Sonic Super Special: Issue 5 - Sonic Kids

Sonic Super Special: Issue 5 – Sonic Kids
Publication Date: April 1998

Readers who grew up in the late eighties or early nineties may remember “Muppet Babies.” Spun off from a sequence in “The Muppets Take Manhattan” which showed Jim Henson’s famous felt creatures as toddlers, the show was a big hit. Big enough that other studios tried to spin their own properties into “baby” versions. That’s how we got “Flintstone Kids,” “Tiny Toon Adventures,” “A Pup Named Scooby-Doo,” “Tom and Jerry Kids,” “Jungle Cubs,” and even “James Bond Jr.!” Archie Comics might have pioneered this kind of thing with “Little Archie,” which has been published in various forms since the sixties. Considering all of the above, maybe “Sonic Kids” was an inevitability. Despite the gimmicky concept, the two Sonic Super Specials devoted to this concept are actually fairly well regarded.

The first story, “When You and I Were Young, Sally,” was written by Mike Gallagher and illustrated by Manny Galan. As kids, Rosie raised the future Freedom Fighters in Knothole. Tails is feeling insecure about his lack of special abilities, especially when compared to Sonic’s super-speed. Sonic gives the young fox the idea to spin his tails like a helicopter, defying logic and sailing into the sky. Being new at this, Tails quickly looses control of his new abilities. The gang track him to a hollowed-out tree stump and the cave below. That’s right. This story is the secret origin of Tails’ flying ability, his nick-name, and the future location of Freedom HQ. Accordingly, it ends with Sally naming the group the Freedom Fighters and deciding to battle Robotnik’s regime.

The above description probably makes the story sound really trite and silly. It’s actually surprisingly good, though. The Freedom Fighters don’t act like the heroes they are now. Instead, they’re kids. Sonic shows off and brags. (So, you know, not too much has changed.) Though a pretty serious kid, Sally is still happy to play when Julayla gives her permission. Rotor uses big words, as if he’s trying to impress his friends with his big brain. There are also cute nods to future history. “Boomer” is revealed to be a childhood nickname of Rotor’s. Sally, in as diplomatic a fashion as possible, acknowledges that Antoine wouldn’t be useful for a while. Though an energetic kid, Sonic is still willing to help out his pal, by encouraging Tails. The story concluding with the discovery of the future Freedom HQ and the team taking a vow to fight tyranny is satisfying.

It’s cute but not syrupy. It sets up future events but isn’t overly self-referential. It’s fun without being goofy. In other words, it’s one of the best things Mike Gallagher has ever written for this series. Unlike his uneven work in issue 60, Manny Galan’s artwork is very good here. The “kid” designs look like younger versions of the character we’re used too. Their cuteness is not overly emphasized. Galan’s expressive faces also really help this story out, since it’s mostly about the kids reacting to the world in the hyped-up, exaggerated way kids do.

The second story continues the “kids” theme. The embarrassingly entitled “Stop… Sonic Time!” was written by Karl Bollers and drawn by Art Mawhinney. In the present day, Sonic regales a group of kids with the story of how Tails got his sneakers. The flashback starts on Tails’ birthday. Sonic rushes into Robotropolis and buys a specialized pair of sneakers from a shifty individual, who readers may recognize as Tails’ uncle Merlin. Around the same time, Robotnik deploys a new weapon, a beam that can freeze time. He targets a random patch of the Great Forest, sending in soldiers to capture the frozen denizens. Sonic, being out of town, avoided the weapon’s range. So it’s up to him to save the day.

“Stop… Sonic Time!” feels a lot like a left-over “SatAM” script. A time freezing ray definitely seems like something Robotnik would have cooked up on that show. The long-forgotten Cluck even puts in an appearance. Sonic’s role in the story as a smart-ass hero who uses his cunning as much as his speed to defeat the villain recalls his characterization on that show. Sonic’s strategy involves him pretending to be frozen, being brought into Robotnik’s HQ, yanking on the villain’s mustache and getting the SWATBots to blow up the bad guy’s own device. Aside from a few comic-exclusive concepts, such as Merlin Prower or Crabmeat as Robotnik’s number one toady, this easily feels like it could’ve aired on ABC back in the day.

