Sonic the Hedgehog: Issue 229

 

Sonic the Hedgehog: Issue 229
Publication Date: September 2011

Here we are, at the end of the “Genesis” story arc. Ian Flynn has, at least once, has talked about how he was not satisfied with how this event turned out, despite its popularity with fans. Over all, I don't totally agree with that. Though not without flaws, “Genesis” flew along pretty decently. However, in its final issue – which ditches the game cover gimmick for a cool pic of Super Sonic – I can kind of see Flynn's point. But maybe I'm getting ahead of myself. Let's talk about the issue itself.

The last chapter of “Genesis” is subtitled “Reset,” a cute reference to the reset button on your Genesis or Mega-Drive consoles. After going their several ways at the end of the last issue, Sonic and Sally face off with Eggman in different ways. Sonic races through Metropolis Zone, eventually attacking the doctor directly. Sally and the Freedom Fighters sabotage the Ocean Oil Zone, cutting off the villain's energy source. In the end, Sonic and Eggman both head to the Death Egg to face off for the fate of the world.

Last time, Sonic and the Freedom Fighters splitting up was kind of an odd choice, contrived but in a way that I understood. Sadly, because of the limits of a four-issue story line, Flynn doesn't really have time to pay off. Sonic and Sally are left separated throughout this issue and never come back together. There's no resolution to this emotional fissure. Flynn tries to patch things up as best he can, having the characters speak to each across panels. It doesn't quite work though and the reader is left not entirely satisfied.

Another attempt Flynn makes to add an emotional heart to the story involves the story's status as outside regular continuity. All along, Sonic and the others have been receiving memories of their previous lives. As the world starts to shake apart more and more, more of these memories return. (Interestingly, he includes several shout-outs to “Endgame.” Since this was right before the Pendering started, that story was still pretty well regarded by Archie Sonic fans.) I like this touch, especially Robotnik's growing frustration with memories of his failures coming back. However, Flynn still can't quite sell the threat of the earthquakes tearing Mobius apart. It's mostly a few panels and one or two dialogue balloons that point this at. It certainly doesn't feel like the planet is about to be thrown into chaos.

Being a quickie adaptation of “Sonic 2,” issue 229 concludes with Sonic and Dr. Robotnik fighting it out inside the Death Egg. While Flynn had rushed through the second Genesis game, seeing this final boss battle play out is still neat. Moreover, Robotnik's growing frustration during the fight is a nice touch. He's so close to pulling off his plan and here's the hedgehog, once again, fucking his shit up. And he's pissed about it, letting us all know again how much he hates that hedgehog. Lastly, seeing the “Sonic 2” final boss rampage through the comic is pretty cool too.

Sadly, we conclude with practically a lame deus ex machina. After mentioning that the Death Egg is powered by Chaos Emeralds, Sonic grabs a wire and magically transforms himself into Super Sonic. After mopping the floor with Eggman, Sonic then uses the same power source to reverse the Genesis Wave's effect, returning Mobius back to normal. It all feels like an extremely rushed conclusion. More than ever, it's clear that the Chaos Emeralds can do whatever the plot demands. Lastly, the hedgehog magically turning himself into Super Sonic feels like a cheat. First off, Sonic didn't need to go super to beat Robotnik in “Sonic 2.” Secondly, the transformation really comes out of nowhere. It's a weak conclusion.

The artwork is interesting here. You can still see that Yardley was taking some influences from Spaziante, after working with him on the first parts of this series. Especially in the way he draws Sally or Eggman. However, even this quickly, Yardley is already slipping back into his standard style. Which is not a bad thing! I like Yardley's work, always have, always will. The panels of the Freedom Fighters running in the Oil Ocean Zone are nicely done. Eggman's facial expressions, increasingly annoyed, are funny. The fight with the robot sure is cool. However, the truth is I just prefer Spaz's more detailed, dynamic work over Yardley's cartoony work. Seeing the book slip back into the latter mold is a little disappointing. No offense, Tracy.

