Sonic/Mega Man Free Comic Book Day 2015

Sonic/Mega Man Free Comic Book Day 2015
Publication Date: May 2015

Archie was frequently not great at scheduling. This was a problem when it came to their big events. Free Comic Book Day comes every May. Yet the April 2015 issues of Archie’s “Sonic” books take place after the events of that year’s FCBD special. Of course, most of these issues were all doing the same thing: Preparing the readers for “Worlds Unite,” the next Sonic/Mega Man crossover event. Yes, kids, the next five weeks or so will be taking us back to Crossover Land. Oh boy, am I excited. As they did in 2013, Archie split that year’s FCBD special between the speedy hedgehog and the Blue Bomber.

The Sonic half is devoted to “Sonic Comic Origins: Into the Unknown,” which seems to take place after the end of “Champions” but before the conclusion of “Spark of Life.” Sonic is going for a leisurely jog through a coastal area when Dr. Eggman attacks. This battle is interrupted when a massive dimensional wedgie opens up. Some sort of lava-y dragon harlequin baby pops out, causing Robotnik to flee. Luckily, Silver arrives on the scene and helps Sonic to put that thing back where it came from. Afterwards, the telekinetic explains that the events of the Super Genesis Wave has caused dimensional portals to open all throughout time. Gee, I wonder if those could allow people to jump between worlds and zones?

Before actually talking about this story, it’s time for one of my favorite activities: Needless nerd pedantry! The Sonic story contained within the 2015 FCBD is identified as a Comic Origins story. These have usually been used to expand on the new, post-reboot backstories of Sonic’s supporting cast. “Into the Unknown” gets this branding despite not being devoted to anyone’s origins. I guess we learn a little about Silver’s home world here but that’s about it. Unless the origin we’re learning here are for the Genesis Portals, which seems like a cheat. I’m just saying, Archie: Don't say this series of stories is for one thing and then use it for another thing.

Instead, “Into the Unknown” is devoted to two things: Action and exposition. Sonic and Silver refer to the monster as an ifrit, even though it doesn’t look like an Islamic fire spirit. Apparently, they fought this thing before during the events of “Sonic Rivals 2,” a video game I don’t think I knew existed an hour ago. Anyway, the action scenes are serviceable. There’s a couple of cool moments of Silver tossing Sonic through the air using his telekinesis. The fight is mildly neat but has a disappointing ending, with Sonic simply luring the monster back to its home dimension.

The second half of the story is devoted to explaining the mechanics behind the Genesis Portals. It seems you can’t just reboot an entire multi-verse without some unforeseen circumstances. It's as if the shards of the shattered universe are flying backwards and forwards through time, tearing holes in the dimensional fabric of reality. The science behind that seems... Questionable. But this is not meant to be actual ramifications of Sonic's actions during “Worlds Collide.” Instead, it's a convenient plot device to set up future crossovers and other inter-dimensional shenanigans. Under more than two minutes of scrutiny, this shaky justification for the incoming crossover is revealed as undeniably shallow.

This issue also happens to introduce one of my least favorite reboot characters. Hanging out with Silver in the future is Professor von Schlemmer. Like Breezie, von Schlemmer has is origins on “Adventures of Sonic the Hedgehog.” Like that version of the character, he's an eccentric but ultimately morally upright super-genius scientist. The comic ditches the cartoon version's more annoying attributes. However, it keeps his eye-seering visual components. For some reason, von Schlemmer has turquoise colored skin and blazing orange hair with a yellow lightning bolt through it. That kind of color palette was acceptable in a day-glo cartoon show but looks really out-of-place here. He also has oddly mechanical patches on his face and skin. It all makes him look like a half-undead corpse, some sort of weird Frankenstein monster. There's no explanation for why von Schlemmer is so viscerally unpleasant to look at.

Adam Bryce Thomas provides the artwork and, hey, it's pretty damn good. There's a fantastic sense of motion and action to Thomas' work here. Sonic always looks very sleek and fast, Thomas usually portraying the hedgehog in motion. The Ifrit looks fittingly grotesque, a giant and squirming whale baby made of bubbling magma. Yet Thomas' work is strong enough that it's visually compelling even when not focusing on the action scenes. A shot of Silver levitating Sonic, who is rather casually about the situation, gets most of its humor from Thomas' artwork.

So what about that Mega Man story? I had long since stopped reading the “Mega Man” comic by this point but figured, for the sake of professionalism, I should at least give this half of the free comic a look. “World of Payne” mostly revolves around Xander Payne, a reoccurring adversary of Mega Man's, exclusive to the comic book. The story is devoted to explaining his back story and seems to do this largely by recycling panels from previous comic books. Apparently Payne is an anti-robotics extremist, whose terrorist actions threatens both organic and mechanical beings. After an encounter with a time machine threw him into the future and back, Payne has been captured. In his cell, he rambles about future events... including another visit from a blue hedgehog.

I don't have too much to say about this one, other than the very strong pun in the title. Payne does seem to be a more compelling villain than Dr. Wily, who is primarily motivated by his ego and the petty need to humiliate his rivals. Though we don't see much of it here, I bet some of Payne's concerns about the effects robots are having on humanity are valid. So he's already way more complex than most of Mega Man's rogue gallery. I dislike using so many different artists and art-style in this story, which certainly leads to a schizophrenic appearance. And the set-up for “Worlds Unite” is as blatant and distracting here as it is in the “Sonic” half.

