It's time to set the record straight. As the letters section of Future Gamer (or, indeed, any other videogame magazine) attests, certain hardcore gamers are rarely happier than when engaged in an appendage-twirling war of attrition. "My game is better," they'll gleefully cry. "Piffle, sir!" retort their opposite numbers; unless, of course, they favour the epithet "Bollocks!", spat with a traditional zealot's vigour.

It's all nonsense, of course. As any true videogaming expert will assure you, Sonic the Hedgehog was not better than Super Mario World, or visa-versa; the two were merely different. Mario offered the measured, artfully designed genius of Miyamoto and charges, and that was great. Respect was due and, duly, conferred by all and sundry.

Sonic was special in an alternative, yet no less significant way. As a game, it offered a fast-paced take on Mario mainstays. There was a pleasing duality to it, too. At first, you raced through each level as quickly as you could - which was, as you'll no doubt recall, pretty damn fast - simply attempting to clear each stage. Later, at your leisure, you could languidly explore each stage in search of many subtle touches and secrets. From playing pinball with ol' blue himself - one of the most inspired, insightful design touches of the 16bit era - to the incredible loop the loops, Sonic was a ready, resourceful rival to Nintendo's previously dominant Mario.

Sonic is, unquestionably, a classic videogame. Its influence spreads far and wide. It's irrefutable that Sonic played an instrumental role in popularising the Mega Drive, and the TV ads in which his game starred sold a load of Sega-branded consoles. Long before Sony's PSX project became a widely discussed rumour, Sonic was an active aspect of Sega's (perhaps partially inadvertent) attempt at raising the profile of gaming and games in the West.

Sonic, we salute you. Nice to have you back, old son.