#I should have found a sonic one for the porcupine

[mobius-prime]

174. Sonic the Hedgehog #106

Crouching Hedgehog, Hidden Dragon (臣人豪猪臧龍)

Writer: Karl Bollers Pencils: Ron Lim Colors: Josh & Aimee Ray

Yes, there are actually Chinese characters included with the title of this issue. They were a real bitch to actually get copy-and-paste-able text for, since all I had to work off of was a slightly blurry scanned image of the title page, but my girlfriend helped me figure it out. I went ahead and ran the characters through Google Translate, and they came out to "Chén rén háozhū zāng lóng," which, when translated into English, apparently means "porcupine zanglong." Now, I'm well aware that Google Translate is unreliable at the best of times when translating Asian languages into English, but I have a feeling that it was trying to make sense out of nonsense, and that the artists/writers for this issue just kind of… found some cool-looking Chinese characters and slapped them in there to give it a more "exotic" feel. Anyone who can actually read Chinese, please feel free to correct me on this one, because I'm woefully ignorant. But why use Chinese characters in the first place? Well, let's move into the story to find out…

The Freedom Fighters have set out in their airship to Station Square on a diplomatic mission. However, their ship is buffeted by strange winds that nearly blow them off course and cause them to crash. When they land safely, Sally reminds them all to be on their best behavior, and they're met by a news crew to welcome their arrival.

When Sally and the others make their way into the city, they're met not by the mayor, but by the city's new president and his chiefs of staff, with whom they quickly sit down to a meeting. Sally explains her wish for the city to take in the Overlander refugees from Robotropolis, and when the mayor balks when he hears how many people he'd have to make room for - about seventy families - Sonic becomes outraged that he isn't immediately taking them in because it's the right thing to do.

That night, Sonic mopes a bit on the balcony of the hotel, still upset about the president's reaction, as well as concerned that despite Sally finally being a part of the team again, she doesn't seem very pleased about it. He's distracted by his friends calling him to go play at the arcade, but while he leaves, we see a strange snaky figure floating against a backdrop of stars behind him…

In his own office, the president is watching various footage of Sonic defeating the enemies of Station Square in the past - Chaos, Silver Sonic, and Shadow - and begins to wonder to himself if he should make a more permanent ally out of Sonic, despite his brash attitude. He doesn't have long to decide, as chaos suddenly erupts on the streets, flames chasing after fleeing citizens. The president considers calling for Sonic's aid, but true to his nature, Sonic is already there, staring down the source of the commotion - a massive Chinese dragon. Sally and Antoine rush to the president while Tails, Rotor, and Bunnie hurry to Sonic's aid, but they're not quite fast enough to help.

In his office, the president tries to insist to Sally that this is a bad place for refugees as there are now dragons attacking the city, but Sonic walks in, draped in a blanket and flanked by his friends, offering the president a deal - if he runs the dragon out of town and saves the city again, then they'll take in the refugees. The president finds this to be a fair deal, and accepts.

Now, instead of another character file, we find ourselves looking at another map - this time of Station Square itself!

I know that text is obnoxiously small to read, so I'll summarize it myself. Considering that Station Square in the comic is vastly different from its counterpart in the games, a lot of effort was certainly put into explaining exactly how it functions. Apparently, along with its supply of Chaos Emeralds, the city also runs off solar power collected from the top of the mountain it's buried underneath. It's surrounded by complex holographic projectors that simulate a sky and surrounding landscape, with the weather control systems maintaining a consistent 70°F or 21°C and simulating various weather conditions. All it needs to stay self-sufficient is contained within the enormous cavern, including all its farms. We already know the general history of the city, but this page includes the fact that the original founders sought shelter down here while fleeing from a catastrophe on the surface that is supposedly unknown, but is heavily implied to be one of the past Days of Fury, this one occurring five hundred years ago.

However, perhaps most interesting are the various technical statistics given for the city. Of course, they're all given in metrons, but that's no problem for us and our conversion formulas! There's a whopping 13.7 km, or 8.6 miles, from the surface of the city streets to the top of the cavern, which is again much higher than the peak of Mt. Everest. That's an enormous cavern! That is much, much deeper than the deepest known cave on Earth, but it's still somewhat plausible given that our planet's crust goes much deeper than that. And the file doesn't stop at height. Assuming the city is arranged in a vaguely square shape (we're never told or shown otherwise, and frankly that's the easiest way to calculate area, so that's what we're working with), the city's area is around 14,390.4 square km, or 5,625 square miles! That's a good bit bigger than the entire state of Connecticut, and around the same size as the country of Montenegro in Europe, for just one city! If it existed in the real world, it would be the largest city in the world by land area by a long shot. However, we have to assume that not all of it is dense metropolis. I'm going to go ahead and assume that this area measurement includes all the farms and emptier, less populated space that we see surrounding the actual city, meaning that the metropolis is likely more of a third or so that size going by the picture, making the actual city around the size of Atlanta, Georgia, which is the fourth-largest city in the world going by area. That's impressive!