So it's a pretty mediocre Free Comic Book Day special. The “Mega Man” story is a glorified clip show, albeit one devoted to a fairly interesting villain. The “Sonic” story is mildly fun as an action story but offers little else, aside from rocketing us towards the next big crossover. I don't have especially strong feelings either way about this one, though they veer slightly towards the negative. [5/10]

Sonic Universe: Issue 50

Sonic Universe: Issue 50
Publication Date: March 2013

“Sonic Universe” reaching its fiftieth issue should be a cause for celebration. None of the various Archie Sonic spinoffs have ever reached that goal before. However, we are now in a new era of corporate meddling. The general impression I’ve always gotten is that, for years, Sega barely paid any attention to the comic books. This allowed the writers to get away with almost anything. As long as the book published the promotional tie-ins they demanded or didn’t turn Sonic into a blubbering weakling, Sega more or less left the creative staff alone.

However, following the Frightful Pendering, Sega realized they should probably pay more attention to what this comic book was doing. Most of these truly inane corporate mandates would rear their head following the reboot but a few went in to affect right before. Originally, issue 50 of “Sonic Universe” was going to feature the conclusion to the long-canceled cartoon “Sonic Underground.” (Which does, after all, exist as a separate dimension in the Archie multiverse.) You can even find Spaz’s original cover art online. Sega, seeing no point in promoting a cartoon that had been out of production for fourteen years, put the kibosh on that idea. Around the same time, the company declared that there was only one Metal Sonic and that all imitators had to go. This second mandate would clearly inspire Flynn to write today’s cover story.

“Forged in Fire” begins by flashing back to issue 240’s invasion of Mobotropolis, where Shard easily bested another model of Metal Sonic. Aboard the Death Egg, Robotnik is incensed at this defeat. He builds a new model of Metal Sonic, with a power gem core. He also downloads the memories and experiences of all prior versions of the robot into this new one. Eggman quickly deploys the machine into Mobotropolis. Shard, who has found it difficult to fit in, quickly rushes into action against his double.

One of the many differences between the Archie comics and the Sega games is the treatment of Metal Sonic. In the games, there’s only one Metal Sonic and he’s Eggman’s most dangerous robot. (He, naturally, spends most of his time training for the Olympics.)  In the comics, Metal Sonic is just another mechanical goon, having been destroyed and rebuilt countless times. Sega, determined to streamline their corporate vision, demanded the comic be brought into line. So Eggman builds a new Metal Sonic, closer to Sega’s ideas. Flynn even tried to give this new Metal a little more personality but his corporate overlords were adamant. The comic version must match the game version. Thus, Metal barely talks and has no motivation beyond wanting to destroy Sonic. Bummer.

Issue 50 is another issue primarily devoted to action. The fight between the two robotic hedgehogs takes up most of the issue. And it is, admittedly, pretty cool. There's a bitchin' two page spread devoted to the two smashing, clawing, and shooting lasers at each other. This Metal Sonic is more clever than previous models, using a rock to jam Shard's cannon and generating a shield around himself. Of course, Shard's versatility and intelligence makes this more than an even fight. If you're looking for hot Metal on Metal action, well, issue 50 of “Sonic Universe” more than satisfies.

But that's not the most interesting thing about the issue. Before Metal storms into Mobotropolis like an asshole, we're greet to a scene of Shard and Nicole playing digital chess. It seems that the two A.I.s have been spending a lot of time together. Shard still doesn't feel like he belongs among the Mobians, due to his past as a killer robot. Nicole, considering her recent exile, more than understands. Moreover, there's a cute chemistry between the two that definitely has a flirtatious edge. The issue ends by confirming that Shard at least has a crush on the computer program. I really would've liked to have seen that play out.

In fact, Shard is really what keeps this specific comic book interesting. Despite only existing for ten months by this point, Shard already feels like a fully developed, lovable character. During his chess game with Nicole, he acts like a big kid. He continues that jovial mood during much of the fight with Metal Sonic, cracking jokes and one-liners. Yet the robot has a vulnerable side too. He knows Sonic doesn't trust him yet – confirmed by the blue hedgehog's sole appearance in this issue, where he wonders if Shard has truly reformed – and just doesn't feel like he belongs. At the same time, he rushes right into battle to protect the city. That's the definition of a hero, right there: Someone who protects innocents even when he's not sure they like him. He even takes the fight out to the barren remains of Knothole, so as not to endanger anyone.

Shard is a great character. So, of course, they kill him off. I mean, basically. The fight concludes with Metal Sonic detonating his power gem core. The blast completely destroys Metal and tosses Shard far away, seriously damaging him. His body mangled, he goes offline shortly afterwards. (Though continues to quip and flirt with Nicole as he does.) Now, whether or not Flynn truly intended to kill Shard is unknown. That would certainly be inline with Sega's new mandate. However, the last panel here lingers on Shard's power gem core, showing it cracked but not destroyed. I wonder if his plan was for Shard to take on a new shape, possibly as another A.I., so he could keep the fan favorite around in some form without violating Sega's rules. Of course, we'll never know because the reboot happened.

By the way, the cover makes a big deal about this being a 48-page special issue, the first book of that length that Archie has published since the end of the “Sonic Super Special” quarterly series. However, the main story only runs twenty-four page. In order to pump the issue up to its trumpeted length, this comic also includes part of Metal Sonic's first appearance from “Sonic the Hedgehog: Issue 25.”

Notice I said part. Only the second half of the story is reprinted. Even then, the ending is clipped short so Archie can shill for “Worlds Collide” some more. It's a really odd decision. I can't imagine new fans would be interested in checking out an old story after reading less-than-half of it. (And the differences in tone between what the series was back then and what it was at this point are very evident.) I don't know, maybe an extra-long issue had already been committed to when Sega canceled the “Sonic Underground” story, forcing Archie to throw a half-assed reprint into the back instead.