Furthering this feeling is Art Mawhinney’s pencils. Whahinney, of course, started out as a storyboard artist for the cartoon and, even this far into the book’s existence, he maintained that connection. The young versions of the Freedom Fighters look especially adorable in Mawhinney’s already cartoon-like style. He even manages to make Tails’ feet not look monstrously weird! Having said that, Art occasionally goes a little off-model. His Crabmeat looks more like an actual crab than a robotic facsimile.

The last story in the book doesn’t feature younger versions of the main cast, though it continues the theme of “memory.” In “Total Re: Genesis,” Sonic, Sally, and Antoine have barely survived a confrontation with the last remaining ComBot, which suddenly activated. As Uncle Chuck asks for a report on what happened, each Freedom Fighter gives their recollection of the events that just transpired. Each character’s version varies wildly from the other. Finally, using Nicole’s previously unmentioned satellite hook-up, Uncle Chuck observes the objective version of the truth. In other words, this is the Sonic version of Akira Kurosawa’s classic “Rashomon,” a reference the readership for this book surely understood.

What’s really cool about “Total Re: Genesis” is that it gives us a peak into each of the character’s heads. In Sally’s version of events, she’s extra confident. While her teammates are knocked unconscious, she stays in the action, defeating the robot with her quick thinking and enduring toughness. Antoine’s version has him as a dashing hero, single-handedly taking down the robot with his swashbuckling skills. When Sonic recalls things, he’s portrayed as a pun-sweeping action hero. He effortlessly defeats the villain with his super abilities, cracking lame jokes all the while. The objective truth shows that each of these stories are slightly true and, ultimately, teamwork is what took the bad guy down. This is a nice way to show us that the characters truly do depend one each other. The individual memories give us a concise idea of everyone’s personality. It’s a fun read.

A defining gimmick for “Total Re: Genesis” is that each memory is drawn by a different artist. Newcomer Nelson Rebeiro handles the framing device. I wonder if Nelson Rebeiro and Nelson Ortega are actually the same person, as their styles are very similar. The artwork is moody and features heads and hands that are slightly exaggerated. Yet it’s also consistent, with a good sense of motion. Sally’s flashback is drawn by Art Mawhinney. Mawhinney’s work is typically excellent though, it must be said, his ComBot looks a little blocky and uninspired.

Sam Maxwell draws Antoine’s flashback. Maxwell is an acquired taste, as his work is extremely expressionistic, frequently approaching action scenes from off-beat angles. I’m on record as being a fan and his work here is pretty great. I especially like his use of shadows, which emphasizes how melodramatic Antoine’s recollection is. Sonic’s flashback is drawn by John Herbert, last seen in issue 54 and credited as John Hebert here. Herbert’s action is a little stiff and his Sonic looks a little goofy. Yet his detailed ComBot is awfully creepy. Rebeiro returns for the epilogue, drawing most of it as a hyper-contrasted “hologram.” Though undeniably a gimmick, I like the different artists approach and it helps bolster a fun story.

“Sonic Kids” might be the best of the Sonic Super Specials thus far. It doesn’t have the plot holes or overdone writting of “Battle Royal” and “Return of the King.” While there’s nothing here matching the emotion of “Brave New World,” the artwork is much, much better. In other words, Archie managed to turn a potentially awful idea into a pretty solid comic book! Cherish moments like this because they didn’t happen very often. [8/10]

Sonic the Hedgehog: Issue 56

Sonic the Hedgehog: Issue 56
Publication Date: January 1998

I was nine years old in January of 1998, around abouts when issue 56 of “Sonic the Hedgehog” was published. When it started, I wasn’t reading the “Knuckles the Echidna” series. This wasn’t because I disliked the character or wasn’t interested in his adventures. The truth is I bought the comics with my own allowance money. I didn’t have much expendable income and, since there were other toys and books I was interested in, I couldn’t justify subscribing to a second series. At the time, I naively assumed there was no reason for me to read both. Soon enough, I discovered that Archie planned for multiple crossovers between the “Sonic” and “Knuckles” book. Issue 56 followed up directly on a cliffhanger introduced in issue 9 of “Knuckles.” This left me extremely confused about the comic’s contents. Back then, I just assumed I missed something important in “Knuckles.” Re-reading this one as an adult, it’s readily apparent that the issue itself is just extremely incoherent.