As for the city's population, the file comes right out and tells us the exact number of individuals living there: 23,856,427 people. This kind of makes the president's worries about taking in a few hundred people seem a little silly, as there's surely more than enough room for everyone, as well as enough kind people within to offer help getting everyone settled in, but I digress. If Station Square existed in real life, that would make it the second largest city in the world, barely beating out Delhi, India, but still vastly outstripped by Tokyo, Japan. Now, I'm not an expert on calculating population density, as I know that it's very different depending on whether you're only counting the distinct urban center of the city, or the metropolitan area which includes the surrounding, less-dense areas, but I'm not entirely sure how to calculate such a thing accurately. All I know is that if we calculate the population density straight from our initial area (before I adjusted it), we get a density of 1,658 people per square km, or 4,241 people per square mile. That's a population density similar to that of Melbourne, Australia, and is actually fairly low compared to most real-world big cities. Just as a fun exercise, however, let's say that two-thirds of the city's population lives in the urban center, while the rest lives in the outlying farmland and suburbs. In that case, the city proper would end up with a density of 3,312 people per square kilometer, or 8,474 people per square mile, which, though almost twice as high, is still much less dense than the vast majority of large world cities. This would also give the outlying areas a density of 829 per square km, or 2,721 per square mile, which is comparable to the average density of modern American suburbs. I'm satisfied with these numbers! Unlike the disaster that was the file on the Floating Island, everything about this file actually makes sense and checks out with reality. And in the end, wasn't that what we all really wanted - for our Sonic the Hedgehog comics to be realistic?

Reunification (Part 1)

Writer: Ken Penders Pencils: Dawn Best Colors: Josh Ray

We're finally back to the Green Knuckles saga, and right away we're being thrown a curveball. On the streets of a cold, empty Echidnaopolis, a flash of light disturbs the peace, and reveals a figure materializing inside of it - that of a young echidna woman whom we've never seen before. From her dialogue, it appears she's traveled back in time, and is on the lookout for clues that will let her know exactly when she's arrived. The only other ones within the city are various Dark Legionnaires on patrol, though they and the woman never cross paths and the Legionnaires grow bored of the lack of activity. As they report in to Dimitri, Lien-Da approaches her boss' room to give a report of her own.

Gee, I don't know, Dimitri, what could Knuckles possible be doing? He certainly wouldn't be trying to reverse the effects of the Quantum Beam just as you suggested doing just a few issues ago, would he? Of course, that's exactly what he's doing. The young woman, wandering the streets, actually seems to know that everyone from the city is in another zone currently, but that's about to change, as suddenly strong winds begin to blow her away. She's shocked, and is blown around until the winds cease, at which point she's offered a helping hand.

Remington… kill Knuckles? I can't believe that for a second! Remington's been nothing but a bro ever since we first met him. What's going on here? Who is this girl, and what's the deal with Remington…?

#nala reads archie sonic preboot #archie sonic #archie sonic preboot #sonic the hedgehog #sth 106 #writer: karl bollers #writer: ken penders #pencils: ron lim #pencils: dawn best #colors: joshua d ray #colors: aimee r ray

[bigmacdaddio]