But, hey, at least we get to appreciate some vintage Spaz artwork. Yardley illustrates the cover story and does a really good job. It seems drawing transforming metal hedgehogs is really his forte. He clearly enjoys penciling the various weapons and abilities the two can activate. That two-page spread includes Shard swinging a mjolnier-style hammer, for one example. He also manages to get some emoting out of Metal Sonic just through his battle language, such as when Eggman has to rein in his overwhelming desire to murder Sonic. So it's a good looking issue.

Oh yeah, did I mention that cover? It's got a glossy, foil sheen to it! I didn't even know comic companies were still pulling that foil cover bullshit by 2013! It's also hugely misleading, as Sonic and Metal Sonic never actually meet in this issue. Either way, this issue represents one of the better examples of Flynn dealing with the Sega mandates. Instead of kowtowing to them like a coward, he writes around them in a clever way. It also gets us one more issue of Shard being a bad ass. As the final pre-boot issue of “Sonic Universe,” it's a pretty good one. Honestly, I probably enjoy it more than I would've a “Sonic Underground” conclusion anyway. [7/10]

Archie & Friends: A Halloween Tale

Archie & Friends: A Halloween Tale
Publication Date: September 1998

Happy Halloween, Hedgehogs Can't Swim readers! If you've been reading this blog for a while, you know that I love this day. Halloween isn't just my favorite holiday, it's my favorite time of year. This spooky, scary festival means a lot to me. Sadly, the “Sonic the Hedgehog” franchise doesn't indulge in the macabre or morbid very often. I've bemoan the lack of existence of a “Sonic” Halloween special before.

Except... I was wrong. There is a “Sonic” Halloween special. It's even a part of my beloved Archie-verse! But you'll be forgiven for not knowing this existed. “Archie & Friends: A Halloween Tale” is a short, ten page comic book that was published strictly as a promotional gimmick in September of 1998. I had never heard of the book before reading about it on the Mobius Encyclopaedia. Though super obscure, it's not especially rare and can be bought fairly cheaply online. I'm happy to present my thoughts on this weird bit of “Sonic” lore to you on this happy Halloween.

The book is also another one of those ill-conceived crossovers Archie was attempting around this time. “A Halloween Tale's” sole story is entitled “A Festival of Fantasy.” It depicts Sabrina the Teenage Witch meeting Sonic before their crossover in Sonic Super Special #10.

“A Festival of Fantasy” has Sabrina's talking cat Salem, weirdly depicted primarily as live-action photos from the then-relevant TV sitcom, tasking Sabrina with picking up his comics. The smarmy clerk, who can't believe a woman would be interested in comics, quickly strikes up a conversation with her. Confused, Sabrina accidentally recites a spell over the long boxes. This zaps her and Stevie into the world of Archie's “Sonic” book, where Sonic and Knuckles are currently fighting with Dr. Ivo Robotnik. Desperate to escape, Sabrina zaps herself, Stevie, and Sonic and Knuckles back out of the comic and into her world. Strapped for time, Sabrina is forced to drag Sonic and Knuckles to Cheryl Blossom's Halloween party. There, the Mobian heroes get into a scrape with Archie and Jughead before Sabrina successfully zaps them away.

Aside from the mere existence of a “Sonic” Halloween special being cool, “A Halloween Tale” is  interesting to me for another reason. I had always assumed that Archie begrudgingly tolerated the “Sonic” series' success. I imagined Archie was far more proud of the stupid teen comedy series that gave the company's its name. That they dismissed “Sonic” as a lame licensed book, of little interest. They might still be true but “A Halloween Tale” has Sonic happily standing alongside Archie's titular characters and his supporting cast. At one point, Ken Penders' script even refers to “Sonic” and “Knuckles” as best-selling books! So that's nice.

Then again, Ken Penders' might have been serving his ego some with that line. “A Halloween Tale” also has someone excitedly grabbing the first issue of “The Lost Ones.” (Which wouldn't actually come out until the year 2000.) The issue also ends with Salem, atop a pile of comics, calling the story great and imploring the reader to pick up more comics by Penders and friends. Real subtle, Ken.

“A Festival of Fantasy” is primarily a piece of cross-corporate promotional synergy. Archie packs the thing full of cameos. Aside from Sabrina and Salem, Archie himself, Jughead, Cheryl Blossom in a Playboy bunny outfit, Betty, Veronica, and Reggie all appear. There's a spread showing a crowd at the Halloween party. That includes Josie and the Pussycats and Sabrina's archenemy Enchantra. Some of those vintage superheroes Archie likes to bring back occasionally appear too: The Shield, the Web, the Comet, Black Hood, Blackjack, Steel Sterling, and the Jaguar. (And Stevie's Halloween costume is of Pureheart, Archie's superhero alter-ego.) Even further in the backgrounds are non-Archie characters like Shadowhawk, Astal, Charlie from “Street Fighter,” and Penders' Particle.

You'll notice I'm talking more about “A Halloween Tale's”  status as a novelty than as an actual story. The plotting is pretty fucking thin and lousy. The jokes, as seems to be in keeping with the “Archie” titles at the time, are pretty lame. The characters are broad and annoying. Reggie is an unreasonable asshole who tries to pick a fight with Sonic and Knuckles. For no particular reason, Jughead's Halloween costume is Robotnik, leading to an especially contrived confrontation. Robotnik's presence is a continuity error, as the classic version of the character was dead by this point. If you think Archie Sonic fans overlook this, you severely underestimate their nerdiness.

