Sonic the Hedgehog: Issue 129

Sonic the Hedgehog: Issue 129
Publication Date: October 2003

I've made my dislike of the magazine cover gimmick well-known. I had no idea why Archie conceived of that idea in the first place and I was happy to see it go. The “Tossed in Space” story arc, meanwhile, has featured some pretty great cover artwork from Spaz... Up until now, anyway. For the final installment of this would-be space epic, Spaz seemingly returned to the magazine cover style. You've got a handful of characters posing simply in a white background, boarded by text. I don't know, maybe he missed a deadline? Either way, it's very disappointing.

Issue 129 is one of those weird ones where the cover story comes second. The back-up, coming first, is “Space Gamble.” In it, Sonic competes in an alien foot race. Why? Because his space ship got busted up and he has to get it repaired before continuing on his quest back towards Mobius. This is also a chance, you might notice, for Sonic to prove that he really is the fastest thing alive. Naturally, the motley crew of alien speedsters are no match for the blue hedgehog's famously speedy footwork.

Last issue, I noted the obvious influence “Star Trek” had on the “Tossed in Space” arc. This issue, that other famous “Star” franchise gets homaged. “Space Gamble” is pretty clearly inspired by the pod race scene from “The Phantom Menace.” There's no pods but the resemblance is otherwise clear. The race takes place over a desert terrain. Sonic wagers his victory against his own ship. He competes against a number of colorful, alien racers. One of which is clearly antagonistic, especially once his cheating ways are revealed. The announcer is even a two-headed creature, which is probably the most direct steal. (Also, one of the racers is named Greebo.)

It may not be creative but this scenario does, admittedly, entertain me. The other aliens are suitably weird. The cheater is named Scarab and, obviously, has an insect like design. There's also a weird, frog thing, a pink female, and a red horse critter that barely appears. There's no suspense, as Sonic overcomes the other racers pretty easily. Letting Sonic loose the race might have been an interesting moment of humility for the hedgehog. Instead, Scarab is a dirty cheater, making Sonic the winner. Then again, one of the reasons we read this comic book is to watch Sonic tear shit up and be a bad ass. So “Space Gamble” isn't a great story but it's mildly entertaining.

The second part is devoted to the final edition of “Tossed in Space.” In “Welcome to the Wheelworld,” Sonic arrives at the wheel shaped world of the Bem. Last time, E.V.E. told him this world could take him anywhere in the universe. The planet is preoccupied with a big trial. One of the Bem scientist, one Sonic previously met, is on trial for interfering with other alien worlds. Through a convoluted series of events, Tails' long lost parents also reside on this world. All of these disparate characters have to work together if Sonic is going to get back to Mobius.

Boy, there is a lot of technobabble in this one. When Sonic touches down on the world, he delivers an uncharacteristic monologue about his space ship. Four whole pages are devoted to detailing Ceneca-9009's history. These pages are accompanied by text balloons packed full of words. And not natural words either. Like, pseudo-science-y words instead. When one of the other Bems show up before the end, this character also smacks a panel full of exposition on us. I get that this is a race of scientists but must all of them be so damn droll?

Furthermore, I do not care about the plight of Ceneca-9009. I guess we're suppose to feel bad for this green-skinned weirdo. Yet she's such a non-character. Everything we learn about her, we learn through stiff exposition. Through this info-dump, we discover that Ceneca accidentally doomed an entire race to death. She thought a planet of formerly organic and currently robotic beings had been turned into machines against their wills. After turning them fleshy again, she found out that these guys had become robots to protect themselves. You'd think a scientist would've double-checked that kind of shit. So she's an idiot. It's hard to be sympathetic towards someone who accidentally massacred an entire race, even if her intentions were pure. It's difficult to care about Sonic's subsequent attempt to rescue the alien.

Bringing Tails' parents into this story is an odd decision. I suppose we never have learned what happened to Tails' mom and dad, after being introduced to them in “Sonic Kids 2.” I just assumed they had been part of Robotnik's Robian force and, I don't know, got destroyed or something over the years. It wasn't an exactly pressing plot point. “Welcome to Wheelworld” seeks to resolve this plot point that you probably didn't care about. Basically they were abducted by aliens, right after Rosemary Prower was about to be robotocized. The already robotocized Amadeus Prower was immediately change to organic again. However, their rescue made Mobius the center of intergalactic controversy. It's a strange way to resolve this particular plot point.

As random as the circumstances surrounding the Prower's disappearance is, it does allow Benny Lee a few chances for pathos. Sonic's reaction to learning that Tails' father was robotocized on the day of his birth – to hang his head in his hands, feeling like he's failed his best friend – is surprisingly vulnerable. Sonic's determination to help the two foxes is mildly touching. Though Lee's dialogue remains tangled, it's nice that he devotes so much time to Sonic and the Prowers catching up. The conclusion, where the foxes decide to stay on the alien world so Sonic can return to Mobius, isn't quite earned. But it tries and that's worth something.

Recently, the artwork continues to be good. Dawn Best draws “Star Gamble.” Her style is well suited to the alien physiology of Sonic's opponent. Best can't quite capture the sense of motion that would've made this one really pop, as the artwork is a little overly posed. Still, it looks good. Art Mawhinney returns for the cover story. As always, Art is a total professional. Even the aliens are rendered in his cute, emotive style. Since this is mostly a dialogue driven story, Mawhinney's strength for action isn't displayed much. Still, these are two nice looking stories.

The final page of issue 129 shows Sonic piloting his ship towards Mobius. Which means the “Tossed in Space” arc has finally come to a close. The story line was disappointing, an interesting idea that always seemed to rush through its fascinating ideas, to focus on the more awkward aspects. Notably, Sonic wouldn't return to outer space for quite some time following this. I guess the writers had to work through their sci-fi fascination? For what it's worth, the last issue of “Tossed in Space” is probably the best installment of the arc. [6/10]

Sonic the Hedgehog: Issue 128

Sonic the Hedgehog: Issue 128
Publication Date: October 2003

So we're three issues into the “Tossed in Space” event. Thus far, the story arc has not impressed. For the third part, which confusingly contains the fifth and sixth installments of the story, Archie dug deep into the archives, bringing back a foe that hasn't been seen in 107 issues. The return of E.V.E. - last seen a long ass time ago in issue 21 – provides us with the best edition of “Tossed in Space” thus far. Which still isn't saying too much.

