At what point does Archie Sonic start to get good

I wasn't being ironic. The early comics and the early games are the best things to be associated with the Sonic brand. And the cartoon from the 90s, whatever it's called. The one with the Dumbots.

>at what point does Archie Sonic start to get good

It never gets good, OP.

When Eggman kidnaps everybody and sonic loses his shit or when Enerjak kills all the awful Echidna fucking shits Penders shoved in.
skip anything made between early 2000's that's when the comic nosedives hard into furry drama and the art style tries to imitate manga for some godforsaken reasom

Hell no, Gallagher was mediocre.

Disagreed! Hands down the best (and only good) writer the book ever had. His writing was basically MAD Magazine and it was glorious.

>When Eggman kidnaps everybody and sonic loses his shit
Which never happened. Sonic is contractually never allowed to lose his shit.

The Universe sub-series is much better in quality and has the most memorable moments in the comic

I'm not comparing it to jack. I think thry're fun comics in the Sergio Aragones vein. Not amazing, but fun. A bit below Oksner and Drake's Jerry Lewis.

This.
Team Treasure Tango was a treasure.

And that's only because they impose an limit of 4 issues per arc.

Manak was a but limited, but I really enjoyed his art. What funny animal comics are we using as a measuring stick here?

DeCesare was better, in my opinion. Slott and Fingeroth also made the regular contributors look lousy with their phones in stories

Also because it allows for other characters to get their own small stories without hogging Sonic's spotlight, unlike Pender knuckles extravaganza

Issue 20

It peaked at 39 and Mecha Madness. Issue 40 meanwhile was absolute trash and an omen of things to come.

He came pretty close, he got mad enough to sprint to the coast in seconds and charge Eggman head-on in desperation

I think it also warped perception on Ian in general.
The guy's first year was trashy "canon cleanup" stories, and the next few years were pretty decent little stories that weren't amazing but implied later payoff. Then Universe launches right as he gets a less hands-on editor, keeping that formula in a new book while the main book becomes a perpetual soap opera again. A lot of Universe arcs are middling or even weak, but they're loaded with fanservice. The main book honestly goes to shit with the scattered good issue occasionally, but it keeps promising things will happen. Everyone starts treating Ian like he's amazing and he gets the impression people love the long form soap, but in reality he's doing a good to okay job with short stories on one book and a bad job on the other.

So when all the buildup and fanservice is stripped away and he's stuck on just one book, where he doubles down on the thing he thought people liked after a decade of not challenging himself as a writer, the resulting books are flaccid and people wonder "what changed."

Then Eggman thrashed him for it, and Sonic simply laughed as he got back up saying that was "only practice".

Nah, 40 is great if you're not a fag. It's written the exact same way 39 and MM are, just with goofy visuals instead of EPIC FIGHTING.

>he forgot when sonic did the LIMIT
Shame on you user

I didn't. It just didn't do fucking shit, and Sonic still acted like the usual cocky ass after his loss.

I disagree, 40 felt incredibly rushed like two issues crammed into one and therefore nothing felt like it had any weight writing-wise, especially the fact it confirms Mecha Madness happened BECAUSE Antoine was focusing more on his stupid party than doing his duties to ensure Fang was in jail, and yet he wasn't reprimanded for it at all.

Yeah, 39 and 40 feel exactly the same. The only difference between the two is that 40 doesn't have Patrick Spaziante's pencils.

Go back to all three issues, draw stick figures standing idle and attach the dialogue. It's the same. 39 and 40 are super fast paced, MM is slow because it's like 20 pages of bad puns and drawings of characters smacking each other around. If you don't believe me, compare it to SSvHK, which had Mawhinney on art.

This. People act like it's a big deal, but the characters just make funny faces and say some corny "epic" dialogue. The way they behave doesn't actually change, the story isn't actually different from normal, it's just the same old same old used to introduce some changes to the status quo that are mostly only important in name and answering autistic questions.

Ian's written good stories, but a lot of the highly praised ones aren't special as stories, just in the context of canon.

I think Sonic works when it's sincere but not up its own ass. Kids felt for the drama behind Gamma and Shadow. The reason they worked was because their drama was so straightforward and the story didn't neglect the whimsy and ridiculous aspects to accommodate. I'd be down for a comic that's a slapstick carnival visit one issue and an anime-esque melodrama the next so long as it kept its creative energy up.

