Guest article series by Gabriel “TheJoker138″ Coleman.

We start off this week in Zhu Zin, with Kung and Siro in the marketplace, browsing around. Siro stops a pickpocket, but lets him go, saying if he tries anything like that again he’s likely to lose a hand. He and Kung look at some knives for a while, but Kung isn’t interested in them and goes to browse other vendors while Siro stays. The pickpocket comes back, with three of his friends and we get our first fight scene of the episode. By the way, there’s another onscreen title on this episode. It’s “Queen,” which, much like the last time I noticed the title, has nothing at all to do with anything that actually happens in the episode.

In the other episodes, when they have our heroes fight some nameless adversaries, at least they’re usually henchmen or something. This time it’s just a group of completely unimportant street rats. I can forgive it this one time though, as this fight is actually a fairly major plot point to this episode. Siro beats them all pretty badly, but one of them gets a lucky hit in that sends him careening through a tent and then they overpower him via sheer numbers. Kung makes a timely return, the pickpocket recognizes him as the victor of Mortal Kombat and they all run away. Siro seems off-put by Kung coming in to “save” him and stays to look at that knife while Kung goes home.

It was at this point I had the realization that there were no half-naked women hanging around in the marketplace like usual, but luckily one showed up. Instead of just an extra though, this one is an actual character, named Ankha. She tells Siro that he should visit her and her friend, Kiri, at the House of the Falcon. Kiri is a seer and Ankha says that it seems like Siro could use her guidance and she gives him a falcon talisman. Siro is skeptical, but keeps the talisman and heads home.

Oh yeah, that’s more like it

When he arrives, Taja has already heard about the fight and gives him some crap over it, saying that at least he got hit in his thick skull instead of somewhere more easily breakable. It seems she’s finally started to lighten up, but now Siro is a humorless jerk. He’s really acting out of character so far in this episode. I’m actually kind of amazed that he has a character to act out of, as I wasn’t expecting anything more from this show than ridiculous freak-of-the-week monsters and kung fu fighting.

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Currently, Sean McKeever and Filipe Andrade are releasing Onslaught Unleashed, the latest chapter in the saga of Marvel’s sinister hybrid of Charles Xavier, Magneto, Juggernaut and Apocalypse. With the recent surge of popularity of this once-toxic property, it made me reflect on the recent comic miniseries Onslaught Reborn by Jeph Loeb and Rob Liefeld. I’ve always felt the need to talk about it, but never got around to it.

I rag on Jeph Loeb a lot. A LOT. A WHOLE. FREAKING. LOT. It was my bread and butter for a couple years, but with Onslaught Reborn, I can’t continue that hate. It’s no Long Halloween, but this comic is Jeph Loeb’s best work in the past decade. There’s no murder mystery, so that helps a lot. There’s also a reason for there to be a big ensemble cast instead of adding in extra guys from all over for no reason.

Then again, the whole Earth/Counter-Earth thing boggles my mind. Didn’t the Heroes Reborn characters stop existing or something when things returned to the status quo? I mean, I guess not, but in that one Thunderbolts storyline… No, I’m not falling down this rabbit hole. I have a review to write.

To catch you guys up on what’s going on for this story: Onslaught was this big bad from the 90’s created from Xavier mind-raping Magneto and gaining his powers and corruption. Once defeated by the team of Mega Man and Venom (with Arthur as their helper character), Onslaught turned into some kind of evil black hole fog thing and a bunch of superheroes sacrificed themselves like lemmings. Franklin Richards used his childhood omnipotence powers to create a second Earth on the other side of the sun where these dead heroes would live on in EXTREME recreations.

That brings us to our story, which takes place a day after House of M. As Scarlet Witch has removed the powers of most mutants, the mutant magic of Xavier and Magneto has merged together to recreate Onslaught as his own being. Now he’s out to track down and I guess take over Franklin Richards. Franklin sneaks away to the Counter-Earth he created, where he meets the teenage girl version of Captain America’s sidekick Bucky. He and all the heroes of Counter-Earth, as well as a couple villains, have to team up to take down Onslaught.

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None, that’s what. 