The script is exactly as lame as you'd expect a ten page long crossover to be. Ken probably wrote this fucking thing in half an hour. Artwork wise, “A Halloween Tale” is a little more interesting As in “Some Enchantra Evening,” the Archie characters and Sonic characters are drawn by different artists. Dan DeCarlo draws the Archie crew and does slightly better than the later work of his I saw. He obviously enjoys drawing sexy girls like Cheryl or Betty. None other than Patrick Spaziante handles the “Sonic” cast. They look pretty damn great, expressive and stylized. The contrast between the two styles are extreme but it's always fun to see Spaz draw the Sonic crew.

As a Halloween special, “Festival of Fantasy” is pretty underwhelming. There's nothing spooky, scary, creepy, eerie, or even spoopy about this particular book. Still, it's mere existence is delightful to me. It's a mediocre comic book but the sheer novelty factor goes a long friggin' way. If you're a fan of stupid bullshit, like me, I'd recommend you try and find a copy. [5/10]

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]

Sonic the Hedgehog: Issue 98

Sonic the Hedgehog: Issue 98
Publication Date: June 2001

“Sonic Adventure 2” was a turning point for Sega’s iconic hedgehog hero. Whether or not it was a good one is endlessly debated. The first “Sonic Adventure” was flawed but still relatively well received. The quality of its sequel is less widely agreed upon. The game’s overreaching writing, questionable design decisions, and rushed release date set a sad precedence Sega has yet to shake.

“Sonic Adventure 2” also introduced Shadow the Hedgehog, an incredibly divisive character that paved the way for ten thousand recolors. It brought an “extreme” element to the series, featuring Sonic grinding and skateboarding. This attempt to make the hero look cooler just made him look geekier. These changes and more invited a younger audience to the franchise, that gave birth to the divided, contentious, juvenile Sonic fandom that exists today. The game itself is more mediocre then bad but I can’t help but see its overall influence on the series as negative.

All this ranting has little to do with Archie’s comic adaptation of “Sonic Adventure 2” which appeared in issue 98. When Archie adapted the first “Sonic Adventure” game, the comic book actually with that name didn’t show up until several months after the game was released. Perhaps Sega allotted Archie some time to fit the game’s plot into their comic? Whatever the reason, Archie wasn’t given that leeway with “Sonic Adventure 2.” The adaptation rolled out the same month as the game, June of 2001. Because of this, the adaptation appears totally without context. It doesn’t merely interrupt the current story line. It exists totally outside of it, no explanation being given for when these events are happening. It’s clear that Sega wanted their “Sonic Adventure 2” adaptation when they wanted.

This approach is frustrating but only so much. I probably couldn’t handle another multi-issue story arc awkwardly fitting the game’s story into Archie’s world so soon. Since Station Square is already established, fewer leaps are necessary to insert “Sonic Adventure 2” into the comic. The President of the World becomes the President of Station Square. G.U.N. simply becomes Station Square’s police force, instead of some sort of world-wide military organization. Robotnik stumbles into Gerald Robotnik’s laboratory while fleeing from Silver Sonic II, this sudden addition to his family history being quickly referenced in dialogue.

In some ways, Karl Bollers’ “Sonic Adventure 2” even improves on the game’s script. Instead of everyone stupidly mistaking Shadow for Sonic, despite the two looking nothing alike, overly dark videography is responsible for the confusion. Instead of Rouge the Bat’s somewhat convoluted motivations from the game, she’s simply hired by the President to retrieve Station Square’s Chaos Emerald. Not all of Bollers’ additions are welcomed. A detective named Mr. Moto adds little and the anime boy band strike squad sent to retrieve Sonic is awfully silly.

In the end though, “Sonic Adventure 2” can’t overcome its status as a hastily produced game adaptation. Like I said, no explanation for how these events affect life in Knothole is given. The Freedom Fighters do not appear. Instead, Sonic is grabbed by G.U.N. and carried to Station Square. We have no idea how this fits into Bollers’ current story line. Robotnik’s motivation, or even the exact nature of Robotnik’s plan, isn’t expounded on. Shadow has no personality in this appearance, simply existing to motivate the plot.

And then, of course, it just ends. Sonic is only a few minutes into “Sonic Adventure 2’s” story, pursued by an angry Mac truck, when the issue concludes. There was no way to fit “Sonic Adventure 2’s” entire plot into one comic book. Instead, we get an Archie-ifed prologue and a bit of the actual game. Then an editor’s box informs us to buy the video game if we want to know the rest of the story. This does not, of course, explain how the rest of “Sonic Adventure 2” fits into the Archie-verse. It also confirms that this issue you just read isn’t an actual story. Instead, it’s nothing more then a commercial for Sega. Which is, you know, disappointing.

With this knowledge intact, “Sonic Adventure 2” becomes a showcase for Patrick Spazinate’s artwork. Which is pretty fucking rad. The action is highly dynamic. Robotnik fleeing from Silver Sonic, Shadow’s fight with the robot, and Sonic’s escape from gun leap off the page. His snowboard assisted race through Station Square is clearly the centerpiece of the issue. The hedgehog’s leap from the helicopter and subsequent ride through Station Square is gorgeous to look at. There’s even some more dramatic work, such as Shadow’s night time robbery of Station Square. The coloration is a little off and Spaz’ anime excesses don’t always work. But the way the book looks is still obviously its best attribute.

The half-ass attempt to adapt “Sonic Adventure 2” doesn’t end with the cover story. The back-up is a rushed journey through Shadow the Hedgehog’s origin. We see Dr. Gerald floating aboard the ARC satellite station and learn why and how he created Shadow. Maria appears, establishes her connection with Shadow, and then dies. We then rush further through Gerald’s work with the government, all in the name of setting up the video game’s plot.

“As the Shadow Awakes!” plays into Ken Penders’ worst tendencies as a writer. Dr. Gerald speaks exclusively in exposition. When aboard the ARC, he goes on and on about his objectives. In speech bubbles above his head, he expounds in great detail upon his intentions and plans. It’s not limited to one character. All the G.U.N. soldiers and scientist also speak in strangled exposition, going on endlessly about their plans. It’s super boring to read.

