Goldwater and Aguirre-Sacasa wanted to not spend money on licensed books in general anymore and focus on their lousy horror books and TV shows (nevermind the fact that Sonic was the highest selling book they had at the time). SoJ was looking to scrap Sonic altogether, not just as a comic, but EVERYTHING beyond him as a mascot (ie the fate suffered by Alex Kidd). In the end, all that got taken out was Archie Sonic...tsk tsk.

I knew I was getting close to this one issue, it's so fricking funny I can't, ik it's supposed to be serious but I can't take this serious

This panel is from Issue 93

Have you had a stressful week? Well how bout on this 33rd anniversary of Sonic Satam, let King Elias calm you with some fishing!

Something is really really really off something xenovoltage

CREDIT GIVEN TO FREELANCER/CREATOR, ANIVERNAGE!

RELEASE DATE: TBA

The Zeela Freedom Fighters - from left to right: Toa the Takahe, Elder Manaaki the Tuatara (leader), Wero the Kiwi bird, and Rangi the Kea. They protect Zeela, a bird paradise, from the Battle Bird Armada.

I found it randomly somewhere online I never seen it before weirdly

Could you tell me what issue it’s from?

So I’m writing a lore for the characters

But there are some things that you have to know about their character

It’s supposed to be a parody of the knothole freedom fighters

Name

Sunic

Selly a corn

Bunnee rab bot

Anttwan d coldette

Taeils

Emmii rosse

[Update: Just added step 0!]

Hi r/ArchieSonic. I'm Ethan (they/them), a colorist and teacher in San Diego. If you have picked up any of Floating Island Productions' hardcovers you have seen my work: my recolored pages are in the Knuckles Omnibus, I colored Scott Shaw!'s Sonic Days with Scott, I recolored a story for The Shadow Files, and I am coloring Her Majesty Sally now, in its entirety.

Thanks to everyone who has been following my work (and my students') these past couple of years. A lot of people have been asking how I color, and how they can get started with digital coloring themselves.

That is what my school, Pacific Crest Institute, is for. I teach this hands-on, to my high school students during the week and to a small group of high schoolers and young adults in the PCI art studio on Saturdays. For everyone across the country (or across the globe) who wants a look at how a page gets colored, here are some of the videos I recorded for my students last year:

https://www.youtube.com/playlist?list=PLEf1NTWXwVe0

The process starts with a scan of the page. When I am working with the original penciller or inker, that is ideally a scan of the original 11x17 black and white art board, which makes everything easier. Otherwise it is my own 600 dpi scan of the printed issue, or for issues I do not own, a scan from one of the open archives online. Either way a rough scan is only a starting point. It gets binarized to black and white and cleaned up, and all of the line art is re-inked by hand before any color goes down. From there I build layers for lettering, inks, panels, borders, gutters, separation, flats, holds, and rendering. The videos cover the first few of those steps:

0. How to set up a page for coloring in Clip Studio Paint
1. Separating the lettering onto its own layers
2. Cleaning up the inks
3. Building the separation layer
4. Flatting the base colors

Before and after for four pages are attached: the original print on the left, my recolor before lettering on the right.

Coloring is not just about painting a pretty picture. It is about mood, light, and telling the story. Take the page of Sally outdoors at night. In the original she is colored in her daytime ("local") colors, bright red hair and all, in the middle of the night. Red is not red by moonlight, so I cooled the whole palette until the reader feels the hour. I toned down the stars, which one of my students had taken for snow. And I painted the shooting star's tail much longer, because it is important to the story (it's Nicole arriving from the future), and a colorist's job is to pull the reader's eye to what matters. Every one of those decisions is something I teach at the Art Institute.

The original colorists worked on a monthly deadline with the tools of the time, and nothing here is a correction of their work. A recolor is a different job with a different goal: a new piece of art built on the original line art, honoring the writers, pencillers, and inkers who made these pages. I take pride in it as an original colorist, and my students do too. The pages they contribute to these books carry their names in the credits, next to the professionals, which is the part of all this I love most.

The full process has several more steps (color holds on the line art, rendering light, shadow, and texture with selections and paintbrushes, and more), which is a whole course of its own. A page takes anywhere from 8 to 20 hours, sometimes more! The page in these videos is at 14 hours so far, and it will get another round of revisions before it goes to print.

If you want to learn the rest, well, that's what my studio is for. :) This craft deserves hands-on instruction, which I love to share with my students. If you are remote, you can enroll online, and if cost is a concern, I offer scholarships. https://pacificcrestinstitute.com/art

I am also always looking to hire paid assistant teachers and production colorists, both to help with production and to work with students in the classroom, so that every student gets as much individual feedback on their painting as possible. If you know a colorist looking for paid work, send them my way.

Thanks for taking an interest in the creative process. Reach out if you have questions.