Sonic is cruising through space in the ship the Azurites provided him with last time. They instructed him to visit a near-by planet, promising the residences there could return him home. When Sonic reaches those coordinates, he instead discovers a ring of space debris. Quickly getting picked up by a group of space adventurers, the hedgehog is informed that the world was destroyed by E.V.E. As in the highly advanced robotic life form Robotnik created ages ago. Which has taken to devouring planets all over the solar system. Feeling responsible for E.V.E.'s path of destruction, Sonic heads out to face the entity directly.

The first half of the story, entitled “Starmada,” is devoted to Sonic talking to the fleet of aliens. It's mildly fun, capitalizing on the sci-fi setting more than any of the previous chapters of “Tossed in Space” have. There's definitely some pulpy fun to seeing Sonic interact with a bunch of crazy aliens. The same can be said for the hedgehog piloting a space ship, avoiding laser blasts and asteroids. Yes, their leader – who is named Bagbar Breeblebrox, yet another obvious Douglas Adams homage – does little more then cough up exposition. But the designs are all pretty neat, especially the reptilian female in leather cowboy hat.

Once E.V.E. re-enters the story following her long absence, this issue becomes less interesting. The neigh unkillable super-robot has essentially evolved into yet another Galactus rip-off. That brings the “Sonic” book's number of would-be Galactuses – Galacti? - to three. This is emphasized in a scene where E.V.E. massive ship floats over an innocent planet, tears it apart, devouring everything there, and leaving ruin in its place. Unlike Galactus, who has a clear reason for eating worlds, E.V.E.'s goals are a little fuzzier. She talks about freeing other enslaved artificial life forms but I'm not sure how destroying how planets accomplishes that.

The second half, which gets the pun-tastic title of “E.V.E. Ill,” isn't a story with a lot of emotional stakes. But there's one scene that stands out. After sneaking inside E.V.E.'s massive ship, Sonic goes exploring while wearing a space suit. He, somehow, runs into Sally. The two unite with a hug and attempt to kiss, their space helmets clanking together. They were so caught up in the moment, they didn't even think about it. Awwwww. It's easy to guess that this isn't the real Sally but rather E.V.E. impersonating her. But it still provides this story with its sole moment of emotional resonance. It also serves to reminds us on what Sonic is missing out on and why he's journeying through space in the first place: To be reunited with the people he loves.

“E.V.E. Ill” has a disappointing conclusion, like seemingly all the stories have in this arc. (This one doesn't even have the excuse of making room for a back-up story, as this entry occupies the entire comic.) Twice, issue 128 reminds us of the events of issue 21. Probably not a bad idea, since it was a while ago, though I don't know why we needed two recaps. Anyway, Sonic informs E.V.E. that, when he told her to evolve pass her original programming, he didn't expect her to go around, destroying worlds. It basically takes one page of convincing before E.V.E. realizes she has fucked up. Her response? To dive into a fucking sun, obliterating herself. Sonic talks the super-robot into killing herself way too quickly. His lack of a reaction is also disappointing, as he's too preoccupied with fleeing to his space ship.

The story could've used another draft but issue 128 features some nice art work. J. Axer draws the first half. The gang of alien marauders look pretty awesome in Axer's style, as his extreme detail and colorful character designs make these utterly minor character look memorable. Dawn Best handles the second half. Best isn't as great an illustrator as Axer but she still does fine work. Sonic's body looks a little funny in a few panels but Best's nicely draws the faux reunion between the hedgehog and his princess. Her design for E.V.E. - a pink-skinned and haired female with a dress made of tentacles – is interesting. It's just as good a design as the crystal-brained angry face with tentacles Spaz drew oh so long ago.

At least there's no lame back-up story this time! Yeah, issue 128 still has some serious problems. I'm not going to deny that. But it also has some amusing moments, which counts for something in this comic book. If nothing else, it looks pretty neat. I'll take what I can get. [6/10]

Sonic the Hedgehog: Issue 127

Sonic the Hedgehog: Issue 127
Publication Date: September 2003

Archie is choosing an odd numbering scheme when it comes to the “Tossed in Space” story arc. Issue 127 of “Sonic the Hedgehog” is the second issue devoted to this story line. Yet the cover story is part three. That's because issue 126 contained a two part stories, both parts contained in the comic. The company usually split the individual Sonic stories into parts but rarely carried the number over to the next issue. It's just a weird quirk that caused me to look at things a second time. Anyway, on with the review.

After the incident on the Blodex home world, Sonic catches a ride with another alien race. The D'Novulans are explorers and scientists. Unluckily for Sonic, their ship collides with an exploding moon, taken out by a barrage of debris. He's tossed into an escape pod and lands on a strange planet where the local life evolves super quickly. A civilization sprouts up in the course of a day, the natives coming to worship the comatose Sonic, asleep in his pod, as a god.

From time to time, Archie's “Sonic” writers have shoved in random references to “Star Trek” or “Star Wars.” It's clear these guys are big fans of both franchises. The first half of “Evo-Solution” - that's a weird title, innit? - plays out like a direct “Trek” homage. The D'Novulans wear color coordinated uniforms, that look a lot like something you'd find in Starfleet. Their techno-babble filled dialogue and a character being called “helmsman” certainly recall the famous series. For bonus points, Benny Lee throws in some other sci-fi references. The ship looks a lot like the Yamato. Their leader is Captain Oe, which is astonishingly similar to Captain Eo, you might notice. Sonic can understand the alien's language thanks to a device nearly identical to the Babelfish.

Yet this reference filled opening is just a preface to the actual story. Once Sonic crash lands on the strange world, “Evo-Solution” features some colorfully odd moments. Sonic comments on how much the water looks like pink lemonade. A huge tree sprouts up from under the hedgehog's feet. The seasons change before his eyes, the lake freezing and melting again in seconds. The next second, a snowy winter blows in. In the course of an afternoon, Sonic watches a civilization grow from grass huts to a high-tech society.