The Comic Book Guide to the Mission was edited by my friend, Lauren Davis.  I saw her go from the idea stage (at a Wondercon Past) through various stressful editing stages, and finally emerge as a hollow-eyed, exhausted, yet gracious zombie at her very-well-attended book party.  She will be tabling at Wondercon – her coordinates are D18, and I know I’ll be heading over there regularly.

Now, to the book.  It’s a lot of little stories from artists about their experiences in the Mission district of San Francisco.  The district is named for its oldest building – guess what that is – and has since evolved to a neighborhood, an art center, a hipster hang-out, a culinary mecca, a thrift store shopper’s twisted paradise, and the warmest spot in San Francisco.  The best way to describe the book is as showing how different time periods in the Mission correspond with different time periods in people’s lives.  A self-conscious suburbanite at the SF Dyke March, a kid’s view of the homeless population, an artist reminiscing about ‘darker’ times in the Mission and a lawyer finding a way to feel welcome among the area’s notorious hipster population, even just a series of iconic unconnected Mission snapshots – it’s all there.

My father, a man of particular taste, who I don’t believe has read a graphic novel since Asterix in the late seventies, cracked The Comic Book Guide to the Mission, and not only liked it enough to finish it, but spent a half an hour on the phone with me talking about how the title was selling it short.  He believed that that many stories and stills, by that many artists, on such diverse subject matter was more a wider commentary on life than just a ‘guide to the Mission’ and said approvingly that the book was a ‘bargain’ considering all the wonderful little stories within.

I love the book as well, but for more practical reasons.  (We can’t all have a poetic soul.)  Although the book isn’t technically a ‘guide’, it does benefit greatly from being drawn by San Franciscans.  I don’t live far from the Mission as the crow flies, but unlike the crow I have to walk over quite a few giant hills to get there.  As a result, I haven’t spent as much time in the Mission as I’d like.  The Guide isn’t strictly a ‘guide’, but it does have maps to the thrift stores, addresses of the best tacquerias (and an official recommendation for Best Carne Asada Taco in the Mission), recs for cheap eats from sushi to thai, and maps to all the Mission murals put up by artists over the years.  Considering the neighborhood is readily accessible from Wondercon (with no pesky hills in the way), this may be the best way to get your money’s worth out of the Con.  Sure, you’ll have to put down a quick $15.00, but you’ll get a local’s guide to the best ice cream, the best street art, and the Pornarmory.

Shin Megami Tensei: Persona 3 Portable is published by Atlus for Sony’s PSP. Shigenori Soejima designed the characters for P3P, and also the characters for Shin Megami Tensei: Persona 4 and Catherine. His style is sharp and clean, fit for animation but just as attractive in the form of still images. He has a nice sense of fashion, and seems to be fond of shirts that ruffle, dark jackets, and black slacks. Shoji Meguro, composer of Persona 4‘s soundtrack, also did a solid job here. The score never interferes with the gameplay, instead enhancing the mood as needed. I like P3P quite a bit, though I’m maybe halfway through it thus far. I keep flirting with writing about it, though, and you know what? Enough pussyfooting. Four things about Persona 3 Portable that I enjoy:

Persona 3 Portable is about personal growth. The central metaphor for the Persona series, at least as far as I’m concerned, is growth as an individual. The characters must embrace their hidden talents or, as in Persona 4, come to terms with themselves before they can be turned into something radiant. In Persona 3, the cast is privy to a secret that most of society does not know. To make it through this horror, they have to depend on and learn to trust each other in battle. They form a group, Specialized Extracurricular Execution Squad or SEES, that go out at night to try and make the world better.

The high school simulation puts the interpersonal growth of your character under your control, and that growth directly affects your performance in battle. You are in charge of making friends, and that involves what is essentially a dating game. You can hang out with people, you personally choose answers to their questions that reflect a number of different personality choices, and you can even date people. The role-playing aspect is interesting–if I choose an option I don’t necessarily believe, I get a slight pang of guilt. That doesn’t fit the character I’m choosing to play. These (fictional) characters are granting me a large measure of trust, and betraying that feels wrong.