As an origin story for Shadow, “As the Shadow Awakes” is especially lame. You know why? Shadow is barely in it! He appears as a pair of cartoon eyeballs, watching helplessly why Maria is gunned down by the government stooges. We catch a glimpse of a hand or leg in a stasis tube or as he climbs aboard the escape pod. Once again, we get no understanding of his personality, his quirks, his wants, needs, or thoughts. Ken seems more interested in Gerald, truthfully. The story concludes with Shadow off-screen, the character stored away, waiting for the video game to start.

Considering how full of holes “Sonic Adventure 2’s” plot was anyway, I’m grateful Archie didn’t stretch this out for half a year. Shadow and Rouge would eventually become relatively important characters but their first appearances is underwhelming. Overall, Spaz’ bitchin’ artwork aside, it’s a deeply lame affair, something tossed out quickly to fill a mandated deadline. But at least it’s short. [5/10]

Sonic Super Special: Issue 13 – Sonic Adventure

(Yes, I have heard the rumors concerning the possible cancellation of Archie's "Sonic" series. I intend to write about this eventually. But until we get more information - or, god forbid, an official confirmation - business will continue here as usual.)

Sonic Super Special: Issue 13 – Sonic Adventure
Publication Date: March 2000

After what seemed like months of build-up, Archie’s proper adaptation of “Sonic Adventure” finally hit newsstand in March of 2000. That’s a full six months after the game was released in America. Like many young Sonic fans, I received a Dreamcast and “Sonic Adventure” as a Christmas present. I’m pretty shitty at video games but even I managed to complete the game by March of 2000. During the seemingly endless build-up to Archie’s adaptation, I became really curious about how Archie would integrate the game’s story into the comic’s world. Even back then, I was disappointed with what we got.

“Sonic Super Special: Issue 13” shoves all of “Sonic Adventure’s” story lines into sixth brief chapters. After Sonic’s encounter with Chaos in issue 82, and Amy’s subsequent disappearance, the Freedom Fighters break into three teams. Sonic and Tails fly across the forest around Station Square, quickly encountering Knuckles, Robotnik, and the evolving Chaos. After a brief fight, the various story threads – including Big the Cat and Amy Rose – converge on Robotnik’s Egg Carrier warship. There, the heroes come together to defeat the villain’s latest scheme… Or, at least, it seems that way.

How many times have I emphasized this? Archie did a pretty shitty job of incorporating the Sega elements into its comic book. After practically, literally shoving Station Square under a rock, the “Sonic Adventure” special barely makes an effort to make the comic’s cast work in the video game plot. See how I mention the Freedom Fighters splitting into three teams above? Yeah, that doesn’t matter. Antoine and Bunnie take a pointless trip around the city, trying to spot any sign of Robotnik. Sally and Nate Morgan shack up in the library, researching information on Chaos. After the first chapter, we never see these characters again. The story turns its focus entirely to Sonic, Tails, and Knuckles. So why bother with this introductory chapter at all?

If we’re being brutally honest, it’s not like “Sonic Adventure” had an especially great story to begin with. The much hyped Chaos isn’t anything more then a series of boss battles, without a lick of personality on his own. The game didn’t even play up the irony of Sonic fighting an enemy made of water, a substance he notoriously has trouble navigating. (See also: The title of this blog.) The video game had to go to lengths to justify the role established characters like Tails and Amy Rose could play in this story. New characters, like Big the Cat and E-102 Gamma, were even more unnecessary additions to the plot. The entire multiple characters aspect of the game was, in truth, nothing but a lame gimmick, an excuse to shove a number of different game styles into one package.

As mediocre as “Sonic Adventure’s” plot was, Archie completely butchers the story to make it fit into a 48-page comic book. Listen, I understand that a video game provides far more time and space to explore things. Yet maybe Archie shouldn’t have tried to shove the meat of the game’s story into one special? Maybe they should have, I don’t know, tried serializing it over several comics? You know, instead of wasting three whole issues on just setting up the damn adaptation? While the game seems to take place over the course of a week, letting its concept breathe a little, Archie makes all the events feel like a few hours. Sonic and Knuckles have one fight with Chaos, blast off for the Egg Carrier, and have their final showdown with the enemy. No time at all passes between these events.

An alternative method to making the story work in so few pages would’ve been to cut the more unnecessary characters all together. Let’s be honest: What did Big the Cat and Amy Rose really add to “Sonic Adventure’s” plot anyway? Instead, Karl Bollers awkwardly inserts the characters into a handful of scenes. As in the game, Big’s plot is entirely superfluous. He never directly interacts with the other heroes and his mission has no affect on the overall plot. Amy, meanwhile, spends nearly the entire issue captured by Robotnik. She appears in a handful of panels and that’s the extent of her involvement.

When it’s not juggling the useless characters or abbreviating the story considerably, Archie’s “Sonic Adventure” adaptation is awkwardly juggling the actual video game mechanics. When Sonic and Tails are flying towards Eggman’s war ship, the Tornado transforms for absolutely no reason. Once aboard the ship, Sonic has to step on a series of buttons on the floor to transform the vessel. During the final fight with Chaos, Robotnik deploys a series of freezing machines to attack Sonic. This is a very poor idea, seeing as how Knuckles and Sonic immediately use the machines to freeze Chaos. Damn, Eggman, you didn’t think that one through, did you? All of these scenes just go to show how very different a media comic books are from video games.