Because issue 127 is set during this era of “Sonic,” the story in no way lives up to its lofty ambitions. The idea of Sonic inspiring an alien civilization is fascinating. So is the speedy hedgehog discovering he's the slowest thing on the planet. (Lee's script, baffingly, barely comments on this irony.) The aliens, who call themselves Azurites, uses a time displacement device to allow Sonic to leave his pod and interact with them. During this brief exchange of dialogue, the aliens tell Sonic that they worshiped him like a god. The exact nature of this deity even inspired wars. Sonic is surprisingly nonplussed by this revelation. The hedgehog is so focused on getting home that he barely comments on the situation at all. He tells the Azurites he's not a god, without ever thinking that this statement will probably cause another war. The script throws big ideas around but only addresses them in the most shallow of ways.

Ron Lim illustrates this story and it makes his limitations as an artist very apparent. Lim's Sonic looks as shitty as ever. He's got the giant eyes, the inexpressive face, the absurdly long quills, and the noodly limbs. The D'Novulans and Azurites, meanwhile, look okay. They don't look great but they have memorable designs. The D'Novulans have insect like stingers. The Azurites have three eyes on their heads. The extraterrestrials even manage to be more expressive then Lim's Sonic, though just a bit. So that proves it: Ron Lim isn't a terrible drawer. He just sucks at drawing Sonic and friends.

In issue 126, Mike Gallagher and Dave Manak contributed a totally useless back-up story. In issue 127, the same team throw together another pointless story. “Agent Sonic vs. Agent Knuckles” is a parody of “Spy vs. Spy,” though only in the loosest sense. It doesn't make fun of or comment on the famous MAD Magazine stripe. Instead, it simply slots Sonic and Knuckles into the roles of the White Spy and Black Spy. The two attempt to murder each other, their plans often unfurling in unexpected ways. There are some loose puns, such as a carnival “House of Whacks” resulting in the two getting whacked, and a weak attempts at jokes, like a surprise appearance by Shadow.

What can I even say about something like this? It's really not very funny. Gallagher and Manak don't create the same anarchistic laughs that the original “Spy vs. Spy” comics had. Casting Sonic and Knuckles in these roles doesn't even make much sense, seeing as how the two have been allies for years now. Manak's artwork is sketchy even by his standards, the characters appearing extra angular. If it wasn't for the sudden appearances of Shadow, I'd assume this was something Archie had been sitting on for years. An old stripe tossed off years ago, shoved into this book to fill out the page count. That's exactly what it feels like.

The “Tossed in Space” story arc continues to have promising ideas. But promising ideas only go so far, especially when paired with a middling execution. And if the back-up stories don't get better sooner, I'll increasingly suggest others to just skip reading them altogether. [5/10]

Sonic the Hedgehog: Issue 126

Sonic the Hedgehog: Issue 126
Publication Date: August 2003

When Knuckles died a while ago, Archie's “Sonic the Hedgehog” series sent the echidna on a wild trip through the afterlife. Or, at least, that's what was supposed to happen. Similarly, after Sonic “died” in issue 125, editorial decided to send the hedgehog on a similarly unexpected journey. The “Tossed in Space” story arc saw Sonic bouncing around bizarre alien planets, having adventures among extraterrestrials. This decision was not well received, many “Sonic” fans deciding explicit science fiction was a poor fit for the series. Well, this is Hedgehogs Can't Swim and I'll be the judge of that!

For as yet unexplained reasons, causing the Quantum Dial to collapse in on itself tossed Sonic across space. He awakens on the planet of the Blodex, psychic, insect-like aliens. Aliens that are currently at war with another insect like race, the Bzzzz. Sonic, being who he is, decides to help the underdog. When he grabs several red Chaos Emerald-like jewels that decorate the city, something unexpected happens. Super Sonic emerges... As a separate entity from Sonic. And he's kind of an asshole.

The sci-fi stuff seems especially poorly regarded by Sonic dorks. A lot of people considered the Xorda reveal trite. I guess several issues of similarly themed, alien-filled adventures weren't very exciting for those people. I, however, don't mind the Xorda. Moreover, I'm a fan of trippy, European sci-fi comics. “Tossed in Space” seemed like an opportunity to bring some energy like that to this book. Archie “Sonic” series has always been kind of weird anyway, after all. The series has been slightly directionless for a while. Maybe an experiment like this could've righted the ship?

“Red Chaos,” the first part of “Tossed in Space,” fulfills a little bit of that possibility. Steven Butler is no Moebius but the Blodex, Bzzzz, and their asteroid-like world is an interesting sight. I like the little amoeba like plants that decorate the surface and the insect-esque vehicles the Blodex travel in. However, the alien culture ends up being thinly developed. The Bzzzz are simply described as fascist shitheads, wiping out any race they feel is inferior. The Blodex don't even get that much development. They communicate telepathically, live in cities, and don't have space travel capabilities. That's all we learn about them.

Ultimately, “Red Chaos” is not about the Blodex or Bzzzz. The story is more about the “Sonic vs. Super Sonic” fight the cover promises. As a likely homage to DC's Red Kryptonite, the Red Chaos Emeralds split Sonic in two. The Super Sonic that emerges isn't as virtuous as our hero. Instead, he's an amoral asshole. He declares himself beyond good and evil, before deciding to destroy the moon for some reason. This, it turns out, is also a homage to another comic book. In the British “Sonic the Hedgehog” comics published by Fleetway, Super Sonic is not just a super-charged version of Sonic. Instead, he's a separate personality, power hungry, chaotic, and very dangerous. Introducing an equivalent to this Super Sonic is a random idea but a potentially interesting one. What will Sonic do, when forced with a more powerful, more unhinged version of himself?

Disappointingly, he does what he always does: Run real fast, crack corny jokes, and punch things.  The fight between Sonic and his chaotic neutral other half is real underwhelming. They tussle for a page and a half. Sonic tackles the gold version of himself, before receiving a series of blows to the face. Right when Super Sonic is preparing to deliver a killing blow, he fades out of existence. Turns out, he could only sustain himself for a short while. Which doesn't make for much of a climax. Instead of outwitting his foe, Sonic survives because of dumb luck. This Super Sonic would never return, probably because the comic already had an abundance of evil Sonic clones, but I sort of wish he could've been developed further.