Ultimately, I would still qualify “Genesis” as mostly a success. The story line served its purpose, which was to nostalgically remind us of the first two classic games and see them brought to life in comic canon. The conclusion is awkward but I still enjoy this one. I also enjoy the hardcover collection Archie put out, which is handsomely put together and includes some cool extras. Honestly, if you had told kid-me that, one day, Archie's Sonic series would be published in a hardcover collection – like a real book! – I would've shit myself with excitement. So that's fun. [7/10]

Sonic the Hedgehog: Issue 228

Sonic the Hedgehog: Issue 228
Publication Date: August 2011

In the second half of August of 2011, Archie's celebratory “Genesis” event just kept on rolling. Part three, subtitled “Divide and Conquer,” moves on to adapt “Sonic the Hedgehog 2.” Sonic introduces the Freedom Fighters to Tails, who he apparently has known for quite a while. As the tremors continues on Mobius, Sally points out that Eggman's industry complex continues to operate. Sonic was right: The Eggman still lives, watching from his flying Death Egg fortress in the planet's upper solar system. The Freedom Fighters head off to destroy the villain's resources but some interpersonal drama rears its head.

While the first two issues of “Genesis” manage to hit just about every beat from the first “Sonic” game, Flynn's adaptation of “Sonic 2” is a bit more abbreviated. Emerald Hill Zone is mostly indistinguishable from Green Hill Zone and only recognizable because of a corkscrew bridge in the background. The characters quickly run over to the Chemical Plant Zone. From there, we head towards Oil Ocean Zone and Metropolis Zone. I'm sort of bummed that we didn't get to see Sonic and the gang explore the Aquatic Ruins or the Mystic Caves. It would've been cool to see fan favorites like Hill Top Zone or Casino Night Zone. (Though the latter probably would've been hard to fit in.) I guess Flynn couldn't find a way to squeeze those in, considering “Genesis” is quickly speeding towards its conclusion.

Though, I guess, if you had to pick one stage from “Sonic 2” to highlight, it would likely be Chemical Plant and Oil Ocean, two faves of mine. Flynn even justifies both areas. Robotnik is manufacturing all the fuel in Chemical Plant to power the Death Egg, with the oil drilling Oil Ocean likely serving a similar purpose. Flynn devotes page space to Chemical Plant's most famous elements. Such as the floating platforms or the pressurized tubeways Sonic can ride through. Or, most importantly, the infamous Tunnel of Death. Seasoned Sonic fans will surely know what I mean by that: The part where you have to navigate up a vertical tunnel, leaping across floating bricks, as the area slowly fills with mega muck. That notoriously nerve wrecking area gets a whole sequence devoted to it, Flynn justifying the floating bricks as a magnetic conveyor belt of sorts. It's not as suspenseful as the real thing – Flynn includes comedic sights like a frightened Tails or Rotor being trampolined up into the air – but big points are rewarded strictly for its inclusion.

“Divide and Conquer” also continues to develop the relationships between these newly memory-wiped version of the characters. Tails being introduced as someone Sonic already knows was probably the easiest way to handle that, even it feels slightly like a cheat. Their brotherly relationship is nicely displayed, Sonic goofing around with the kid even in the heat of battle. Equally important is Sonic and Sally's relationship, which escalates here to white hot flirting. After saving her from the Tunnel of Death, a whole panel is devoted to the intense eye-contact they make. Which could not be more satisfying to an old Sonic/Sally shipper like myself.

Simply letting the characters play off each as they progress through the levels worked pretty well for the first two issues of “Genesis.” But I guess Flynn figured he had to pump shit up as the end got closer. So there's some not entirely convincing drama in “Divide and Conquer.” Sally is insistent that the Freedom Fighters have to take out Robotnik's resource if they hope to defeat him. Sonic is more interested in attacking the big guy and smashing him directly. Due to this difference in opinion, the hedgehog and his fox sidekick go their separate ways from the Freedom Fighters. The real reason why this happens is because Sonic gets a brief flash of Sally's death from the main timeline, presumably shocking him into a random asshole mood. But it doesn't play out in the most natural way.