Your character is the only one in the game that can create and utilize multiple Personas, while other players are stuck with Personas that are a reflection of their own personality in some way. Your character being able to possess several Personas is a nod to the fact that you, the player, are one of several billion possible people. So, since you can’t possibly have one specific personality, you’re given a selection.

Building relationships in the simulation portion of the game gives you greater power when it comes time to dungeon crawl. The stronger your relationships, the stronger your Personas are. It’s a fitting simulacrum of real life. The better your friendships, the better your mental health, and the more self-actualized you can afford to be. It’s like having a safety net. You know that you have help if you need it, and that lets you push forward.

To summon their Personas, the characters place a gun, called an Evoker, to their heads and pull the trigger. Rather than a spray of blood, what looks like broken glass erupts out of their skull and the Persona appears. Aside from being a cool visual, I think this represents something more. To really open yourself up, to share that light that’s inside you, you have to put yourself at the whim of others. You risk being ostracized, embarrassment, and most of all, failure. The gun represents a tool to engineer the death of yourself, of your ego, and that allows your Persona to appear fully formed. Maybe you like to sing at karaoke, but it takes six shots of tequila to get you there. Those shots are your Evoker. The gun is the equivalent of pausing, taking a deep breath, and stepping forward.

Going to high school requires making friends. You can’t make friends without opening up and genuinely building a relationship. Making friends makes you stronger, and more reliable in times of danger. Being stronger allows you to protect those friends. The act of protection forces you to open up and embrace your skill. And so we return to begin again. Everything is related, and all of it is more easily mapped to growing as a human being, than growing as a fighter or magician or whatever.

P3P is a PSP adaptation of a PS2 game, and required a bit of adjustment to fit the smaller screen and new context. P3P‘s story is told by way of a visual novel, which is an interesting way to do this type of game. Animation is kept at a minimum, and dialogue is still spoken, but the visuals are near-static images, and events are explained via stage direction. Rather than seeing someone slam a door, you hear the sound and you read the little caption box.

More than anything else, P3P reminds me of radio plays. Everything hinges on the actors involved and your own imagination. While comic books give you most of an image and let you fill in the blanks, P3P works more like an illustrated novel. Physical action is left entirely up to your imagination, while the look and personalities of the characters is given to you.

Strangely, this makes it even easier to be drawn into the game. The tradeoff between the specificity of animation and the freedom of imagination means that you have much more invested in the story. You create significant portions of the game as you play, and what you create fits into what is already created like a lost puzzle piece. Aigis, a robot girl, breaking into a character’s room is paced according to your own thoughts. While listening to a conversation that’s set around a table, you choose the table setting and the location of where the voices are coming from.

This is largely done unconsciously and entirely on the fly, but it helps make your playthrough yours, rather than something you watch. It’s the equal and opposite brother of Hideo Kojima’s cinematic heavy Metal Gear Solid franchise, where you aren’t so much a part of the story at hand as along for the ride. In P3P, you are the ride. The characters move and think as you want them to. The only time you don’t have a significant amount of control over them is when you’re dungeon crawling.

P3P is full of things to do. I don’t really dedicate a lot of time to playing games any more, and ones that require huge time investments to be enjoyed tend to get sold asap. In P3P, you can pick it up and go out and work on your friendships. Maybe you want to finally hit a certain rank with the Gourmet King, or begin dating Yuko. You can check and see when they’re free and then pursue them. You can get short interactions with them or longer, more involved conversations.

Or you can run through a few floors of the dungeon. The floors tend to be short, maybe five minutes long on average, and are randomly generated, so while they are same-y, they aren’t identical. Each set of floors is themed, enemies vary from floor to floor, and there are lost souls or treasures to be found in each section.

There’s also a quest system that’s handled by an otherworldly woman named Elizabeth. She isn’t familiar with our world, so she requests certain items or to go on dates with you to explore the land. These quests give you bonus items or cash, and provide short-term goals in long-term gameplay.

Part of the high school simulation is building your stats. You have Academics, Charm, and Courage to worry about. These can be increased by studying, doing dangerous things, drinking coffee, getting answers right on a test, or any of a dozen things. Having a high Charm means that you can talk to certain girls or get specific prizes. High Academics helps you score higher on tests.