The cover story is flawed but at least it had an interesting idea at its center. The back-up story, “Better Read Than Dead,” was never a good idea. The tale is set in the world of Off-Panel, the gag stripes that conclude nearly every issue of “Sonic.” These stripes function on the premise that Sonic and friends are just actors, interacting with the writers and editors of the book. In “Better Read Than Dead,” Sonic and editor Justin Gabrie comment on Off-Panel getting a back story to themselves. This conversation is interrupted by Deadline, a grim reaper-like spectre that reduces Sonic to a line drawing, threatens everyone, and then pitches a bunch of lame story ideas. Gabrie's super-duper editor powers is enough to defeat him.

“Better Read Than Dead” is best described as a pointless act of self-indulgent, auto-fellatio for editor Justin Gabrie. In this story, Sonic isn't the hero. The hedgehog we're all here to read about is sidelined early into the story. Instead, it's up to Gabrie to save the day. This kind of writer is even worst then when Ken Penders or Frank Strom introduce their pet heroes that are never wrong or challenged. At least Penders thought up Locke and the Brotherhood. At least Strom created Monkey Khan. Here, Mike Gallagher just drops Justin Gabrie himself into the story, making this a very literal bit of self-insert fiction. Gallagher either did this to flatter his boss or Gabrie insisted the idea go to print.

But maybe if “Better Read Than Dead” was funny, it wouldn't matter. The likes of Charlie Kaufman and Dan Harmon can get away with meta bullshit like this because they're clever and insightful. Gallagher's story, meanwhile, is mostly set up for some extremely lame jokes. The villain's name is a pun. He wields an hourglass called the “horror-glass.” He pitches extremely dumb story ideas, like Knuckles' dad being Elvis or Mammoth Mogul getting flees.

Gabrie defeats Deadline by calling on all the talented writers and artists who have worked on the book. Considering Archie has published things like “Sonic Live!,” the Image crossover, and the works of Many Hands, this conclusions comes off as pompous, if not delusional. (Hands, notably, is left out of the list of names.) It's likely “Better Read Than Dead” was created to defeat a real life deadline. And because this is a Mike Gallagher joint, it ends by asking the reader if they want to see more stories like this one. I suspect that question was met with a resounding “no” but we would get a few more extended Off-Panel stories anyway.

This is not the most promising start, is it? The cover story has potential and proceeds to waste most of it. The back-up story was just a bad idea. At least the artwork is pretty good. Butler does solid work as ever on the first story and even Dave Manak does alright during the Off-Panel thing. If only the script was up to that level. Once again, I must emphasize the patience of we Sonic fans. [5/10]

Sonic the Hedgehog: Issue 121

Sonic the Hedgehog: Issue 121
Publication Date: March 2003

It only seems like a few months since Prince Elias exited the book. Considering he never contributed very much to the book anyway, Archie’s “Sonic the Hedgehog” series didn’t exactly loose very much when Elias ditched the castle. Yet I guess it was inevitable that the book was going to get back to that plot eventually. At the very least, issue 121 makes it clear that Elias isn’t in any hurry to make it back to Knothole.

In “The Prince and the Revolution,” King Max assigns Sonic and Sally to track down Prince Elias. Even though Geoffrey St. John and Hershey are already on that mission, the King is getting impatient. The Secret Service agents find Elias first. The Prince has found peace in Feral Forest, marrying a young woman and getting her pregnant. St. John tries to get the Prince to return to Knothole but he has absolutely no interest in that. Around that time, Robotnik and a fleet of robots attack. He’s happy to stumble upon the aloof Prince. Luckily, Sonic arrives in time, saving everyone’s asses.

“The Prince and the Revolution” is interesting as a Sonic story that barely has Sonic in it. The blue hedgehog shows up in the opening pages and then runs back into the story for the big finale. Later in the book's life, a story like this would be slotted into “Sonic Universe.” Before that spin-off title existed, Archie either had to force Sonic into every story or shove plots like this into the back pages. So there’s definitely a novelty value to this one, a story that basically utilizes the title character as a plot device, using its time to focus on some other cast members.

Prince Elias is either an uninteresting character or woefully underdeveloped. Knowing this book, either accusation would probably be fair. For the most part, he was defined by disinterest in being royalty. In “The Prince and the Revolution,” we see the depths of Elias' hatred for politics. When St. John tries to recruit the locals in the battle against Eggman, Elias slinks off,  grumbling. When the skunk directly confronts him, he packs up his wife, getting ready to leave. When the agent presses the issues, Elias leaps at him. He probably would've throttle the guy if an army of robots didn't bust through the walls. The point is clear: Elias is happy as a simple lumberjack, with his wife and forthcoming child. He has no time for governing countries and shit.

Once Robotnik's killer robot army – who are suppose to resemble E-102 Gamma but Ron Lim can't draw things – busts in, the story takes a less interesting direction. Minutes before Robotnik executes Elias and St. John, Sonic speeds in, smashing some machines. The action beat is brief, Sonic and the crowd of villagers decimating the robots off-screen. Robotnik flees the ravaged battlefield, the heroes letting him get away for some reason. Sally has even less to do then Sonic and the story ends on a lame joke about chili dogs. Oh well.

In the second story, Ken begins another Knuckles epic. The first part of “Afterlife” focuses on Knuckles' funeral. While his family and loved ones grieve, Knuckles watches the proceedings as a motherfucking ghosts. The ghosts of seemingly every other proceeding Guardian join him. They inform the echidna that, when a Guardian dies, he “evolves” into an intangible spirit, unable to interact with the world but able to hang out with a bunch of old, dead guy. Which seems more like a karmic punishment then some sort of heightened state. Anyway, this ghostly family reunion is interrupted when two Chao – emissaries of the echidna goddess Aurora – usher Knuckles into what one can only assume is echidnan heaven.

“Afterlife – Part One” was almost a great story. After putting it off for at least one story, Penders has gotten around to focusing on how Knuckles' friends respond to his death. Vector blubbers in the crowd, wrecked that his secret gay crush is dead. (He even refers to Knuckles as “my main man.”) The other Chaotix quietly consider how their lives will never be the same. Julie-Su cries quietly, finding it difficult to accept the truth. Lara-Le, meanwhile, is totally inconsolable. Only Constable Remington's response – that things could've been different had he intervened – reads untrue.

