OH yeah, by the way, some Sonic Forces News™ that I haven’t seen be reported on.

Went to Gamestop today to pick up some Amiibo(that turned out to be BestBuy exclusive and I’m MAD) and while I was there, asked if they had preorders for Forces yet.

Cashier said no, BUT they do have a Sonic Forces figures pack listed in their system for $25, coming out “holiday 2017″.

So, apparently when the game drops, there’s gonna be some Tasty Merch dropping with it.

I was looking at the one sketch from the last page where he was walking to the left and toting a Chaos Emerald, and it was probably the one sketch on the page that made me think about the Sonic from the video games of my childhood.

The illustrations of this particular Sonic that I remember mostly came from the printed advertisements and the backs of cereal boxes, as well as the colorful, detailed desktop wallpapers that used to get passed around on the Geocities pages and BeSeen chats of yester-yester-decade; those wallpapers which, I have come to understand, originated from a Sonic screensaver pack, but which actually came into existence long before that as cover artwork for company-exclusive magazines, which were in turn originally pencilled by Naoto Ohshima.

So, I’m striving for Ohshima-ness here. His Sonic was my favorite Sonic.

anonymous asked:

Whats your opinion on Sonic CD and it's artstyle(particularly the FMV bits)

Sonic CD has my fave art direction of any Sonic title. For quite a few reasons.

Firstly, it’s Kazuyuki Hoshino’s use of colour for specific time frames. Compare every stage’s palette’s during their past timeframes and notice how he emphasizes nature and primitiveness through the use of colors that evoke natural roughness such as green and browns;

It expertly gets across the impression that these locations are primeval and the use of natural scenery such as caverns and greater prevalence of plantlife emphasizes how they’re comparitively “wild” than the more technologically inclined present and future timeframes wherein greater technological development has taken place.

Present locations exhibit typically Sonic-esque art design and palettes. So not much comment there except it’s superbly executed in-line with the other Classic games’ feel.

Secondly, the message Hoshino and by extension the rest of Sonic Team wanted to get across; It’s ecological message.

The future timeframes are where the art design gets especially interesting in my opinion since it carries across the idea of how technology can be used for the benefit (Good future) or expense of (Bad future) nature.

Take for example Palmtree Panic GF and Tidal Tempest GF;

In Palmtree Panic, Piping (The technology) is being utilized to supply the plant life (The nature) with clean water so that it thrives. Technology is being used for the benefit of the environment in a wise manner.

In Tidal Tempest, Glass containers/diffusers (The technology) are being used to house presumably partially-aquatic plant life (The nature) so that the oxygen they emit oxygenates the water and provides an ideal environment for the tropical fish (Nature again) whilst preventing the plants from becoming waterlogged and dying as a result.

It’s a subtle and yet powerful statement on how technology is not the sworn arch enemy of the environment as propagandarist tripe such as Captain Planet and Animals of Farthing Wood would have you believe, it’s how it is utilized that can benefit or harm the environment.

In addition, Good Futures have vivid and eye-pleasing palettes.

Technology beng unwisely used without regard to the environment is horribly empthasized in the Bad Futures.

Looks like Dr Eggman has long sinced gutted Quartz Quadrant of it’s mineral resources in order to power his empire and in doing so went overboard to the point that the mine quite possibly has gone as deep as the Little Planet’s core (This is shown to likely be the case in the DA Garden’s Bad Future iteration of the Planet - Quartz Quadrant is depicted as a circular and literal technological hellhole that bores directly into the planet)

A horrible, evil metropolis is what becomes of Stardust Speedway. Pollution from factories causes a perpetual lightning storm in the choked sky and the musical instruments that composed the level design have been eroded away likely due to the effects of acid rain.

Not only do the bad futures display Dr Eggman’ utter lack of respect for the natural world, they also display what a terrible place the Earth would become if he was allowed to become it’s supeme ruler, adding to the credibility and importance of Sonic and co’s frequent opposition against him.

Also, in complete contrast to the Good Futures, the Bad Futures have drab, industrial colors that are not pleasing to the eyes and whch look very ugly.

Thirdly, what I also love about Sonic CD’s art direction is that Quartz Quadrant and Wacky Workbench exempted, it’s zones are basically more fantasy-like, more detailed equivalents of Sonic 1′s zones.

Regarding detail, Sonic CD is jam-packed with it by comparison. I mean compare Stardust Speedway Present to Starlight Zone;

Such intricate detail in the background and platforms. Looks much more eycatching than it’s Sonic 1 euivalent Starlight Zone.

Sonic CD’s art by comparison looks like it’s on steroids in terms of detail compared to the still graphically impressive for its time Sonic 1. I even feel that CD…despite taking place on Little Planet and not Sonic’s homeworld…exhibits a more ideal at standard for the series in general since it’s whimsy and vibrancy suits the character designs more and the aesthetic of the Classic series.

And that’s why CD has my favorite art direction of any Sonic title.