Then again, maybe we can’t blame Karl Bollers too much for the comic’s scattered nature. Reportedly, Sega refused to provide Archie with an actual translation of the game’s script. Instead, Karl and Ken Penders had to play a Japanese version of the game and adapt their notes from that. So it’s no wonder the script is full of gaffs. Multiple references are made to Robotnik destroying the Ancient Ruins. As in, the unoccupied buildings outside the city limits. Wouldn’t you think Station Square, full of people and the current residence of the Freedom Fighters, would be a more dramatically sound place to threaten? What about the way the issue interchangeably uses the phrases Chaos Emeralds, Master Emerald shards, and Super Emeralds? Or that one time Knuckles is literately teleported onto the Egg Carrier’s deck, for seemingly no reason?

The script is a mess, perhaps inevitably so. Somehow, the artwork is even worst. “Sonic Super Special: Issue 13” represents the beginning of my least favorite period in Archie Sonic history. Rom Lim, a Marvel artist apparently of some acclaim, draws the issue. Soon enough, he would become the regular artist for the series. This is despite Lim’s complete inability to draw Sonic and friends. The Sega characters frequently have overly spindly bodies, with noodle limbs and insanely huge hands and feet. Lim’s facial expressions are hideous. His mouths are always angular, his faces blank, and his eyes perpetually stuck in stink mode. Often, his characters are making expressions totally at odds with the script, such as when Knuckles smirks evilly when encountering Sonic. A few times, Lim draws Robotnik as just a floating head.

As bad as the Sega crew looks, the Freedom Fighters somehow look shittier. Lim’s Sally is composed of jagged, furry edges. Her face bends into deeply unflattering shapes. Antione also has noodle legs but a weirdly weaselly face. Bunnie gains a strangely shapely, human-like body but has a face that wouldn’t pass muster among Bugs Bunny fan artist. A flashback to echidna history has Lim drawing the Knuckles Clan as indistinct blobs. Maybe Lim hadn’t adapted yet to drawing furries. Then why do his humans look equally generic and off-model? It’s absolute shit and, for some reason, Archie would invite Lim back to draw roughly a hundred other issues.

If it isn’t readily apparent, I’m not a huge fan of the “Sonic Adventure” adaptation. The story is a hack job. The pacing is abhorrent. The comic does a terrible job of balancing the different plot threads. The artwork is garbage. (Spaz contributes two whole panels and they're better then everything Lim would draw during his entire tenure on “Sonic.”) Archie has bungled some big events, before and after, but few were as poorly handled as “Sonic Adventure.” And get used to it, because things are going to stay this way for a while. [4/10]

Sonic the Hedgehog: Issue 82

Sonic the Hedgehog: Issue 82
Publication Date: February 2000

For quite some time now, I’ve been talking about Archie and their “Sonic Adventure” adaptation. The truth is, the last several issues haven’t truly been a part of that adaptation. Instead, the comic book has been setting up the various narrative changes necessary to fit the new video game components into the comic’s world. With issue 82, the “Sonic Adventure” adaptation begins in earnest.

“Night of Chaos” starts with Sonic enjoying his stay in Station Square. He goes for a late night run across the rooftops of the city, pretending to be his favorite superheroes. Instead, he comes upon a collection of cop cars heading in one direction. He follows them, discovering a strange creature fighting the police. A being made of liquid, Sonic has a brief battle with the creature. From a distance, Dr. Eggman observes.

“Night of Chaos” is a direct adaptation of the opening boss battle of “Sonic Adventure.” The cover story even features some direct quotes from the video game. When the Station Square police officers attempt to shoot Chaos, their bullets harmlessly lodge in the creature’s watery body, falling to the ground. The fight, we discover, has been a way for Robotnik to test his newest weapon against Sonic. What Karl Bollers adds to this pre-existing plot line is some goofy opening narration, where Sonic talks about superheroes with names like the Rush, the Dark Bat, and the Super Surfer.

In other words, “Night of Chaos” is basically an action story. It’s a short one too, only running seven whole pages out of the book. An interesting hodgepodge of artist worked on the story. James Fry and Patrick Spazinate did the outlines. Nelson Ribeiro finished the pencils. This means there are individual panels that are clearly Fry or Spaz’s work. Such as anime-esque eyes and mouths on Sonic and the Station Squarers. Or nicely detailed panels of Sonic fighting off Chaos. The most distinctly Ribeiro touch is Chaos himself, who looks somewhat odd. His surface isn’t smooth but choppy, looking like a raging oatmeal monster instead of a being of animated water. Still, “Night of Chaos” is mildly entertaining for what it is.

The second story, “Door to the Past,” is this month’s Knuckles adventure. The writer and artist go uncredited but it’s clearly the work of Ken Penders and Steven Butler. Anyway, the plot: Knuckles’ exploration of the Ancient Ruins comes to a pause when he’s possessed by an ancient spirit. Calling herself Tikal, the entity explains the history of the area, its connection with the echidna race, and what happened to destroy that civilization. Meanwhile, the Chaotix continue to negotiate with the cat people on the near-by mainland.

If “Night of Chaos” was mostly a single action set-piece, “Door to the Past” is basically an exposition-fest. Once Tikal gets in contact with Knuckles, the story becomes devoted to parsing out the Ruins’ history. It turns out the area was colonized by some echidnas. The scientists left after fighting the felines while the warrior class stayed. In hopes of defeating this enemy, the warriors attempted to steal some Chaos Emeralds from a local shrine. This enraged Chaos, the protective spirit of the shrine and the peaceful Chao that lived there, who destroyed the echidnas. If you played “Sonic Adventure” back in 1999, you knew this already. Once again, the video game mythology fits roughly with Penders’ established Knuckles mythology. It would be years before Ian Flynn tied these two sources together in a more logical manner.