Despite frequently being talked about, Eggman doesn't appear in much of this issue. We briefly visit the Death Egg, which Robotnik and Snively escaped to and launched into space at some point. What follows is a cute scene of the two playing off each other. See, the universal reboot scrambled Eggman's mind as well. He can't even remember what his master plan is anymore, simply knowing that Phase 2 is on its way. I mostly like this because of Snively's baffled reaction to his confused boss. I like comedic Eggman in small doses like this, as opposed to it being his primary personality. In this context, it's fine. Even fun!

After getting two issues of awesome Patrick Spaziante art simply filled out by Tracy Yardley, Yardley goes solo on this one. However, I think working closely with Spaz rubbed off on Tracy some. “Divide and Conquer” looks really good, Yardley sacrificing some of his trademark cartoony elements in favor of some Spaz-like, animesque detail. Sally, in particular, looks especially curvaceous and powerful in several panels. There some dramatic use of shadowing and silhouette, as well as characters leaping across panels, also trademarks of Spaz's style. You can still tell that Yardley drew this one, such as when it comes to Antoine or the facial expressions, but I don't mind a little of Spaz's chocolate getting in his peanut butter.

Issue 228's cover is a gorgeous homage to “Sonic the Hedgehog 3's” box art, even though the story has nothing to do with that particular game. Much the same way issue 227's cover was a homage to “Sonic 2” without actually adapting the game. I can't bitch too much about that, since patterning each issue's cover after a classic game box was too tempting. While not as strong as the first half of “Genesis,” the third part is still pretty good. I'm still having fun in this setting. [7/10]

Sonic the Hedgehog: Issue 227

Sonic the Hedgehog: Issue 227
Publication Date: August 2011

After a brief delay of one month, the main “Sonic” book – and the “Genesis” event happening within – was back on track in August of 2011 with issue 227. While I love Spaz' homage-riffic cover, I must point out that it is very misleading. The cover is a stylish recreation of “Sonic 2's” American box art. The comic story inside adapts the second half of the original “Sonic the Hedgehog.” Tails is present on the cover. Tails is not present in the story. Lastly, Eggman does not transform into a mountain destroying giant monster. But that didn't happen in the video game either. I guess the temptation of making the first three issues of “Genesis” each a homage to the next game in the original series was too overwhelming. I probably would've done it that way too.

Part two is subtitled “Friends and Fate,” a pretty accurate summation of the story's theme. Having apparently skipped right over the Spring Hill Zone, Sonic and the Freedom Fighters arrive in the subterranean Labyrinth Zone. They continue to face challenges as they fight their way through the rising water and enemy Badniks. They make it through to the Starlight Zone but not without seemingly loosing Antoine to a waterfall. The loss of a friend motivates them further and they take the fight to Eggman, in his base inside the Scrap Brain Zone.

As I mentioned last time, “Genius' continues to be a highly satisfying adaptation of the original “Sonic” game. Yes, Spring Hill Zone is a no show. As much as I love that level, it never did fit the narrative flow of the original game very much, did it? Truthfully, seeing the watery peril of the Labyrinth Zone, the windy turbines of the Starlight Zone, and the booby traps of the Scrap Brain Zone brought to life made me smile. Flynn does a really good job of cooking every iconic stage down to its most iconic elements. There's not much story wise to heroes walking through perilous areas but the environments still provide plenty of tension, action, and adventure.

Last time, I also mentioned how everyone's personalities have been slightly simplified for this quasi-alternate universe story. That's still true here but it works in its own charming way. I got a real SatAM vibe from “Friends and Fate.” Antoine is still the somewhat cowardly load, though his courage is already starting to show through and he proves useful in other ways. Sonic and Antoine spent a few panels jibbing at each other for Sally's affection. (Which just acts as more flirting between the hedgehog and the heroine.) Everyone is on an adventure, working together and fighting against the bad guy to survive and save others. It's simple, sure, but I fucking love SatAM. I cannot dislike a comic that invokes it so strongly.