All Things Music Plus

sOchntfitgtoebSumedghrf 1pons0orS eagt 11me:1f8 dAsfhMd  ·

ON THIS DATE (51 YEARS AGO)October 10, 1969 – King Crimson: In the Court of the Crimson King is released.# ALL THINGS MUSIC PLUS+ 5/5 (MUST-HAVE!)# Allmusic 5/5 stars# Rolling Stone (see original review below)In the Court of the Crimson King is the debut album by King Crimson, released on this date in 1969. It reached #28 on the Billboard 200 Top LP's chart and #5 on the UK LP's chart.The album is generally viewed as one of the strongest of the progressive rock genre, where King Crimson largely stripped away the blues-based foundations of rock music and mixed together jazz and Classical symphonic elements. In his 1997 book Rocking the Classics, critic and musicologist Edward Macan notes that In the Court of the Crimson King "may be the most influential progressive rock album ever released". The Who's Pete Townshend was quoted as calling the album "an uncanny masterpiece". It’s astonishing to think that when this record was released in 1969 King Crimson had been together for less than nine months.It’s astonishing to think that when this record was released in 1969 King Crimson had been together for less than nine months.Aside from the impeccable musicianship, the record’s impact was helped enormously by Barry Godber’s cover painting. Commissioned by Crimson lyricist, Pete Sinfield, rarely has an album sleeve so accurately conveyed the shock-and-awe reaction which this extraordinary music produced in its listeners. Even the jewel-case format has done little to dilute its iconic power.It was Fripp’s idea to subtitle the album “An Observation By King Crimson”, which had the effect of framing the five pieces within an implied concept of sorts. Fripp also his suggestion that there be no print anywhere on the exterior artwork.John Gaydon, Crimson’s co-manager at the time recalls Island Records were worried about objections from retailers who would be confused about the lack of information on the sleeve. “Fripp said, well, it’ll be the only record in the shop without anything down the spine on it, so they’ll know which one it is. Which was brilliant when you think about it.”In light of this, Pete Townshend’s declaration that the album was “an uncanny masterpiece” seems something of an understatement.__________THE LEGACY of In The Court of the Crimson KingA life-long King Crimson fan, 40th Anniversary Editions producer, Porcupine Tree's Steven Wilson offers his thoughts on the debut album.“For me this is the birth of progressive rock. Yes there were other albums before that. You could say Sgt. Peppers or Moody Blues Days Of Future Passed have a claim to laying down a blueprint of progressive rock but ITCOTCK really is the first time you have such technical prowess allied to musical experiments, great songwriting, and a conceptual feeling all tied together in one record.Greg Lake - Tea Party Boston, Massachusetts (October 30, 1969)I think musicianship is the key here. Bands like The Beatles and the Moody Blues attempted very ambitious psuedo-progressive albums before, but Crimson was the first time you had a band that were able to go that one step further in terms of their musicianship. They were young guys full of ideas and ambition and I really think you have to say that this is the true point at which progressive rock is born, and some would say never bettered.Some people snigger at the idea of progressive rock but for me when progressive rock was at its peak in the 69 - 74 period it was the most experimental, most credible, most ambitious music that has ever been made. The guys were reaching for the stars and very often got there."+++++ROBERT FRIPP:The impact of this group, featuring Fripp, Giles, Lake, McDonald, Sinfield, is difficult to convey 25 years afterwards unless one were part of it: something like the explosive impact of punk seven years later. A considerable influence on the musicians and groups of its generation, it is also the only Crimson which could have been a massive commercial success. Inevitably, it drew as much hostility as support.The only record from this period - "In The Court Of The Crimson King" - failed to convey the power of its live performance but hints at the intensity which characterises classic Crimson of any period. Contemporary ears might find the music part of another era unless they drop listening at the music and listen through it. The sonic landscape remains as bleak an authentic Crimscape as it gets. Neither heavy metal nor hard rock have been able to blow me away since I spent 1969 playing "Schizoid Man" and a mellotronic stroboscopic "Mars" throughout England and the US.My own perspective on Crimson is obviously rather different from the other founder members of the 1969 band. My impression is that they consider their Crimson to be the only real Crimson, a view with which I have sympathy but disagree. We would probably agree that this founding Crimson was charmed. There was something completely other which touched this group and which we called our "good fairy". After reflecting on how we went from abject failure to global commercial and musical success in nine months, I concluded after several years of reflection that sometimes music leans over and takes us into its confidence. This was one of those times.But we were also young men, too immature to handle the strains involved in rapidly moving from failure to international success. The group's birthday was on January 13th. 1969 at the Fulham Palace Cafe in London. It broke up in Los Angeles, December 1969.