At a certain point in the game, you can walk a dog. While walking the dog, you may be joined by a teammate, and you’ll have a brief characterization-building conversation. There’s nothing particularly deep to it. It’s just another information delivery system.

These choices, and the others I didn’t mention, make for a well-rounded game. The way I’m playing now, I’m not going for 100% completion and maxed out relationships. Forget that–grinding sucks the fun out of everything. Instead, I dabble and try to get a taste of everything. It’s made for an interesting experience, one where I’m okay if things don’t happen like I wanted or if I miss something. I can always do something else, and it takes no time at all.

The art’s really nice. I wasn’t familiar with Shigenori Soejima’s art prior to playing Persona 4, but his work in P3P is crucial. He has to provide a solid foundation for your imagination to fill in the blanks due to the overall lack of animation, and he does it well.

Characters are extremely well designed, and change as events in the game progress. Junpei has peachfuzz on his chin and a habit of wearing tank tops. Your character likes earphones. Everyone has summer, winter, and other special outfits. Mitsuru’s high class nature and faux French affectations come through in her design. Fuuka is stylish, but subdued. Yukari’s pink sweater and heart choker suggests things about her character. Aigis’s limbs give her a creepy flair, like a clockwork teenager. I think my favorite design is Akihiko’s, with his red sweater vest, suggesting a preppy kid, but his ever present bandage and fighting gloves suggest otherwise. There’s real personality in the designs, but working within the constraints of a school uniform.

I like the way Soejima uses colors, too. Yukari’s black uniform is hidden beneath her pink sweater. Ken’s rocking a black and orange color scheme that works surprisingly well. Aigis is mostly white, save for her major joints and weapons. Mitsuru is black, white, and then red. Black, and to a lesser extent, red, is a dominant color in most of these designs, thanks to the school uniform, but the way it plays with the rest of the colors in these designs is interesting. The designs pop, distinct from each other but clearly related. The palette uses soft gradients and bright colors, and the end result is a game that’s really very nice to look at.

Guest article series by Gabriel “TheJoker138″ Coleman who wants to apologize for the iffy VHS quality in the images.

We start today’s adventure in Outworld, where a girl with her shirt half ripped off is being tortured by a Shadow Priest. Now that’s kind of a weird character to choose for your MK series. I hope Mokap shows up next. Anyway, this is easily the most violent thing (save for fantasy stuff like Sub-Zero freezing people) that this show has done yet, but it’s still not the ridiculous somewhat light-hearted violence of the games. He is straight up burning this woman with a red hot branding iron. He’s trying to get information from her about something called the Essence, which Shao Kahn believes his step-daughter, Princess Kitana, has hidden somewhere in Earthrealm.

Speak of the devil, here come Shao Kahn himself, and with him is another woman, named Qali, who he accuses of being loyal to Kitana, who she has been friends with since childhood. There’s also the small fact that when he staged his coup to take over Outworld, he had her father beheaded in front of his entire army, which is a decent enough reason to hold a grudge. She insists that no, she is loyal to no one but Kahn, but he’s not convinced. The Shadow Priest on the other hand is convinced that the woman he had been torturing really doesn’t know who took the Essence, or where it is, so Kahn has him slit her throat, as a message to Qali. In the shadows, another cloaked figure has been watching this whole thing.

We’re only through the pre-credits teaser this week and there’s already two things I need to talk about. Let’s start with the good. Shao Kahn is awesome. He looks, and acts, like a complete evil bad ass. Meek has toned down his performance since the first episode, but now instead of over-the-top he has a more hateful, rage-filled, burning to every line he says. His voice is completely different as it is in his dual role of Raiden, as is his posture, and just the way he carries himself. In what has so far been a series that has ranged from mediocre to painful as far as acting goes, Meek is the one truly stand-out performance. Every scene he’s in drips with energy, and he’s fun to watch, regardless of whether he’s playing Raiden or Shao Kahn.