Flynn even attempts to incorporate some pathos. While escaping the Labyrinth Zone, Antoine seems to fall to his death. Sally is shaken to loose a friend and a fellow Freedom Fighter. We all know Antoine isn't dead. He comes back before the issue is over, in a comical and not entirely well explained well. Sally and the others even believe that they're going to be reunited with their friend, through a nebulous feeling that is actually the aftereffects of their lives in the prime universe. But it's still a decently emotional moment. Flynn invokes it again when Rotor nearly falls down a trap door in Scrap Brain. If nothing else, these scenes show how much this ragtag group of characters care about each other, providing some decent heart to what is otherwise a straight-forward action story.

As I've mentioned before, I believe “Genesis” might have been seen as a chance to bring some new readers into the book. So the Freedom Fighters having strange feelings or strange shared thoughts isn't just Flynn acknowledging the cosmic shift that recently took place. It's also a hint to new readers to maybe check out the main book some time. Yet these moments of deja vu and unexplainable connection among the characters is also the issue's weakest element. By constantly referencing this, Flynn is making it feel like the characters really are just being pushed through a series of checkpoints. Maybe “Genesis” would be stronger, or at least more natural feeling, if the Freedom Fighters' truly had no memory at all of the Prime Zone.

Spaz continues to provide the main pencils, with some help from Yardley, on the issues. Once again, Spaz' work is of the absolutely highest quality. The second part of “Genesis” looks even more exciting and dynamic then the first. Spaziante really employs a near-cinematic panel construction. Panels like Sally looking over a ledge, a Badnik rushing through the water,  Sonic lunging for the falling Antoine, or Sally sliding to grab Rotor have such an incredible sense of movement. Spaz also says a lot with a little. One page, showing the Freedom Fighters' run through the Starlight Zone, struggling with fans and cherry bombs, is full of so much personality. Visuals like these are one of the things that made me fall in love with this comic in the first place.

“Friends and Fates” still has its flaws. Eggman's defeat is a bit of a cop-out and the expectation that he'll be back next time, heavily lampshaded, draws even more power from the ending. But it's a fleetly written issue, with some decent character moments. It's a really fun adventure that is fantastically brought to life by some great artwork. The first half of “Genesis” is quite a solid comic book. [8/10]

Sonic the Hedgehog: Issue 226

Sonic the Hedgehog: Issue 226
Publication Date: June 2011

In 2011, the “Sonic the Hedgehog” multimedia franchise turned twenty years old. That's right, the series was nearly of drinking age. Sega commemorated this momentous occasion with the release of three video games: “Sonic Generations,” a retro leaning game that addressed some of the long-held concerns about the series' modern direction while ignoring others. They also released “Sonic the Hedgehog 4: Episode 1,” a huge disappointment, and “Mario & Sonic at the London 2012 Olympic Games,” a game I'd comment on except, like everyone else in the world, I've never played it.

Archie's comic book series, which had ran for nearly as long by this point, picked a different route to celebrate. They kicked off a four-part story arc called “Genesis.” Following the retro direction “Generations” took the series in, the event would loosely adapt the first two original “Sonic” games, from all the way back in the Genesis (Megadrive for you limey bastards) era. Ian Flynn would express disappointment with the story, saying it was rushed through development. However, it remains a fan favorite. Archie would even greet the story arc with more pomp and circumstance than usual, giving it lots of advertising and republishing the story in a nice, hardcover trade collection.

The first part of “Genesis” is subtitled “In the Beginning...,” a religious reference that has no deeper meaning so don't read into it, Zack. Anyway, following Robotnik's activation of the Genesis Wave in issue 225, Sonic awakens in the Green Hill Zone. He has no memory of the past and only a vague conception of who he is. However, he quickly deduces that running fast and fucking up robots is what he does. Soon enough, he becomes aware of a mysterious person named Eggman and his plot to turn little animals into living batteries for his robotic minions. He plans on converting the entire natural world into a mechanical wasteland. Right then and there, Sonic decides to fight this enemy. Along the way, he encounters a group of Mobians calling themselves the Freedom Fighters, also determined to defeat the Eggman.