Knuckles is given nothing to do but respond to this information, making “Door to the Past” a fairly passive story. What about the Chaotix? It seems like Knuckles’ buddies have been in the same situation for months now. They remain captured by the residents of the Mysterious Cat Country. There’s some loose attempts at negotiation but it doesn’t amount to much. Just when things are threatening to get interesting, Penders has Locke wonder in. Because that always works out so well. In other words, “Door to the Past” feels mostly like narrative wheel spinning then actual story telling.

Issue 82 continues Archie’s recent habit of stuffing three stories into one comic book. “Double-Crossed Circuits” follows E-102 Gamma. We see his “Sonic Adventure” back story play out. Robotnik sends Gamma and his brothers to collect Froggy. Only Gamma succeeds, causing Robotnik to scrap the other robots. Afterwards, Gamma is sent to interrogate Amy Rose. Instead, the frightened girl moves something in the machine. He rescues her and now must face the consequences of his sudden sentience.

I have a soft spot for E-102 Gamma. Out of all the additions that “Sonic Adventure” made to the hedgehog’s universe, he’s my favorite. A robot learning to love is a standard tale but the game imbued it with a surprisingly amount of grace. Archie more-or-less follows the same outline as the game. What it adds is an interior monologue for Gamma, which is the primary dialogue in the story. The narration boxes are overdone but it still provides some insight into Gamma’s sudden change. Unlike the other two stories in the issue, at least this adds something to the video game’s story. “Double-Crossed Circuits” isn’t a lot but it’s still probably my favorite story in this issue. (By the way, this one is also uncredited. Since Bollers and Chris Allan handled the last Amy Rose-centric back story, I’m assuming they did this one as well.)

You can’t fight progress. Sega would not be denied their “Sonic Adventure” tie in, no matter how poorly it fit Archie’s already established world. With Issue 82, the comic hews more closely to the game, making this probably the most direct adaptation in the series’ history. It’s hard to judge, since it’s more-or-less just a transfer from one media to the other. I suppose this is an okay issue, as the first story is a swift action piece and the last is a mildly interesting character study. Only that exposition-laden middle story is a problem. [6/10]

Sonic Super Special: Issue 11 – Girls Rule!

Sonic Super Special: Issue 11 – Girls Rule!
Publication Date: October 1999

Here in 2016, the big comic companies have gone out of their way to introduce new major female characters or slot other women into more prominent roles. You wouldn’t think anyone would have a problem with simple inclusions like this… Actually, if you do think that, welcome to the internet! I’m very flattered you chose to visit my blog first.

Anyway, by 1999, Archie’s “Sonic the Hedgehog” series had amassed a decent sized female cast. The company had even already attempted a woman-led series, with the ill-fated “Princess Sally” mini-series. For the eleventh Sonic Super Special, Archie decided to try out a similar tactic. All five stories featured in the issue revolved around the women in Sonic and Knuckles’ lives. (No, Amy Rose isn’t featured. The comic wouldn’t give her a bigger role for a few more issues.)

The first story revolves around Sally, still the most important lady in the comic at this point. “Ascension,” set before Robotnik’s reemergence and subsequent take-over of Mobotropolis, has Sally facing her destiny as future monarch of Mobius. She crawls into the Source of All, that weird golden pool in the basement of Castle Acorn. A direct conduit with the forces behind the universe, the Source shows Sally visions of her past and her future. Afterwards, it’s her decision to accept her fate or not.

Every story in Sonic Super Special Issue 11 was written by Ken Penders. By giving Ken so many pages to express himself, we get the full run of his talents and flaws as a writer. In “Ascension,” for example, we see the Penders obsessed with self-involved mythology and cosmic malarkey. The Source of All is an especially dopey plot element I’ve never liked. Literally making the House of Acorn divinely attuned seemed like a heavy-handed attempt to justify why an advanced civilization like Mobius still has a monarchy.

Having Sally directly interact with the Source doesn’t make it seem any less pushy. It shows the Princess her past, appears as her father and brother, before showing her a glimpse of the future. That is, the same future first introduced in “Sonic: In Your Face,” where Sally and Sonic are married with kids. What purpose this has on the wider story – beyond setting up the “Mobius: 20 Years Later” story Ken had been wanting to tell – I don’t know.

Somehow, this all amounts to the Source hoping Sally becomes Queen. She decides to ignore the comics puddle and follow her own path… Which was what she wanted to do all along. So what was the point of this journey again? At least “Ascension” isn’t too visually unpleasant a story. Jim Valentino, after drawing some seriously ugly stories for Archie, finally seems to grasp these characters. Sally, who spends the whole story in the quote-unquote “nude,” is mostly on-model. The use of shadows and lightning are fairly evocative. Some of the effects are cheesy and Valentino’s work is occasionally rather flat. Still, it’s easily his best work for Archie so far.

The second story, “Solo,” revolves around Hershey the Cat. Geoffrey St. John and Hershey sneak into Robotnik’s compound. While St. John is on the look-out, Hershey investigates Eggman’s computer. After discovering that her former teammate Valdez has been robotocized, as revealed in Issue 30 of “Knuckles,” she sneaks out and sets off an explosion.

Ken also draws “Solo.” While I’ve said lots of shit about Penders’ artistic abilities, “Solo” actually doesn’t look too bad. It’s a story devoted to stealth and investigation, which means there’s none of Ken’s static action. Robotnik’s new design looks fairly awkward and Hershey’s proportions are often off-center. Still, it’s definitely one of his better illustrations. As for the story, there’s not much to it. Hershey, hardly the most loved female Freedom Fighter, hasn’t had much development since her introduction in “Endgame.” At least she actually shows some confidence in this one, managing to go the whole story without being betrayed or screwing up. (Though St. John still needs to help her.) It’s a pretty forgettable story but not terrible or anything.

