Before we begin, I should mention that my review of S92 was not well-received in some quarters. Meaning that I heard from both auteurs of last month's cover story, Karl Bollers and Michael Higgins, by way of open letters on Ron Bauerle's e-mail list. Nothing new about this: I remember Frank Strom pinning my ears back after my critique of S55's "Monkey Madness." Karl's letter was particularly revealing in one respect, though: "I find this ... amusing since the introduction of Nate Morgan, the "Round-The-World-Tour", and Robotnik's defeat in Endgame were all editorial edicts that were decided upon before I even became the regular series writer. Come to think of it, even the decision to bring back Robotnik in the current Eggman incarnation was an editorial decision, as was Sonic Adventure, Prince Elias, Queen Alicia, Ixis Naugus, the list goes on. Even the fact that the Station Square mayor was a Rudy Giuliani parody was blamed on me (did anyone even notice that the editor was credited with the story outline during Sonic Adventure?) "This isn't to say that I think that any of these ideas are as reprehensible as Dan makes them out to be. I'm just saying that they aren't necessarily mine. "When will fans understand that we so-called "creatives" do not have carte blanche with characters that we don't own? [snip] "I respect Dan's ideas concerning how he would handle Sonic, but if he were suddenly at the helm I think he'd soon find that Sonic would be handling him." So I'd like to offer my public apologies. Karl: Lacking any other form of attribution (Nate doesn't exactly walk around carrying a sign that reads "Based on an idea by Justin Gabrie" or whomever), it seemed natural to credit/blame the writer of the moment for whatever one reads, for good or ill. The Eggman/Sonic/Amy Rose makeovers I pretty much attributed to a CORPORATE decision by Sega; any editorial one would have been derivative. As with so many things in life, what goes on behind the scenes can be at least as interesting as the show itself. Maybe one day the Discovery Channel will do an episode of "On The Inside" about Archie Comics. Mike: I realize that you went into this with as little prep time as any other new artist (which is a rotten shame, IMHO), so I should have taken the fact that you were a Sonic newbie into account. I certainly never meant my critique of S92 to be taken personally. I just thought the issue was a lame effort and said so. Another month, another issue: Sonic #93 [Apr 2001] Spaz/Penders/J. D. Ray cover: In the course of responding to my critique of the cover of S89, which was a semi-decent composition even if it didn't resonate with the material inside emotionally, Ken Penders let it be known that Spaz wasn't too keen for THIS cover, either. Like the one for S89 (and all the covers in between, for all I know), this was produced at something like the last minute under a tight deadline. That probably explains, in part, why Ken Penders did the inking rather than Harvo. All that aside, it's not that bad of a cover. The figure of Sonic occupies the mid-ground while he's surrounded by his accusers (Geoffrey being most prominent) and supporters (Sally and a properly-aghast Tails). The grays and browns are an especially nice touch. About the only jarring note is Sonic's teeth, especially those demure little fangs he's growing. It's an anime thing. I could go off on a HUGE tangent about those, discussing Japanese demons called "oni," Lum, Rumiko Takahashi, and why anime babes with one protruding fang are somehow considered to be cute, but let's cut to the chase: "Crime 'N Punishment" Strory: Karl Bollers; Art: Fry; Ink: Pam Eklund; Lettering: J. Powell; Color: Frank Gagliardo; Editor/Art Director: Justin Gabrie; Managing Editor: Victor Gorelick; Editor-In-Chief: Richard Goldwater. For those of you just joining us, Sonic provides a full-page rundown of recent events: King Max's paralysis, the business with the Sword of Acorns, and Sonic's motive for kyping the blade in the first place. Feeling down, he returns to Knothole only to find himself surfing the web: the one Geoff strung up to trap him. It only slows Sonic down but after some verbal sparring between Sonic and Geoff, Elias shows up and pulls rank in a way reminiscent of his appearance in "Saving Nate Morgan" (S70). Three pages; that's long enough to dwell on one plot point, let's move on to something else. In this