blasting Mobotropolis with a massive incinerating beam – is no longer possible. Instead, the villain luxuriates in his one victory: Turning Sonic's girlfriend into a totally obedient robot. Sonic is tossed out of the Death Egg, a Titan Mecha Sonic is sent to attack the city, the Tornado and the Freedom Fighter Special are both destroyed. And that's just the beginning of the Freedom Fighters' troubles.

A lot of shit goes down in “Lost in the Moment.” Ian Flynn, however, does not totally loose the emotional thread in all the chaos. The shock of Princess Sally being transformed into a ruthless robot weighs heavily on Sonic. He's crestfallen by this sight. He attempts to reach out to the Princess, hoping she's still somewhere inside the robotic shell. Instead, she throws him out of a space ship. Sonic has to face something he doesn't usually encounter: Loss. And not just any loss but the loss of probably the most important person in his life. He has to admit to Tails that he failed. In the latter half of the book, he shows a somewhat pathetic drive to save Sally, which Amy has to hold him back from. This is how Sonic is processing this loss. He's a runner, a hero, and a problem solver. But this problem can't be solved by running towards the problem. It's a surprisingly powerful moment.

Sally getting turned into a robot is not the only serious hit the Freedom Fighters take in this issue. Yes, the Tornado and the Freedom Fighter Special – longtime stables in the comic – are destroyed. A Titan Mecha Sonic drops out of the Death Egg and marches on Mobotropolis. (This leads up to a moment that does the impossible: Making Big the Cat likable. When he stands in front of Cream and Vanilla, keeping them safe, it's genuinely heroic.) The only thing that prevents the city from being totally destroyed is Naugus flying in quickly and crystallizing the giant robot.  Even this isn't a win though. Bunnie is caught in the blast and partially crystallized. Moreover, this big gesture makes the Mobians praise Naugus as a hero. Issue 231 leaves the heroes in a really bad place. Robotnik truly has the upper hand this time.

Ben Bates is also back at the pencils and his work is excellent here. As previously established, Bates' grasp of the character designs could not be stronger. The character look correct. Yet Bates also brings an incredible kinetic command of action to the book. The big action beats – the Titan Mecha Sonic falling from the Death Egg, Naugus spraying a magic beam at the robot, Bunnie getting caught in the blast – are brought to life fantastically. Even the smaller moments are pretty cool looking too. Every panel has a lot of energy and life-like jive to it. Such as Robotnik steaming in rage after learning he's lost some of his power. It's not just a good looking issue. It's a cool looking one as well.

The back-up story, “Haunted,” actually takes place at an earlier moment in the story. After Naugus lands on the ground outside Mobotropolis, he feels strange. Inside his head, he sees a vision of Agunus the rhino, Nusgau the bat, and Suguna the lobster. In case you've forgotten about these guys, “Haunted” helpfully recounts issue 66's “And Then There Was One,” which showed Naugus' origins. Apparently one of the Genesis Wave's unforeseen side-effects has been to awaken these long-thought vanquished spirits within Naugus' head. Naugus banishes these voices long enough to go about his mission but he is not resting well.

As a story, “Haunted” mostly just exists to let readers know this new information about Naugus. I had always assumed that, when Nusgau won the race to the sun in “And Then There Was One,” he simply took the powers and physical attributes of the other two. Now we discover that a new entity was formed, the three sorcerers existing as watching spectres locked within the mind. Okay, that works, I guess. Mostly, “Haunted” is interesting as an introduction to Evan Stanley's artwork. Though she'd soon become a reliable penciler, Stanley's work here is a bit rough. Naugus looks a little too anime-esque and the motion is a bit stiff. The opening panel – Naugus awakening from a white void – is pretty cool though. Stanley would get better the more she worked on the book.

Issue 231is a bit of a bummer. That's not a problem. Flynn keeps the stakes personal, rooting these events in the characters' emotions. I just wish there was a little more of that stuff here, more of Sonic reacting to Sally's transformation, than the plot rocketing forward at such a speedy rate. Whether or not Flynn ends up justifying all of these cruel plot turns – from what I remember, some of them are and some of them aren't – is yet to be seen. If nothing else, it's an exciting and interesting issue with some top-rate artwork. [7/10]

Sonic the Hedgehog: Issue 230

Sonic the Hedgehog: Issue 230
Publication Date: October 2011

And we're back. In the past, Flynn took his time in-between big story arcs, usually giving the world of “Sonic” some time to catch its breath for an issue or two. Because “Genesis” was essentially inserted into the last act of another storyline, he didn't have that option this time. Issue 230 brings us back to where issue 225 left off. So we're off and running from one big storyline into the next one. Get use to that breathless pace as the original Archie Sonic continuity heads into its final year.