Rec some animal comix.

Kids might have, but I sure didn't! Of course, I was an adult when that game came out, so that type of seriousness in this kind of subject matter would not have appealed to me whatsoever (I doubt it would have even if I were a child, but whatever).

>Didn't like Gamma.
Gay.

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Nope! Just a dumb robot from a game I didn't like.

Sonic Adventure sucks, but everyone loves a good existential crisis story featuring robots. It was cute and simple and effective. There's nothing to dislike. Talk shit about Astro Boy while you're at it.

I'll take your word for it. I have no real opinion of that game. I didn't like it from the get go so I just let my younger brother play it.

My interest in Sonic is strictly in the early 90s, really.

No, I get it, I'm just not understanding where the distaste for the robot in particular comes from beyond that. Like, yeah, SA sucks, I don't blame you. I meant things like Gamma's story are effective even when placed in the context of Sonic. It's so simple and stuffed with pathos that I don't get what there even is to dislike about his narrative. Is there something to it aside from "Sonic Adventure as a whole does not appeal to me, therefore I am disinterested?"

I don't know what the robot's narrative is, lol.

I like the cartoony robots from the cartoon. More robots like that, please.

>I don't know what the robot's narrative is, lol.
Nevermind then, I thought you meant something about his story doesn't work/sucks, my bad. My point is that a little sprinkle of gravitas every now and then is fine.

Nah, I barely played the game. I watched someone else play through it, but that was like, 20 years ago. My memory on it is hazy.

TL;DR
>Robot is born and realizes life is a fuck because brothers get turned to scrap when they fail master.
>Normal funny animal character pleads with him to stop being bad.
>Self-actualizes, hunts down remodeled brothers, frees animals inside.
>Realizes an animal is trapped in him.
>Mortally wounded in final battle.
>Bird inside him goes back to living with its family.

I think stuff like that diesn't hurt the goofy, weird comedy atmosphere so long as it doesn't smother it. The occasional breather from puns and slapstick for a melancholy story is refreshing.

>Treasure Team Tango

muh nigga

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oh no

this thread again

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Begone, tubershill

it was hit and miss.

Like Mecha Madness is a highlight.

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When Ian stepped in
Then he pretty much burns out at the reboot
A prelude for things to come with IDW Sonic

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Yeah, he was best when taking the toys that other people made and posing them around a bit. But when he's asked to make up his own toys he falls apart.

How's Drogune.

No idea what that is.

Yeah he's a better script doctor than a lead writer
He just needs a good wrangler, and I think his IDW book would be better

It's his webcomic that he wants to make his main source of income, look it up, tell me what you think.

Ian...

It's shit.

Slow

Bump.

It already starts strong, actually: the first 50 issues. They set up quickly the whole scenario and environment, as well the general backstory. They start light and easy, and as they go on, they strive to be gradually more nuanced and serious, thus opening for much more new forms to storytelling. It's needed, or else, the pun-fest atmosphere would be repetitive at some point and stop being produced. A good form to start your franchise, in my opinion.

After the 50th issue, however, things start to be very weird, because that's the era where the writers try everything to see what sticks and what doesn't. While the deed itself is good, it also contributed, along Penders and Justin Gabrie, to the infamous inconsistency of quality, where when it hits, it hits, and when it misses, it misses. Writers such as Bollers (had a rocky start, but eventually improved) and Gallagher weren't afraid to manage the wheel and produce even more of their stories, who usually were good, and had they never offered their legacy, then Archie Sonic would indeed be completely succumbed to the Dark Ages.

There's no point where it "finally starts good". It IS good after all. However, also quite inconsistent and variable, where they are unable to stay good for at least 3, 4 issues. If it weren't for Penders (refusing to work in coexistence with others, keeping his pet characters and maintaining his own separated empire of crazy echidnas) and Justin Gabrie aka Romy Chacon (never doing his job of editing, always attempting to write with stupid executions whilst having no professionalism and having a lot of narcissism), then the comic would certainly be more strong at its consistency.

In summary, it's a prime example of hit-and-miss. The best way to experience and consume Archie Sonic is, practically, reading all of it. From the very beginning, until the very end. That's how I started to read, and in the end, I was able to invest into it, appreciating for its content, characters and such.

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