This show is entirely split into good and bad points. This is the show that, of the three American Sonic the Hedgehog cartoons, takes the story the most liberally - and falls with it. The Sonic universe is nowhere present here; instead, this show has taken the Robotropolis element of the "Sonic the Hedgehog" (or SatAM) cartoon and made a sort of 'street cartoon'. With little success.
Sonic has two siblings in these series: Sonia and Manic. All three are the triplets of Queen Aleena of Mobius, overthrown by Robotnik. To protect her children from Robotnik, Aleena gives up and separates her triplets, before going into hiding herself. When her children grow up and find each other, they scour Mobius and fight Robotnik as the "Sonic Underground", a supposed rock band (though you will come to doubt that during the course of the series), in aid of the anti-Robotnik movement, the "Resistance". They are aided by their mother, for whom they continue to search during the series, and their special medallions, which serve as weapons as well as musical instruments. Aiding the ever-evil Robotnik (whose voice actor is a great improvement from the almost ecstatic-sounding whisperer of SatAM), meanwhile, are his two canine henchmen; Sleet, the smart one, ever-reluctant to serve Robotnik, and his dim-witted partner Dingo, the contrasting brawny canid. The latter ranks in my book as one of the most original and compelling characters in recent memory, not just in this show. He always steals the show whenever he appears in "Sonic Undeground", which is, thankfully, often. Peter Wilds is absolutely perfect in lending Dingo a gruff, brutish Australian demeanour. In a less professional choice of words, he is a character whom I am very fond of and I find to be the most compelling character this show has to offer - which, that aside, does not say much.
What can one say for this show? Well, it does 'try' something new. But that 'new' is simply flat and uninteresting. If you find the main characters (including Sleet and Dingo) interesting, then you certainly won't feel the same way about the supporting characters. From regulars Cyrus and Trevor, there is not a single supporting character on this show that is interesting or three-dimensional in any way. Apart, perhaps, from the established character Knuckles. But his role in this show is very clumsily handled; his dedication to guarding the Floating Island sounds entirely pointless, as there is no indication why it's so important to him (unlike in the comics and even the games). Other plot holes ruin matters; such as Sonic's uncle Chuck (who makes one wonder why Sonic and siblings were given up to another family when Queen Aleena went into hiding).
The series does have its considerable good points, however. Dingo and Sleet are ever-charismatic even when they're just running around; the combination of Sleet's wheezy voice of command and Dingo's brainless, gruff remarks never fails to reinstate one's sense of wonder in this show. Dingo's love for Sonia often allows for comical, even slightly touching moments. Humour is almost ever-present (prime example: Manic's drum solo in the episode "Winner fakes all"). But the series reaches its utmost peak with its three-part season finale, in which a Chaos emerald breaks and threatens the destruction of Mobius. Dingo and Sleet's loyalty to Robotnik (and each other) goes down the drain for good, and Sonic and siblings go to Knuckles' help to contain the emerald and save Mobius. But despite this gripping, even intriguing storyline, the plot has not moved forward in the story's conclusion. It all ends up almost exactly the same.
Indeed, what ultimately dooms these series is their consistent failure in taking the plot forwards. Not in one episode does an event take place that changes following episodes in a manner that one can make an example of. The 'musical' element, of one song an episode, simply can not save matters; if a feature is to be based on music, then it has to be perfect. And the music presented in this show falls extremely short of 'perfect' to be merciful; the awful singers don't help the uninteresting music; not one tune stays with you after you've heard it. And believability is thrown out the window, too, in terms of their instruments; a guitar can never sound like a banjo, or a sitar, no matter what this show may tell you.
Can Dingo and Sleet save the day? My honest answer is no. The reason? They are not given what they deserve. Especially not Dingo. These two characters would have worked great in a series of their own (maybe someday they will). But this show holds them back. The honest, bitter truth is that great characters are not enough to make a show great.