Apparently when Sonic reset the universe at the end of “Genesis,” he pulled a “Galaxy Quest” and dropped himself and Sally back into the Death Egg... Several seconds before they left. This gives the hedgehog and the Princess a chance to avoid the machine gun that nearly killed her. They turn the fight against Robotnik, throwing a monkey wrench into his elaborate plan as it reaches its final stage. While Sonic wrestles with some robots, Sally realizes that she has to make a sacrifice in order to save all of Mobius.

Up until this point, the assumption was that Robotnik's master plan was to shoot a huge robotocizer ray at all of Mobius. It seems like, sometime before “Two Steps Back...” was finalized, someone either reminded Flynn or he realized his own mistake. While confronting Robotnik, Sonic reminds the doctor that those pesky aliens, the Bem, made it impossible to re-robotocize anything that had previously been turned into a robot. I would've forgiven Flynn for forgetting about this plot point, which came during the comic's notorious dork age. I sure as heck did. So, instead, Robotnik's plan gets what's clearly a sloppy last minute rewrite. He'll blast the world with a robot ray... Causing a lot of it to explode! Because, as a footnote helpfully reminds us, the events of Sally's mini-series show that you can't robotocize shit that's already metallic.

Got all that? It's a pretty jumbled bit of information to dump on the reader, especially in an otherwise very action heavy issue. Large portions of the issue are devoted to action, beautifully rendered by Ben Bates' smooth, cartoony, but precise pencils. It ends up dragging “Two Steps Back...” down quite a bit. The book hasn't tangled itself up in its own lore like since the Penders days.

That so much of the issue is consumed by technobabble double-talk is also disappointing, since there's some huge emotional stakes here. Issue 225 ended by nearly killing Princess Sally off,  which would've been the third time Archie threatened to murder her. The Princess' reprieve was destined to be short-lived, at least in her current form. She sneaks down into the guts of the Death Egg, using Nicole in the hopes of hacking Robotnik's master plan. The villain's infrastructure is too strong though. All Nicole can do is turn the ray back on the Death Egg. As everyone knows by now, this results in Sally getting robotocized.

I have... Mixed feelings about this. Once again, the emotional center of this story is underserved by more convoluted plotting. Why did Nicole turn the ray back on the Death Egg? She drops this as the only option, with zero other explanation of how that works or why. There's a nice emotional panel, where Sally grimly realizes she has to do this. She says goodbye to her memories, loved ones, and presses the button. Ultimately though, this decision feels more self-serving by the writer than anything else. Flynn wanted Mecha-Sally in the book, because it's the kind of big shock that sells comic books. And this was the best way he could think of to deliver this plot twist. But it bugs me. It bugs me, man.

Further undermining this serious plot is a lame back-up story shoved into the back of the book, eating up the cover story's page count. “Sonic Generations” is another one of those “Another Time, Another Place..” stories that exist solely to promote whatever new video game Sega put out. Instead of focusing on the team-up between modern Sonic and Classic Sonic – the entire reason people got excited for “Sonic Generations” – this story merely retells the game's prologue. Sonic's friends, which includes Rouge for some reason, throw him a birthday party with chili dogs wrapped up in bows. That's when a huge chasm opens up in the sky and sucks everyone into other dimensions. Then Classic Sonic shows up for a panel at the very end.

What is there to say about this one? There's no explanation of where the portals come from. We only get a brief glimpse of where they lead to: That fan favorite the Green Hill Zone. The artwork from Jamal Peppers is good but slightly below his usual standard, as the characters come off as a little jagged. (He also draws maybe the most unappetizing chili dogs I've ever seen.) Sonic and friends bonding around the birthday table is mildly cute. So is the tenacity the hero shows in rescuing his friends. Otherwise, there's absolutely nothing here. It's a completely hollow, empty, useless story.

I guess this review came off as pretty negative. I don't dislike “Two Steps Back...” The action scenes, such as the fight between Sonic and his various robotic doubles, are well done. The moment where Robotnik freaks out, because Sonic foiled his schemes yet again, before calming himself back down is really well done. As is the scene of the villain pulling himself out of the wreckage of the Death Egg and pointing a shiv at the hedgehog. However, it's an issue bogged down by exposition, brutalizing logic, and an emotional sacrifice happening for reasons that feel less than honest. It's a bit of a bummer, as far as epilogues to an otherwise amiable event like “Genesis” goes. [6/10]