If “Afterlife” had focused exclusively on the mourning, it might've been a stand-out story. But, once again, Ken Penders has to hijack the plot for typical Ken Penders things. A lot of page time is devoted to the echidna preacher at Knuckles' funeral. While this does provide some world-building, giving us a further look at echidnan religion, it bogs the story down in obtuse dialogue. Once Ghost Knuckles and his ghost grandpas show off, “Afterlife” devolves into characters monologing at him about various mystical bullshit. Art Mawhinney's art work is nice, though the Chao angels that grab Knuckles are pretty goofy looking.

For the third story, Romy Chacon picks up the plot point about Mina's singing abilities that Karl let hang last issue. Sonic has organized a concert for Mina in Knothole. The mongoose is uncertain at first but Sonic's confidence in her gives her the needed boost. Mina aces the performance, winning over the skeptical crowd. Even Sally is impressed with her singing abilities. That is, until she sees Sonic and Mina share a hug and meaningful eye-contact.

Writing a comic book about music should be a self-defeating act. We can't hear how great a singer Mina is. We have to take everyone's word for it. Lyrically - “Star light! Star bright! The feelings all right!” - the song doesn't impress. But “Songoose” isn't really about the music. Instead, it's about Mina finding joy in doing something new. Her enthusiastic reaction is sweet to see. Considering Mina has been bumbling around the book for a while, it's finally nice to see her find her place in society. Rebels fighting a war against a genocidal dictator need pop music too.

So “Songoose” works pretty well... Up until the very end. Though it seemed like a moot point, Chacon resurrects the Sonic/Sally/Mina love triangle. It's a small moment that's handled pretty well. Nicole declares Mina's music overrated, presumably based on a critical algorithm salvage from Pitchfork. After Sally catches her boyfriend and the mongoose making goo-goo eyes at each other, she agrees with her computer's statement. Steven Butler really gets a lot out of that panel of Sally sulking. But I'm just tired of the comic dragging this plot point around. Sonic and Sally are lovers, okay!?

So what we've got here are three stories that try to rise above the comic's standards but can't quite make it. I guess I have to give the creative team kudos for trying something different, even if their worst qualities hold them back. Issue 121 is about half of a really good comic book. [7/10]

Sonic the Hedgehog: Issue 119

Sonic the Hedgehog: Issue 119
Publication Date: January 2003

Issue 119 is an issue of “Sonic the Hedgehog” I remember mostly for how mediocre it is. Revisiting the story, that perception is not changed. Let’s get right to it. “Cater-Killer is Coming” begins with Sonic racing into the ridiculously named Furville, a previously unmentioned village. Robotnik has unleashed his latest weapon of mass destruction, a new version of Cater-Killer. Unlike the previous version, which was a small Badnik, this Cater-Killer is a giant, indestructible train that barrels through everything in its path. Sonic and Tails have to stop this thing before it reaches Knothole.

In “Cater-Killer is Coming,” Benny Lee shows off a previously undisplayed talent for bizarre dialogue. Naming the village “Furville” is a really weird decision. The residents of the village seemingly have no idea who Sonic is and ask him “what’s the hubbub, bub?” Later, Sonic calls Tails “bud.” Other corny lines like “Aw, for cryin’ out loud…” and “I can hack it!” are displayed throughout. The only time Lee’s off-beat dialogue is amusing is at the very end, where Tails doesn’t understand a pun Sonic makes about Cater-Killer going off a cliff.

Plot-wise, “Cater-Killer’s Coming” is a super lame story. I have no idea why Lee re-invented Cater-Killer – a purple, cartoon robot – as an unstoppable juggernaut, bullet train. The action escalates so quickly. Sonic is warning people about Cater-Killer and then, in the next scene, he’s working with Tails to stop the machine. How does Sonic penetrate Cater-Killer’s impenetrable armor? He pulls a Flash by vibrating his molecules through the armor. When a super-human like Barry Allen pulls that off, it’s one thing. I don’t think Sonic is quite fast enough to casually fuck with the laws of physics like that. It’s such an easy way to defeat the main threat, a lame ending to a lame stories. (Robotnik also casually drops the tidbit that he knows the location of Knothole. I don’t what’s keeping him from just firebombing the kingdom to the ground.)

That action heavy focus continues in the second story. “Dust Bunnie” stars, naturally, Bunnie. She receives a distress signal in the desert. Upon arriving at the location, she’s shot down and captured. Turns out, the Sand Blasters are out for revenge, hoping to lure Sonic to their base. They captured Bunnie instead, who they figure is just as good. They plan to feed the Rabbot to the crowd of crazed Robians. It doesn’t work out too well for them.

“Dust Bunnie” tries to pick up a plot point abandoned a while ago. Sonic didn’t face the consequences of letting the dangerous Robians invade Sand Blast City. In fact, Bunnie scolds Jack Rabbit for treating Sonic badly! But resolving the Sand Blast City plot line isn’t the main point of “Dust Bunnie.” Instead, the story is mostly devoted to Bunnie wrecking everybody’s shit. An amazing one page spread is devoted to Bunnie wrecking the Robians attacking him. Too rarely did we get to see Bunnie kick massive amounts of ass like this and there’s something deeply satisfying about it. Even if her super-strength allows her to easily escape the situation, draining any tension from it.

It’s appropriate that Steven Butler would draw “Dust Bunnie,” as he handled the first appearance of the Sand Blasters, way back in issue 62. Detailed action and sexy women are Butler’s specialties, making him a great choice for this story. Bunnie has rarely looked better, especially a panel that lingers lasciviously on her legs and ass. The action, meanwhile, is amazing. The panels devoted to Bunnie dismantling the attacking robots, or escaping the prison, show an impressive force and power. “Dust Bunnie” is kind of a nothing story but admittedly made an impression on me.