case, we get one page devoted to Colin and the other hyoomons, and we learn that the little girl's name is Hope. Whatever misgivings anyone might have about Robotropolis, Colin declares that it's "a step up from being set upon by monkeys and hedgehogs." Guy must've let his PETA membership lapse. Robotnik's BGFH [Big Giant Floating Head] promises them suitable accommodations... While we cut away to check out the accommodations of Kodos. Hate to think what the hyoomons are going to get stuck with. While he does the Ranting Villain Gloating Like Crazy routine, Uma begins to wonder about her alliance of convenience with this steroid case. BACK in Knothole, Sonic wants to take a meeting with Sally. And about time, too. In the center of the page Fry relies on a venerable convention of manga: a drawing of Sonic's innermost thoughts superimposed over him in profile. Unfortunately, Sonic and Sally are reduced to another stupid arms-length hug. Don't worry, Karl, I know THAT is definitely an "editorial edict." Anyway, Elias puts the brakes on any chance of this happening. "Anything you have to say to her can be said to me," Elias declares, though I don't think Elias would appreciate hearing "It's been so long since I've held you in my arms." Sonic understandably storms off. With Sonic more or less on the rebound, we then get two pages of the dreaded Sonic-Mina pairing. It's somebody's idea of a Meet-Cute with Idiot Plot undertones, having Mina rev up out of control and slam into Sonic. The Idiot Plot part comes in because it doesn't occur to Sonic to ask "Hey, I thought *I* was supposed to be the speed demon around here!" It doesn't even register on Sonic's radar! Mina's speed is no longer a mystery; it is officially a given, a datum, beyond questioning or explaining. The net result is that it's a kinda cute couple of pages so long as you don't bother to do any thinking. Which is the Archie Comics house style. Anyway, even THIS interlude has to make way for another couple plot points: the return of Bunnie and Antoine with Antoine's "pere" in tow, and Nate Morgan doing what he does best, which is ladling out heaping helpings of exposition. While Bunnie works on her Gary Coleman impersonation. Back at Kodos's place, Uma (who's already packing a pair of katana) decides to add the Acorn blade to her collection. Back to Knothole, where the ladies (Alicia and Sally) absent themselves while Geoffrey plays upon Elias's weaknesses like Itzhak Perlman on a Stradivarius. Elias, who's been in over his furry head all along, caves and agrees to appoint Geoffrey as Power Behind The Throne Without Portfolio. Ladies and gentlemen, we have a Heel Turn. Back in Robotropolis, Colin, Agnes and Hope are no sooner ushered into Robotnik's presence... Then we cut BACK to Knothole where Sonic has decided to work Step 9 of the Twelve Steps: "Make direct amends to persons we have harmed, except when to do so would injure them or others." He owns up to having taken the sword, and Geoffrey (through his new ventriloquist dummy, Elias) has Sonic grounded. HEAD: This must be part of the build-up for S100, because any sense of narrative flow gives way to the urge to bring in as many plot points as possible. I counted at least seven: Sonic dealing with his having lost the Sword, the Overlanders in Robotropolis, Kodos and the Sword, Sonic and Mina, the return of Bunnie and Antoine, Uma stealing the Sword from Kodos, and Geoffrey's subversion of Elias. And that's not to mention the recurring bouts of exposition delivered by Sonic (page [1]) and Nate (page 10). Personally, I prefer a more orderly narrative progression, allowing events to build and to hold the reader's interest as development builds on development. In terms of the kind of pacing I'm talking about, Karl's "Running To Stand Still" (S54) is a perfect example. Page 14, however, demonstrates the problem with this story's structure. There's this weird reunion, some back story is supplied, then it's "Time's up!" and on to the next plot point. It's like changing CDs in the middle of a song. Whatever emotional investment the reader was preparing to make (and that's how a writer holds his audience) is abruptly halted. This story was structured the way sardines are packed in a can. Not that it doesn't do what it's supposed to do: move the story along. And really, the only plot point that DOESN'T work is the Colin-Robotnik reunion