In the end, you've got a show that's impossible to love, but also rather hard to hate. Dingo and Sleet, as well as my personal favourite episode "When in Rome..." (featuring Sonic giving a Minotaur lessons in coolness), light up the canvas considerably. But not enough to save "Sonic Underground" from remaining, rightfully, underground. In all aspects of the word.
Sonic has two siblings in these series: Sonia and Manic. All three are the triplets of Queen Aleena of Mobius, overthrown by Robotnik. To protect her children from Robotnik, Aleena gives up and separates her triplets, before going into hiding herself. When her children grow up and find each other, they scour Mobius and fight Robotnik as the "Sonic Underground", a supposed rock band (though you will come to doubt that during the course of the series), in aid of the anti-Robotnik movement, the "Resistance". They are aided by their mother, for whom they continue to search during the series, and their special medallions, which serve as weapons as well as musical instruments. Aiding the ever-evil Robotnik (whose voice actor is a great improvement from the almost ecstatic-sounding whisperer of SatAM), meanwhile, are his two canine henchmen; Sleet, the smart one, ever-reluctant to serve Robotnik, and his dim-witted partner Dingo, the contrasting brawny canid. The latter ranks in my book as one of the most original and compelling characters in recent memory, not just in this show. He always steals the show whenever he appears in "Sonic Undeground", which is, thankfully, often. Peter Wilds is absolutely perfect in lending Dingo a gruff, brutish Australian demeanour. In a less professional choice of words, he is a character whom I am very fond of and I find to be the most compelling character this show has to offer - which, that aside, does not say much.
What can one say for this show? Well, it does 'try' something new. But that 'new' is simply flat and uninteresting. If you find the main characters (including Sleet and Dingo) interesting, then you certainly won't feel the same way about the supporting characters. From regulars Cyrus and Trevor, there is not a single supporting character on this show that is interesting or three-dimensional in any way. Apart, perhaps, from the established character Knuckles. But his role in this show is very clumsily handled; his dedication to guarding the Floating Island sounds entirely pointless, as there is no indication why it's so important to him (unlike in the comics and even the games). Other plot holes ruin matters; such as Sonic's uncle Chuck (who makes one wonder why Sonic and siblings were given up to another family when Queen Aleena went into hiding).
The series does have its considerable good points, however. Dingo and Sleet are ever-charismatic even when they're just running around; the combination of Sleet's wheezy voice of command and Dingo's brainless, gruff remarks never fails to reinstate one's sense of wonder in this show. Dingo's love for Sonia often allows for comical, even slightly touching moments. Humour is almost ever-present (prime example: Manic's drum solo in the episode "Winner fakes all"). But the series reaches its utmost peak with its three-part season finale, in which a Chaos emerald breaks and threatens the destruction of Mobius. Dingo and Sleet's loyalty to Robotnik (and each other) goes down the drain for good, and Sonic and siblings go to Knuckles' help to contain the emerald and save Mobius. But despite this gripping, even intriguing storyline, the plot has not moved forward in the story's conclusion. It all ends up almost exactly the same.
Indeed, what ultimately dooms these series is their consistent failure in taking the plot forwards. Not in one episode does an event take place that changes following episodes in a manner that one can make an example of. The 'musical' element, of one song an episode, simply can not save matters; if a feature is to be based on music, then it has to be perfect. And the music presented in this show falls extremely short of 'perfect' to be merciful; the awful singers don't help the uninteresting music; not one tune stays with you after you've heard it. And believability is thrown out the window, too, in terms of their instruments; a guitar can never sound like a banjo, or a sitar, no matter what this show may tell you.
Can Dingo and Sleet save the day? My honest answer is no. The reason? They are not given what they deserve. Especially not Dingo. These two characters would have worked great in a series of their own (maybe someday they will). But this show holds them back. The honest, bitter truth is that great characters are not enough to make a show great.
In the end, you've got a show that's impossible to love, but also rather hard to hate. Dingo and Sleet, as well as my personal favourite episode "When in Rome..." (featuring Sonic giving a Minotaur lessons in coolness), light up the canvas considerably. But not enough to save "Sonic Underground" from remaining, rightfully, underground. In all aspects of the word.