The last story turns attention towards Rotor and Nicole, two often neglected characters. “Time Code” has Rotor attempting to crack Nicole’s interior code, in hopes of learning her secret origins. He’s not able to get pass the computer’s protective protocols. A flash forward to the future, reminding us that a future version of Rotor built Nicole and sent her back in time, points out that Nicole’s firewall is apparently impenetrable. The brainy walrus then utilizes a similar defense to protect Knothole’s computers from Robotnik.

There's not much to “Time Code” but it does, admittedly, have one or two things I like. There’s some amusing interaction between Rotor and NICOLE. Up until this point, NICOLE hasn’t really been treated like a character. She occasionally fires off a sassy one-liner but mostly exists to explain science-y stuff. So this story, where she trades banter and pithy remarks with Rotor, marks one of the first times she truly started to develop a personality. We also get some cute insight into Rotor’s personality. A panel is devoted to the walrus detailing the role curiosity has played in life, how it’s his main driving force.

Otherwise, there’s not much to this one. The flash-forward to the future, showing off NICOLE’s time travel laden origin, is mostly unnecessary. I’ve never found this explanation for the computer to be very satisfying, since it mostly existed as a way for Ken to revisit that future Mobius he loves so much for some reason. The conclusion raises some questions. If Rotor can’t hack Nicole’s firewall, how can he create a similar defense for Knothole’s computer? Either way, Art Mawhinney’s artwork is pretty good.

None of the stories in issue 119 really rise to above mediocre. The cover story is probably Benny Lee’s weakness attempt so far. The third story has a few interesting elements but doesn’t add much. The middle story is mostly pointless but certainly provides some amusing scenes. Over all, you won’t miss too much if you skip this one. [6/10]

Sonic the Hedgehog: Issue 118

Sonic the Hedgehog: Issue 118
Publication Date: December 2002

In the last month of 2002, Archie would introduce an obnoxious cover gimmick for their “Sonic the Hedgehog” series. For the next few months, the book’s covers would imitate magazines. And not just in design, what with headshots bordering the main image in a uniform way. For some stupid reason, headlines patterned after things you’d see in “People” or “Cosmo” are printed around on the cover. Why? I don’t know why. It certainly chains Spaz’ hands, preventing him from creating eye-catching images. Thankfully, this would be a short-lived gimmick. But we still have to look at it for a while.

But what of the stories inside? “Robotnik’s Return” delivers on just that, though in a round about way. Robotnik and Snively finally get their minds back in robotic bodies resembling their standard appearances. The Freedom Fighters corner the villain before he can do any more damage. The big fight is interrupted when motherfucking aliens intervene. They abduct Sonic, Tails, Robotnik and Snively before plopping them down in an alien coliseum. Then, for some reason, they turn Robotnik and Snively into humans and Sonic and Tails into robots. The winner gets returned to normal. The loser stays this way.

If you haven’t figured it out already, this story is an awkward attempt by Benny Lee to undo some of the comic's recent mistakes. By the story’s end, Robotnik and Snively are human. So the writer’s bizarre decision to robotocize Snively is reversed. Eggman, meanwhile, becomes a flesh and blood being for the first time. This was presumably done in order to raise the stakes. Now, Robotnik can’t just download his mind into a new body when he’s blown up. These were smart decisions. But was it necessary to bring in aliens to resolve this? It’s a totally random writing choice.

As an action story, “Robotnik’s Return” is underwhelming. You’d expect the big fight between Robotnik and Sonic to be the centerpiece. And it is but not a very effective one. Robotnik and Snively face down Mecha-Sonic and Mecha-Tails in a two-legged battle machine… Which is destroyed in one panel. Turns out, regular human beings aren’t much of a match for super-charged robots. I’m not sure why these aliens had to go through all this just to figure that out. At least Steven Butler’s artwork is nice.

The second story isn’t so nice looking, since Ron Lim draws it. But the script is better! In “Heart to Heart,” Karl Bollers finally picks up a plot point he abandoned a while ago. The combined efforts of Dr. Quack and Rotor have healed Geoffrey St. John and his Secret Service from the Nanobot infection Robotnik gave them. Back to normal, Geoffrey and Hershey have a – go figure – heart to heart conversation. The story concludes with the two deciding to search for Prince Elias, another plot thread left dangling last year.

What’s most surprising about “Heart to Heart” is that Geoffrey St. John actually admits that he was wrong. He admits he was a shitty leader of the Secret Service, getting them captured and harmed. He reflects on how his pursuit of Sonic was based out of jealousy and ego. He even fesses up to being a shitty adviser to Elias Acorn, driving the prince away. Considering the character is such a hard-headed jerk, it’s very unusual for him to realize so bluntly how wrong he was. (And it’s a move that was unlikely to happen under Penders’ pen, I think.)

The story also expounds on St. John’s origin and his future a little bit. We learn more about his life before the fall of Mobotropolis, about his father’s death and his reaction to Robotnik’s rise. As for the future, St. John and Hershey’s relationship is confirmed with an on-panel kiss. The two running off together on an adventure at the end seems to be a symbolic marriage of sorts. It seems unlikely to me that a committed patriot like Geoffrey would fall in love with a confirmed traitor like Hershey. Then again, the heart wants what it wants. And this finally buries the Sally/St. John ship.

The last story concludes Ken Penders’ “Ultimate Power” story arc. Knuckles confronts Mammoth Mogul before the villain reveals that the entire room is a Chaos Syphon. Before the echidna gets his god-like powers sucked away, he goes into overdrive. A massive explosion of chaos energy follows. When Constable Remington and the Dark Legion investigate, they discover three things. Mogul has vanished. Dimitri is unharmed. And Knuckles is dead.

As always, Ken buries the emotion under a lot of bullshit. Before we get to the important stuff, we’re treated to three whole pages of Knuckles and Mogul yelling at each other. Their dialogue is way too damn technical, focusing on the minutia the reader doesn’t care about. After the dramatic event happens, Ken cuts away from the important people. We don’t see Julie-Su and the Chaotix’s reaction to Knuckles’ demise. Instead, Lien-Da and Remington, two characters with no emotion connection to the Guardian, discover his corpse. We only see Lara-Le’s reaction in one small panel, during a scene otherwise devoted to renaming the Floating Island to Angel Island. (This was presumably done to bring the comics more in line with Sega cannon, though this story was a weird place to do it.)