scene because it doesn't so much reach a natural conclusion as it gets cut off in the middle. It's all well-crafted, don't get me wrong, but it just feels as if the demands of the plot have reached a point where the story, like Mina on page [7], is starting to fall all over itself. This better not be a taste of things to come. Head Score: 7. EYE: It's good to see Fry back in full-blown manga/anime form. Having seen this sort of thing countless times in manga, the layout at the center of page 6 worked for me, despite the wimpy corporate-censored embrace. There was a kind of charm to the Sonic-Mina collision despite the forced feel of it. And keep bringing Bunnie back even if only in cameos she's looking great! Eye Score: 9. HEART: Emotionally, the Sonic-Mina relationship gets off on the wrong feet. An extreme close-up of two sets of green eyes, and that's about it. It's cute, but it's already been established (however lamely) that Sonic would rather be keeping company with Sally. Still, I regarded the sequence with a certain disquiet. It's too pat, too heavy-handed, thanks to the Idiot Plot circumstance. This is not the meshing of two characters so much as the implementing of another "editorial edict." Heart Score: 5. "Bagging The Big One" Story: Ken Penders; Art: Ken Penders; Ink: Ken Penders, Coloring: Ken Penders; Lettering: Ken Penders; Guy Who Didn't Do Any Of The Work But Gets His Name Mentioned In The Credits Anyway: Justin Gabrie. After way too long an absence as far as his fans are concerned, we find Prince Charming...excuse me, Prince Charmy, and his intended, Safron, sitting in a garden of some sort in front of a cheesy-looking soft-focus photograph of clouds and rocks. Yet it's not the artwork that has them staring in shock and alarm, it's Knuckles, who after looking almost normal in "Hired Guns" (S91) has reverted to night-light mode. Little do the threesome know, as they exchange pleasantries and engage in some light exposition, that they're being watched by Nic and Nack. Nack makes his presence known and after an attempt at being civil states that Charmy and Safron will be blasted unless Knuckles cooperates. Nack escorts Knuckles to meet...Gala-Na and Yanar, who have apparently decided that the Chaos energy Knuckles has absorbed has to be siphoned off. Even if it kills him. Can't say I think very highly of their problem-solving skills. HEAD: Well, THIS is a depressing turn of events. Nothing Knuckles can't escape from, of course, but this doesn't get him any closer to finding out what happened to the Floating Island, does it? I have to wonder if Ken is even in any kind of a hurry to answer that question. I remember all too clearly what happened to the Day of Fury plot point. You remember the Day of Fury? It had the potential for global destruction, as Ken explained it in the Forgotten Tribe arc (K10-12), it was briefly invoked in the Forbidden Zone arc (K19-21), and it was then promptly and completely abandoned. Let's hope Ken moves the Floating Island plot point along some time soon, or else we'll have to change its name to "the Forgotten Island." Head Score: 5. EYE: Why do I get the feeling that drawing, inking and coloring this story wasn't Ken's idea? Maybe it has something to do with the fact that according to Sonic 92's blurb for this issue, this story was supposed to have been drawn by Ron Lim and inked by Pam Eklund. Instead, it turned into a one-man show. The artwork gives off an aura of haste, and not just because of the cheesy photographic backgrounds which, in some cases, look like they were shot through a pebble-glass filter. I thought the technique was a cheap short-cut when Sam Maxwell used it in "Shadows In The Dark" (S67), and it doesn't look any better here. Then again, page 3 (which is the only one that DOESN'T rely on photo backdrops) gives off the same funk of having been dashed off in a hurry. When I first laid eyes on it, I didn't recognize the artwork; I swore that it was fan art instead of pro art. It reminded me strongly of the work of Julie Miyamoto, only her stuff is usually more clever. It's an improvement over the work of "Many Hands" but not by much. Eye Score: 3. HEART: There's a story-telling convention that holds that in a certain type of story the hero starts out well, is brought low by adversity, then manages to overcome it. There's a rhythm to this kind of story-telling that keeps the material