After the events of “Dark Vengeance,” Mammoth Mogul has teleported Sonic, Knuckles, and Tails off to some sort of cosmic plain. Atop a floating chunk of space debris, they’re attacked by rock monsters. After a brief scuffle, Athair appears in the sky and a portal opens behind him. Meanwhile, Mogul has become supercharged by Enerjak’s power, transforming into Master Mogul. While destroying an indistinct rocky part of the Floating Island, Sonic and Knuckles somehow reappear, lugging behind fifty power rings. After being zapped by Mogul’s chaos energy, they transform into Super Sonic and Hyper Knuckles. Soon enough, Tails appears in his own super form, Turbo Tails, carrying a Chaos Syphon with him. The battle concludes in the Chaos Chamber where the Brotherhood of Guardians intervene, combining the Floating Island’s two Chaos Emeralds into one and trapping Mogul inside. Now defeated, Knuckles is free to return the Sword of Acorn to Sally.

I don’t even know where to start with this one. “Immortality is forever… Life is Finite,” from the title on down, is a smoldering heap of (hedge)hogwash. The story lurches around in awkward, confusing ways. First, Sonic, Knuckles, and Tails are on a rock floating through space. Two pages later, Sonic’s figure 8 maneuver somehow sends them floating up into a portal that appears out of nowhere. Instead of attacking Echidnaopolis, Mogul attacks a castle on a rocky outcropping, apparently somewhere on the Floating Island. Inside, supporting characters randomly appear and disappear. Archimedes, a dingo, Hershey the Cat, Sally, Rotor, Athair, and Vector all zip in and out of panels, senselessly. Sonic and Knuckles reappear out of nowhere, continuing to fight Mogul in this ill-defined setting. Then the Floating Island is in space. Then Tails shows back up, without explanation, holding a Chaos Syphon. Where did the Chaos Syphon come from? I don’t know!

More characters reappear, Mogul somehow ends up in the Chaos Chamber, and Locke somehow traps Mogul by creating the Master Emeralds. It’s all so horribly incoherent that I frequently have no clear idea what’s going on. In previous issues, writer Scott Fulop fell back on explaining events with magic, the Ancient Walkers, or Mogul’s spells. Tails being the Chosen One, a plot point not referenced since his three-page mini-series, is also trotted out for no reason. That tendency is in overdrive here, half of the book’s events occurring due to some powerful being making an off-screen decision. About the only meaningful thing we learn in this issue is that Mogul has a Chaos Emerald embedded in his chest. Holy fuck, it’s bad.

Part of the reason issue 56 is so difficult to follow is because of John Herbert’s artwork. Herbert previously illustrated Snively’s sequences in issue 54 of “Sonic.” Those scenes where atmospheric and moody. Unfortunately, Herbert’s work here is a complete mess. The artwork is overly dark and difficult to follow. The characters frequently seem to be floating in an empty panel, without context of their location or place within it. Herbert’s action is awful, as Sonic and Knuckles rarely seem to be interacting with Mogul. For some god forsaken reason, an entire page shows the action as reflected in Locke’s computer screens.  That means the images are without color and are slightly warped. As if the action wasn’t warped enough already. The combination of a script that can’t keep still and disjointed artwork results in a books that’s impossible to follow.

In its last third, this mess of an issue finally comes back down to Earth. The pencils switch over to Manny Galan. For all his flaws – such as giant teeth or off-model Freedom Fighters – at least you can tell what’s actually happening on Galan’s pages. Knuckles bequeaths the Sword of Acorn to Sally, finally resolving that long dangling plot point. In its final pages, Sonic and Knuckles have a talk outside the city. Both are having a hard time relating to a world without Robotnik. While Sonic tries to convince Knuckles to run away with him – emphasis on the gay subtext there’s, not mine – Knuckles decides the newly changed Floating Island needs him more. The book concludes with Sonic conferring with his other male life partner, Tails. Scott Fulops’ dialogue continues to be awful but at least there’s some sort of bearing to these scenes.

Though there’s still a lot of shit to shift through, “Immortality is Forever… Life is Finite” is definitely one of the most haphazard story Archie ever (barely) assembled. Despite this issue being awful, it would contribute two lasting aspects to the Archie Sonic-verse. Tails’ super form of Turbo Tails would reappear a few times. Mammoth Mogul would remain trapped inside the Master Emerald for a while. As a villain that was potentially interesting but rarely well used, I can’t say I’ll miss him. As for this story, I have to give it the dreaded [3/10.]