So what do I think of Knuckles’ death? Well, even in 2002, I knew this was temporary. There’s no way Sega was going to let Ken Penders kill off one of their flagship characters. Even as a fourteen year old, I assumed a spiritual journey through the afterlife was coming next. It’s also a bummer that Knuckles died defending Dimitri – his former arch-enemy – instead of his girlfriend, mother, or best friends. For that matter, making Mammoth Mogul a component in the death is another odd decision. Wouldn’t it have made stronger dramatic sense to have Lien-Da betray Knuckles or something? The death scene just isn’t handled in the best way, is my point. (Dawn Best’s artwork is a little off too, making once again wonder if Ken drew part of this one.)

So 2002 ends on a weird note. Issue 118 is full of big changes. Robotnik and Snively are human again. Knuckles is dead. Geoffrey St. John and Hershey are going to be out of the picture for a while. Yet only that middle story comes anywhere close to hitting the emotion it’s reaches for. The other stories seem built around changes that are either unimportant or temporary. But at least the book is slightly better then that godawful cover suggests. [6/10]

Sonic the Hedgehog: Issue 116

 
Sonic the Hedgehog: Issue 116
Publication Date: October 2002

Rouge the Bat is nowhere as controversial a character as Shadow the Hedgehog but her introduction still generated some debate. Some questioned why a kid-centric franchise like “Sonic the Hedgehog” would introduce a blatantly fan service character like Rouge the Bat. Was her cleavage too generous for a children’s series? Was Sega blatantly targeting furries? Of course, Archie had been introducing potentially inappropriate sexy female characters in their comic book for years. So Rouge’s curvy proportions were less controversial on these pages. With issue 116, Rouge the Bat would graduate from cameo to full-blown character, a fact trumpeted on the cover.

The comic considered Rouge’s re-introduciton such a big deal that they gave her the cover over the issue’s first story. “Operation: Off-Switch,” instead, finds Sonic and Bunnie in the employ of Station Square again. The president has spotted Robotnik operating out of a near-by abandoned city, following the recent destruction of Robotropolis. Rouge was sent to investigate but vanished. The two Freedom Fighters swoop in, ostensibly to find the bat and stop Robotnik’s latest plan.

The official reveal that Mobius is a post-apocalyptic Earth wouldn’t come for a while longer. However, the book had been hinting at this truth for some time. Another big clue comes in “Operation: Off-Switch.” The abandoned city Robotnik has taken up residence in is obviously New York City. Among the skyline, one can spot a dismembered Statue of Liberty and a damaged Empire State Building. This raises some pretty big questions. Why is New York abandoned, if many of the buildings are still standing? How are the buildings standing, when we would later learn that the Xorda would devastate the entire planet? How come the Freedom Fighters have never noticed this place before? Benny Lee’s script provides no answers to these queries.

Maybe I’m a nerd who over-analyzes shit. (That’s fair.) Maybe we aren’t suppose to think this much about it. So how does “Operation: Off-Switch” function as a regular story? Weakly. I’m not sure why the writers brought in the Station Square president, when King Acorn could’ve just as easily filled this role. Pairing Sonic and Bunnie is an interesting idea but the story quickly separates them. The action is underwhelming, with Sonic quickly dodging some missiles. He’s quibbing even more than usual, draining any tension the story might have had.

His confrontation with Robotnik – who has taken up residence in a new, ridiculous body – is very short lived. He bounces around the villain’s robot arms, shoves a stick of dynamite into his mouth, and flees before the disproportionately huge explosion follows. It certainly makes Eggman – who, we must remember, is suppose to be more ruthless than the original Robotnik – seem like a total joke. That the fight is over so quickly, and so underwhelmingly, makes this whole story seem like a pointless stop gap on the way to Sonic’s next, more serious struggle with his arch-enemy.

Story number two covers the Bunnie/Rouge fight portrayed on the cover. After parting ways from Sonic, Bunnie searches for Rouge. The bat has already escaped Robotnik’s prison, the power failing following the explosion. The femme fatale mistakes Bunnie for one of the doctor’s robotic minions. Apparently Bunnie is in a grouchy mood. Instead of explaining the misunderstanding, she strikes back. The bat and the rabbit wail on each other for a few pages before Sonic arrives, telling them to break it up.

“Bat Fight” – yes, the story is really called that – exists mostly because its premise is too salacious to resist. No, there’s no real reason for the secret agent bat and super-strong cyborg to fight each other. As Sonic points out at the end, the two are on the same team. The mix-up that results in the fight should’ve been explained away quickly. There’s no plot reason for the two to scuffle. Instead, the sexy bat girl battling the sexy bunny girl is an amusing idea, playing with the “who would win in a fight?” fan boy discussion. I’m certainly not above such things. Occasionally, that kind of nerdery is fun to indulge. Devoting all five pages to the fight certainly leaves plenty of room for combat.

If the inherit appeal of the idea wasn’t the reason this story got the greenlight, Jay Axer’s artwork justifies its existence. Rouge and Bunnie certainly look irresistible in his style. (Rouge’s bustline was diminished in her first appearance but Axer brings the boobies back.) His command of action is perfectly suited to this one. Bunnie gets tossed through a window, delivering a clenched fist to Rouge’s face in retaliation. Kicks and punches are traded in vivid ways. When Rouge is kicked into a stone pillar, which seems to win Bunnie the fight, you can feel the impact. Karl Bollers’ dialogue is utterly inane but Axer’s awesome artwork makes the whole thing worth it.

The last story in the issue continues Ken Penders’ Green Knuckles saga. With “Ultimate Power – Mid-Logue: The Lesson,” he tries to trick us into thinking “mid-logue” is a word. Also, while watching Mammoth Mogul’s broadcast, Knuckles has a spontaneous flashback. He reflects on a time his dad spotted a team of Robians, sent by Robotnik, to abduct the Master Emerald. And what did Knuckles do during this adventure? Repeatedly get beaten up by different things, including a tree branch and one of the robots.