The third story, “Family,” centers around Lupe and the Wolf Pack. The wolves return to their home town, to find it wrecked by the new Robotnik’s forces. Soon, the wolves are taken hostage by a team of Robians led by a still brain-washed Uncle Chuck. After robotocizing Lupe’s children and one of her teammates, Lupe herself is ushered into the robotocizing tube. With her last ounce of free will, she clears the way so the rest of the Wolf Pack can escape.

“Family” should be an upsetting story. Uncle Chuck acts out-right evil in it, making cruel and sadistic statements on the behalf of his new master, Robotnik. Lastly, the story concludes with Lupe effectively being killed off. As a character that dates back to the SatAM series, Lupe’s exit from the series shouldn’t have been made lightly. And “Family” does feature some effective, powerful moments. Lupe’s response to seeing her kids roboticize is anguished rage. Yet Lupe, a born leader, is also pragmatic, always thinking of ways out of this situation. Even after being turned into a robot, her force of will is so strong that she can hold off the process’ mind control for several minutes, allowing the rest of her family to escape.

All of these events should impact readers greatly. There’s a few problems though. First off, “Family” takes up only six pages, which is hardly enough space to properly explore the emotions at play here. The perhaps bigger problem is that Lupe and the Wolf Pack, as they exist in the comic, haven’t gotten much character development. Though Lupe is a character we’re attached to, because of the cartoon, her comic counterpart has never been well utilized. Ultimately, “Family” is well intentioned but underdeveloped. Colleen Doreen is officially credited with the pencils but I suspect Art Mawhinney performed some uncredited clean up. Several panels closely resemble his work, which is quite different from Doreen’s other art we’ve seen.

Fourth in the book is “Upgrade,” revolving around Bunnie Rabbot. While working outside in Knothole Village, Bunnie collapses. Dr. Quack quickly checks on her. He deduces that her biological body parts and mechanical robot parts are in conflict with each other. The two components are rejecting one another. Her options are limited. Her choice is a risky de-robotocization process or upgrading her parts, preventing her from ever being wholly organic again. During this difficult time, Bunnie and Antoine comfort each other.

“Upgrade” reaches the emotion that “Family” couldn’t quite grasp. Unlike Lupe, Bunnie has been thoroughly developed as a character. This is a story totally focused on characters. Bunnie is frightened by the possibility that she might loose her abilities and usefulness to the team. Or she most face the fact that she’ll never be wholly organic again. Ultimately, the heart-to-heart with Antoine is the climax of the story. He lets her known that he’ll always love her, no matter what. It’s a really sweet moment.

And one slightly undermined by the story’s conclusion, where Bunnie happily accepts her sleek, new robotic parts. For such an emotional tale, a conclusion this gung-ho strikes the reader as slightly insincere. Still, “Upgrade” is definitely the stand-out story in this collection. (James Fry’s artwork, by the way, is serviceable, if a little too loose.)

The last tale here focuses on Julie-Su, Knuckles’ much beloved but often sidelined girlfriend. “Shadows” has Julie-Su exploring her past. After riding her bitchin’ hover bike back to the Dark Legion base, destroyed all the way back in issue 3 of “Knuckles the Echidna,” she encounters a man who claims to have raised her. What follows is an extended flashback, detailing Julie-Su’s origins and her time in the Dark Legion.

“Shadows” is, if nothing else, gorgeous to look at. It’s one of the all too few times Patrick Spaziante actually drew a whole story. In his style, Julie-Su’s grace and badassery is fully illustrated. Such as the scenes devoted to her exploring the broken down base, weapon drawn. Spaz’ work is, of course, insanely detailed. Every nook and cranny of the destroyed base is shown in vivid, rich detail. The few action beats in the story are brought to life brilliantly, leaping off the page. Framing the flashbacks in pink neon lines makes the story easier to follow too.

“Shadows” looks great but I wish its script was better. The story is designed to fill in Julie-Su’s back story. The best sequence is devoted to her own recollections as a Legionnaire, as she reflects on the militaristic routine she lived through and the cruel treatment from her superiors. Once Julie-Su encounters the elderly echidna Simon, he totally takes over the story. Penders enters full-on exposition mode. We learn that Julie-Su is the half-sister of Kragok and Lien-Da, the off-spring of former Dark Legion leader Luger. Following both of her parents’ deaths, Julie-Su had her memory wiped by her half-brother. (This event perhaps explains Julie-Su’s sometimes inconsistent motivations. It’s also lazy, another example of a Penders’ protagonist being manipulated by other, grander forces.)

In other words, Ken falls back on his awful habit of telling, instead of showing. He shovels a crap ton of character information on us, loosing the emotional bead of Julie-Su learning about her past and being reunited with her foster parents. Her reunion with her foster mom, by the way, happens entirely off-panel. The story ends before she can meet her again. I really wish Ken could’ve expanded “Shadows” into a story arc in “Knuckles,” allowing more room for the emotional aspects and letting the flashbacks play out in a more natural fashion. But, no, we had to get that storyline about Knuckles fighting a gorilla instead.

By packing five stories into 48 pages, the “Girls Rule!” special becomes especially uneven. “Upgrade” is very nearly a classic while “Family” and “Shadows” both have good moments, even if they overall fall short. “Solo” and “Ascension” mostly exist to tell us things we already knew. Still, a female focused quarterly is an idea I really like conceptually. If Archie was still doing mini-series in 1999, it could’ve easily broken these five stories up into individual books, which would’ve solved some of their problems. As it is, Sonic Super Special Issue 11 is still a solid read. All the stories are compromised but the parts are greater then the whole. [7/10]