Sonic the Hedgehog: Issue 54

Sonic the Hedgehog: Issue 54
Publication Date: October 1997

The “Brave New World” one-shot set a new tone, more introspective and realistic, for “Sonic the Hedgehog,” post-“Endgame.” Issue 53, thanks to new head writer Karl Bollers, brought Ixis Naugus into the fold, providing a new enemy for Sonic and friends. However, issue 54’s sole story, “Running to Stand Still,” makes it clear that things are not going to relax into a familiar pace. This world will remain brave and new.

Since Knothole Village remains trapped inside a pocket dimension, three hours in the future and accessible only by tunnel, many Mobians have moved into the newly rechristened Mobotropolis. Sally appoints herself, Rotor, Dr. Quack, Geoffrey St. John, and Sonic as members of a council designed to make the city livable again. Sonic, however, isn’t too keen on the new position. He wonders what role a warrior like him can play in a world without Robotnik. Also weighting on Sonic’s mind is how his Uncle kept his parents’ lives a secret from him. Meanwhile, Snively schemes from inside his prison cell.

Like everything connected to Sonic, Karl Bollers remains a controversial figure among the fandom. In some circles, he’s actually even more hated then the widely loathed Ken Penders. Bollers’ style is no doubt different then the previous writers to work on the book. He utilizes a lot more comic book narration. His dialogue is a little more stylized, different the the broad exposition and lame one-liners of Penders. Yet for a story like “Running to Stand Still,” the narration actually works pretty well. Sonic spends most of the story wrapped up in his own thoughts, considering his place in a rapidly changing world. While Bollers’ prose borders on the cheesy at times, it’s well utilized in this context.

Sonic is acting unusually moody. While sitting around during one of Sally’s meetings, he fights off sleep. Rotor asks Sally if he can take some time to pursue his missing family, a plot point abandoned back in issue 32. She vetoes the idea, saying that Rotor’s technological know-how is needed at home. When Sonic asks again on the walrus’ behalf, she gives the same answer. When the Robians raise the idea of moving into the mostly abandoned Knothole Village, to escape the persecution by the fearful public, King Max denies the idea. (His reasoning isn’t expounded on. King Acorn is just a jerk.) Sonic doesn’t seem suited to politics and he makes his feelings known to Rosie. The plot point isn’t quite resolved but Sonic comes to a realization: That he has to make a difference. Thus, he needs to go wherever a difference needs to be made.

Yet something is bothering Sonic closer to home. For years, Uncle Chuck was the only connection to his presumed lost family for years. Over the last month, Sonic has discovered that not only are his parents alive but Chuck’s been keeping their existence a secret from him for years. This provides the main emotional conflict throughout this issue, as Sonic continues to snipe at his uncle, his resentment showing. Eventually, the two resolve their problem, walking through a wooded area. Chuck explains his actions, that Sonic’s pain from missing his parents would cripple him too much. I’m not sure if I agree with that but Sonic and Chuck hug it out.

Honestly, it’s kind of ballsy of Bollers to build an entire story around emotional stakes. There’s truly no action in issue 54 at all. Uncle Chuck is testing Sonic’s speed in a variety of locations, across the treetops, the ocean waves, the desert plains, and a giant hamster wheel. That’s the closest this issue comes to an action sequence. While imprisoned in Devil’s Gulag, Snively activates a device hidden under his fingernail. This awakens a stashed-away collection of Egg-Robos (referred to as Eggbots here), presumably hidden away back in “Battle Royal’s” “The Map.” What Snively is up yet isn’t revealed, as the comic ends just as the machines fly overhead.

Last time we saw Nelson Ortega’s work in issue 46 and 50, it was pretty shaky. He’s improved a lot since then. Sonic still goes off-model on two occasion, he’s head developing into a weird shape. Otherwise, the artwork is good. The opening page of Sonic bouncing through the treetops of Knothole or hydroplaning across the ocean waves are quite impressive. Ortega’s obviously been taken some lesson from Patrick Spazinate, as Nelson’s take on Sally is clearly influenced by Spaz’. He also does some good work with facial expressions, focusing on Sonic’s face as he’s lost in thought. A different artist, newcomer John Herbert, illustrates the interludes of Snively in prison. Herbert’s work is incredibly moody, full of shadows and detail. His one-pager of the Eggrobos emerging from their eggs looks great. I’m not sure why two artists worked on the book but issue 54 is mostly a good looking one.

Though not quite perfect, “Running to Stand Still” easily represents Bollers’ best work on the book thus far. [9/10]