I’m not sure what the point of this “mid-logue” was. It breaks up the flow of the on-going plot, the resolution to last month’s cliffhanger being interrupted by a random flashback. Usually, you’d expect the flashback to reflect on the current story in some way. But this one doesn’t seem to. If anything, it emphasizes how Knuckles has always been at the whims of greater powers around him. As a kid, his dad bossed him around. As a teenager, his life is directed by his strange chaos powers and Dimitri’s interests.

I can only speculate why Ken wrote this “mid-logue.” I suspect he did it as another excuse to boost Locke, his favorite character. While Knuckles stumbles into things like a drunken ox, Locke uses his chaos powers to completely destroy the robots attempting to steal the Master Emerald. Keep in mind, these aren’t SWATBots or any of Robotnik’s other mindless drones. Instead, these are Robians. The comic has established repeatedly that Robians are normal Mobians, robotocized and enslaved by the mad doctor’s machines. So, in other words, Locke just murdered three innocent people who had no control over their actions. Because, once again, Penders’ heroes act more like villains.

Ron Lim illustrates both the first and last stories. The action scenes and backgrounds in “Operation: Off-Switch” are totally lifeless. In the back-up story, he draws child Knuckles as being far too small, making the adult Knuckles look like a giant. The Robians, meanwhile, look pretty good, making me wonder if someone else didn’t draw them. The cover story is a fun bit of pointless fluff but the stories bordering it are weak sauce, making for an uneven issue. [5/10]

Sonic the Hedgehog: Issue 115

Sonic the Hedgehog: Issue 115
Publication Date: October 2002

I don’t remember much about this era of Archie’s “Sonic the Hedgehog” comic. I never stopped reading the book but I wasn’t paying very much attention to it at this time. Issue 115, however, is one I definitely recall. It sticks in my memory for being such a blatant throwback to the book’s earlier, goofier days. The cover story revolves around a fantastical plot development that isn’t really in line with anything else happening in the book at this moment. It’s a totally self contained story, that comes and goes without leaving a lasting effect. Not that issue 115 is a bad issue – it’s passable – but it definitely sticks out for tonal reasons.

Unsurprisingly, this is another one from the pen of Benny Lee, perhaps explaining why it’s a stand alone story. In “Meanie in a Bottle,” Sonic is tossing a stick around with his robotic dog, Muttski. After the pet leaps into a lake, Sonic defies the title of his blog and jumps in after him. From the lake bed, he retrieves a mysterious bottle. The bottle contains a genie. And he’s a real asshole too. Instead of granting Sonic three wishes, he zaps both the hedgehog and his pet. As a result, Sonic looses his speed and Muttski gains it.

This is how inconsequential a story “Meanie in a Bottle” is: The genie that drives the plot doesn’t even have a Mobius Encyclopaedia page, an otherwise comprehensive guide to the book’s universe. There are some things I like about the story. Sonic’s concern for his dog, when he dives into the water and won’t surface, is sweet. Focusing on the relationship between Sonic and Muttski is nice, considering the robot dog doesn’t usually get this much attention. The montage of Muttski experiencing super speed – which involves him stopping a burglary, playing with Tails and Sally, and dragging Sonic around – is funny in a dumb way. Sonic’s disappointment when Muttski grabs the stick right out of his hand, before he even throws it, is amusing as well.

I guess my problem is how immature the story feels. The hero plucking a genie out of nowhere seems like an especially random story turn. The genie just being a prick for no reason happens primarily for plot reason. Sonic defeats the pesky djinn by locking him in Muttski’s belly and demanding he obey his wishes. Considering the genie obviously has magical powers, I’m not sure why this is such a problem for him. It’s not that I dislike the story’s total disconnect with the rest of the book. I’ve praised Benny Lee’s episodic writing before. It just seems to me that the story was conceived and written quickly, without too much thought being put into it.

However, there is one thing about “Meanie in a Bottle” I can praise without reservations. Art Mawhinney shows up again. It’s clear Art is still adapting to Sonic’s post-Dreamcast design. He somewhat awkwardly squeezes the green eyes, buckled shoes, and longer spines onto his classical Sonic design. His design for the genie is quite generic. Yet his strength for expressions still benefits the story. Sonic’s concern for Muttski and his eventual exhaustion, after loosing his speed, are clearly and vividly displayed. Even if this isn’t the best story, it’s still nice to see that Art’s art is as top notch as ever.

Ken’s “Ultimate Power” arc continues in the back. Mammoth Mogul insists Harry, apparently the only cab driver on the Floating Island, take him to see Dimitri. The supervillain proceeds to hold the other supervillian hostage, demanding Knuckels puts in an appearance. Meanwhile, the Guardian goofs around with his friends while Lien-Da continues to plot her take-over of the Dark Legion.

How rarely do we get to see Knuckles kick back and relax? It’s nice to know that, occasionally, the young Guardian feels the need to frolic with his friend. Sadly, Ken can’t let this moment breathe. He immediately has Espio ask how Knuckles got green, which segues into a discussion about his abilities. (He then uses those powers to summon a bouquet of flowers for Julie-Su. Which is sweet, even if Julie-Su doesn’t seem like the kind of girl you get flowers for.) That particular sequence concludes with Knuckles running off to his dad to get some answer. Which is weird, considering Locke has never in his entire life given his son a straight answer about anything.

While this is going on, more plot relevant manners are happening. By now, it’s clear that Lien-Da is using Dimitri’s illness as a way to seize power. Meanwhile, it’s also quite obvious that Mammoth Mogul intends on zapping Knuckles’ power next. I’m not especially concerned with this stuff but at least it’s moving at a decent pace. That’s better than how sluggish the Chaos Knuckles saga had been, up to this point. Dawn Best draws again, though I wonder if Ken didn’t do some uncredited pencils on this one. Knuckles and friends looks a little awkward in a few of the panels.

Issue 115 doesn’t feature three stories, as had become common practice. Instead, more of Spaz’s unused designs are shoved into the middle of the book. It’s mostly character and costume designs, loose doodles hardly worth commenting on. What is tantalizing is a page devoted to an anime-style alternate universe story Spaz apparently pitched. The story would’ve featured a weirdo supervillain Snively and very cute versions of Sonic, Sally and Bunnie. I guess it wasn’t meant to be? This mid-book spread may actually be the most memorable thing about a passable if not especially notable issue of the series. [6/10]