from getting too depressing, and it's on display in the last three "Rocky" movies. Knuckles has been getting subjected to a boatload of adversity ever since the Floating Island went bye-bye. Unfortunately, Ken doesn't seem to have a feel for injecting any kind of hopeful elements into the formula, as the scripting for "Endgame" demonstrated. With the aforementioned "Rocky" films there were always the training sequences to pump up the audience and raise their hopes and expectations. Ken's favorite narrative technique, on the other hand, seems to involve trucking in a load of crap, burying the hero with it, then expecting us to wait around and watch as said hero (Sonic in "Endgame" and now Knuckles) claws his way up for air. By which time the next truck is backing into position. Speaking for myself, I need more of a reason to hang around, some kind of mental message to Knuckles from Athair or Hawking or another member of the Netherhood, or a "Meanwhile, back on the Floating Island" interlude at the very least, if only to remember what the POINT is here. And I'm afraid that if it doesn't happen soon the natives will get so restless they'll just start wandering away. And nobody wants that. Heart Score: 2. Off-Panel: Uh, "Off-Panel" IS an ongoing monthly series. Except for the unexplained three-month hiatus. And yes, my refrigerator is running but no I'm not going to go catch it. Sonic-Grams: "You say you spent your entire childhood as a freedom fighter? And now, you're a teenager and the war's over, dude?" "Over? Did you say 'Over'? NOTHING IS OVER UNTIL *WE* DECIDE IT IS!!!" Uh...sorry, got carried away there. But what's with this "over" jazz? Did Robotnik suddenly run up the white flag? Is Elias promising "peace in our time"? And how, pray tell, did Max get paralyzed: playing touch football with the Kennedys at Hyannis Port? S94 is supposed to involve Sonic not only being grounded but sentenced to...high school! But Archie Comics has made a cottage industry of glossing over, trivializing, sugar-coating, and just generally lying through their teeth about the American secondary education experience, and they've been doing so ever since before the Japanese bombed Pearl Harbor. So rather than give the impression that Sonic is going up the Riverdale without parole (and thus questioning the grounds of being for the flagship comics), we get this "war's over" nonsense. The fans know better, even if Justin doesn't. Until Robotnik is out of the picture, there's no such thing as "over." It'll be interesting to see the tightrope that Karl will have to walk (while Editorial holds a gun to his head, no doubt). He'll have to make Sonic feel punished without downing high school in general. A lot of the hardcore fans such as myself (J. Sterling Morton West High School, Class of '70) have already been there and done that, while other fans currently are there and are doing that. Some of us, though, can tell a different story from the one Archie sells. Stephen King, for instance: "At the time we're stuck in it, like hostages locked in a Turkish bath, high school seems the most serious business in the world to just about all of us. It's not until the second or third class reunion that we start realizing how absurd the whole thing was" (On Writing, p54). But to my mind the most succinct summation of the secondary schooling experience comes from the pen of Paul Simon: "When I think back on all the crap I learned in high school/It's a wonder I can think at all." Oh, and there's also supposed to be a Knuckles story written by Ken Penders and drawn by Ron Lim. Where have I heard THAT before? Letters: Whoever answered Scott Mrozek's letter about Tails's origin didn't think to mention Mike Gallagher's excellent "Eve of Destruction" (SSS9). "Loose continuity" does have one saving grace: by the time you publish letters that raise 8-month- old plot points, those questions are only just getting around to being answered. Maybe. I doubt that Nicole Schumacher would consider herself "lucky enough" to have picked up SSS15; "scarred for life" would be more appropriate. Fan Art: Killer drawing of Sal from Japan, which shows how formidable the task is of displacing her in Sonic's (and the fans') affections. Derek Restivo's Sonic has either got his mouth open in that dislocated manga mouth style (see "Crime 'N Punishment," page 8 panel 2) or else he's working on his "Wassaaaaaaaaap?"