~ Robert Fripp__________COVERBarry Godber (1946–1970), a computer programmer, painted the album cover. Godber died in February 1970 of a heart attack, shortly after the album's release. It would be his only painting, and is now owned by Robert Fripp.Writing in the booklet accompanying the Epitaph box set Robert Fripp recalled “The cover was as strange and powerful as anything else to do with this group. Barry Godber, a friend of Peter and Dik the Roadie, was not an artist but a computer programmer. This was the only album cover he painted. Barry died in bed in Feb¬ru¬ary 1970 at the age of 24.The cover was as much a defining statement, and a classic, as the album. And they both belonged together. The Schizoid face was really scary, especially if a display filled an entire shop window.Peter brought the cover into Wessex Studios in Highgate during a session. At the time Michael Giles refused to commit himself to it, nor has he yet. But Michael has also never agreed to the name King Crimson. We went ahead anyway.The original artwork hung on a wall in 63a, Kings Road, in full daylight for several years. This was the centre of EG activities from 1970 and remains so today, albeit in its diminished and truncated form. For several years I watched the colours drain from the Schizoid and Crimson King faces until, finally, I announced that unless it was hung where it was protected from daylight, I would remove it. Several months later I removed it and it is now stored at Discipline Global Mobile World Central.”__________ORIGINAL REVIEWS FROM UK MUSIC PAPERSMelody Maker:This eagerly-awaited first album is no disappointment and confirms their reputation as one of the most important new groups for some time. It gives little idea of their true power on stage but still packs tremendous impact especially the brutally exciting “21st Century Schizoid Man” and the eerie title track, with its frightening mellotron sounds. It’s not all high power stuff though - there’s some nice flute from Ian McDonald on the beautiful “I Talk To The Wind” and “Moonchild” is pretty, though too long. The vocals are clear and controlled and the instrumental work can hardly be faulted. This is one you should try and hear.Disc:The first LP from the group heralded by those who know to be the most exciting discovery of the year. Get over the most horrific cover of the year and you’ll find the pundits are not wrong. A brilliant mixture of melody and freakout, fast and slow, atmospheric and electric, all heightened by the words of Peter Sinfield.International Times:The Ultimate Album. There is little one can fault with it: the arrangements make masterful use of multi-tracking, compressing and reducing, the standard of playing almost defies belief at the time, the vocals are merely excellent and the numbers are brilliantly and excitedly written.I don’t like one of the numbers, despite my total commitment as a Crimson-Bopper, which is ‘Moonchild’ and is too long. Otherwise a gassy, jazzy, heavy, complex, smooth and totally magnificent album: written, arranged, played and produced by the most original group since ........ (fill in your answers to Apple Ltd., Saville Row, London., for instance.NMEThe long-awaited first album from the remarkable King Crimson, a group which manages to provoke either loathing or fanatical devotion but which is undoubtedly capable of building for itself a sizeable reputation. This stunningly-packaged LP provides a varied selection of King Crimson’s style, although it lacks some of the drive of the stage performances that have made their name. Nevertheless, as a first album, it is extremely good.Daily SketchIf you want to know where pop is going in the 70s listen to this. It is magnificent.__________ORIGINAL ROLLING STONE REVIEWThere are certain problems to be encountered by any band that is consciously avant-garde. In attempting to sound "farout" the musicians inevitably impose on themselves restrictions as real as if they were trying to stay in a Top-40 groove. There's usually a tendency to regard weirdness as an end in itself, and excesses often ruin good ideas. Happily, King Crimson avoids these obstacles most of the time. Their debut album drags in places, but for the most part they have managed to effectively convey their own vision of Desolation Row. And the more I listen, the more things fall into place and the better it gets.The album begins by setting the scene with "21st Century Schizoid Man." The song is grinding and chaotic, and the transition into the melodic flute which opens "I Talk to the Wind" is abrupt and breathtaking. Each song on this album is a new movement of the same work, and King Crimson's favorite trick is to move suddenly and forcefully from thought to thought. "Epitaph" speaks for itself: "The wall on which the prophets wrote/Is cracking at the seams ... Confusion will be my epitaph.""Moonchild" opens the second side, and this is the only weak song on the album. Most of its twelve minutes is taken up with short statements by one or several instruments. More judicious editing would have heightened their impact; as it is, you're likely to lose interest. But the band grabs you right back when it booms into the majestic, symphonic theme of "The Court of the Crimson King." This song is the album's grand climax; it summarizes everything that has gone before it: "The yellow jester does not play/But gently pulls the strings/And smiles as the puppets dance / In the court of the Crimson King."This set was an ambitious project, to say the least. King Crimson will probably be condemned by some for pompousness, but that criticism isn't really valid. They have combined aspects of many musical forms to create a surreal work of force and originality.Besides which they're good musicians. Guitarist Robert Fripp and Ian McDonald (reeds, woodwinds, vibes, keyboards, mellotron) both handle rock, jazz, or classical with equal ease. Bassist Greg Lakes and drummer Michael Giles can provide the beat, fill in the holes, or play free-form. While Dylan and Lennon are still safe, lyricist Peter Sinfield does show a gift (macabre as it may be) for free association imagery.How effectively this music can be on stage is, admittedly, a big question. The answer is probably not too well. Still, King Crimson's first album is successful; hopefully, there is more to come. (RS 49)~ John Morthland (December 27, 1969)TRACKS:Written by Fripp, McDonald, Lake, Giles, Sinfield unless noted.Side one"21st Century Schizoid Man" – 7:21"I Talk to the Wind" (McDonald, Sinfield) – 6:05"Epitaph" – 8:47Side two"Moonchild" – 12:13"The Court of the Crimson King" (McDonald, Sinfield) – 9:25