“Genesis” attempts to reduce the “Sonic” series back down to its essential elements. The original “Sonic” game was very light on story but touched upon potent ideas. At its core, “Sonic” is a franchise about a small creature fighting against a destructive, industrial take-over of his peaceful, natural world. “In the Beginning...” touches upon this in the briefest of ways. Sonic quickly realizes that the exploitation of nature is wrong and, due to his quick wits and natural moral sense, decides to fight it. Some stories would make me wonder if he was ignorant of it but this issue makes it pretty clear that Ian Flynn understands the core components of Sonic.

Refreshingly, he also considers the Freedom Fighters one of those key components. As I mentioned last time, some fans were concerned Sega would use “Genesis” as a way to remove Sally and the Freedom Fighters – cast members tied to a long canceled cartoon the corporation never acknowledges – from the book. Flynn rebuffs this concern quickly. Within a few pages, Sonic pops the prison capsule at the end of Green Hill Zone and out pops Sally, Antoine, and Rotor. Flynn clearly presents the point that these characters give Sonic, someone otherwise satisfied with running around aimlessly, a sense of direction and purpose. It also gives him someone to play off of. Within a few panels, Sonic and Sally are flirting and snipping with each other. Because the sexual tension is necessary. The sexual tension is absolute. The sexual tension is good.

As I've noted before, I suspect big event stories like “Genesis” were designed to bring in new readers. Perhaps the hope was classic “Sonic” fans, drawn to the book directly adapting the original game, would pick up the series? As sometimes happens when an event like this is planned, Flynn has to re-introduce Sonic and the supporting cast. To accomplish this, he simplifies everyone's personalities a little. Antoine is now the cowardly French surrender monkey SatAM depicted him as. Eggman isn't much more than a cackling villain, sporting his simplified classic design. Rotor is depicted as both the team's brawn and also their gadget guy. Sally, for some reason, gains the ability to communicate with lower animal lifeforms through the power of song. Sonic remains the most constant and that's, perhaps, how it should be. This is intended as both a ground level for newbies to come in on and also an intentional throwback to the franchise's earlier days.

“Genesis” is a fan favorite for a simple reason: Long time “Sonic” nerds get a thrill out of seeing the original games referenced. Why do you think Sega keeps bringing Green Hill Zone back? Considering the hundreds of “Sonic” stories Archie had published at this point, it's surprising they've never done a straight-up adaptation of that first game. So seeing Sonic and the gang run through Green Hill and the Marble Zone, seeing them battle Buzz Bombers and Catakillers, is a thrill. This is a speedy action story, focused on getting our cast through those stages as quickly as possible. To make this go down smoothly, Flynn throws in lots of humor – see Sonic and Sally's flirting or Antoine's cowardice – and plenty of action.

Further marking “Genesis'” status as the biggest “Sonic” event in a quite a while is the artwork. It's been 128-plus issues since Patrick Spaziante has drawn an actual “Sonic” comic. Technically, Spaz only did the outlines for this issue, which were then finished by Tracy Yardley. However, Spaz' command of dynamic action is still very clear. Shots of Sonic smashing Motobugs, or flying through Green Hill Zone on a Neutron, just leap off the page. Panels were Rotor smashes a Catakiller or Sally leaps out an enemies way are brought to life with a fantastic sense of speed. And it must be said that Sally and the Freedom Fighters never look better than when Spaz draws them. It's all really good looking except for two panels of Snively, where Robotnik's nephew looks especially grotesque.

“Genesis” is not a probing piece of highly dramatic writing. However, it is a lot of fun. The book looks great and seeing the old stages brought to life are fun. As always, I also enjoy seeing Sonic and the Freedom Fighters on an adventure together. Momentarily casting off the book's massive backstory and lore produces a fleet-footed and fun story. “Genesis” is off to a pretty good start. [7/10]