He also looks great too. The Raiden costume hides his physique, but the guy is huge. And despite the fact that instead of going full monster face like in the games he is just wearing a skull mask at all times, it’s still miles ahead of the “incompetent bald guy” portrayal of the character from Annihilation.

He makes this look work.

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To go with the upcoming Mortal Kombat game, I thought it would be a good idea to take a look at the more popular clones. There were a lot of derivatives of the Street Fighter and Mortal Kombat games throughout the 90’s, back when they were cheaper and easier to do than now. Many are long forgotten, whether they deserve to be or not (you’re still awesome, Kizuna Encounter!). Yet with the blood-based fighters, there were some who didn’t fall into obscurity without a fight.

Killer Instinct, Primal Rage and Eternal Champions are all interesting in how they almost became big deals. People remember them, but they’re all series that tried to last longer and collapsed before they could for various reasons. You don’t see any modern-day incarnations of those three non-Kombat games despite the way someone my age might light up and say, “Fulgore was the shit!” when the game is namedropped. They all had just enough play in the 90’s to receive their own comic books.

I’ve covered the Killer Instinct comic series before and Eternal Champions will be covered in due time. Today, I’m going to discuss Sirius Comics’ Primal Rage.

Primal Rage is based on the vicious Atari-released fighter from the mid-90’s. The basic premise of the game is King Kong vs. Godzilla as a fighting game. Giant dinosaurs and gorillas created with stop-motion animation duel over their domains. I’ve never been a big fan of the game and despite the excellent animation, you can see why it never truly took off. The game only had seven characters (using five character models and changing the palette on two of them) and no end boss. It seemed a bit barebones.

The story, I’ve discovered, is incredibly metal. A giant meteor crashed into earth, causing a major cataclysm. Tidal waves washed over the Earth. Cities were destroyed. Continents shifted back into one major mass of land. The people who survived lived on in caves, allowing civilization to degrade and turn itself into a series of violent tribes. The cataclysm also caused dormant beasts to awaken and battle, with humans worshipping them. Each one is considered a god of some sort. The God of Good, the God of Evil, the God of Life, the God of Decay, the God of Hunger, the God of Survival and the Goddess of Madness. They would all battle for supremacy until one was left standing.

The miniseries goes for four issues and is written by Christopher Knowles. The first issue, released in 1996, has art by Kevin Rasel. It’s a good-looking comic that’s refreshing in how straightforward it is. Unlike all the other fighting game comics, it actually holds itself down as a fighting game story without losing track of what it’s supposed to be. It starts off in an icy mountain where the side resembles that of a gorilla’s skull. Inside, we see Blizzard, a blue gorilla and God of Good, sitting on a throne in front of his gathered followers and a couple gorillas.

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If you’ve been listening to the podcast, you’ve heard me and David discussing Daken more than a few times.  Both of us have been both amused and bemused by his byzantine schemes that always seem to work out, but never seem to make sense.  In the latest issue his plans have come to a sort of fruition.  But I’m not sure I like them.  And I’m pretty sure that’s the way it’s supposed to be with evil characters.

What David and I found most hilarious all the way through the Daken series was the endless line-up of victims.  From the first issue, in which he murdered a guy for a nice looking suit, to the issue in which he charmed the Fantastic Four in order to steal some kind of mystery device from Reed, to this last one, in which he assured everyone that he was on their side before betraying the lot – he’s tricked an endless array of characters.  He’s done so while being the ‘hero’ of the book.  That’s not too unusual.  The villain being the protagonist of a story is a trope that’s been around forever.  And yet, those stories aren’t about how evil the villain is.  No matter how much wrongdoing is wrongdone, the readers, or watchers, or listeners, are supposed to be won over to the villain’s side.  There needs to be sympathy.

Usually that sympathy is gained the same way stereotypical ‘anti-heroes’ get sympathy.  Tough guys – and jerks – like Guy Gardner or Wolverine posture and fight and are obnoxious, but when a cute kid, or a gal in trouble, or a bus full of nuns, and they’re on board.  The villains might be a little more mercenary in their good deeds, they might only be in it because by helping out they stand to gain something, but they’re still on the side of the angels.  They’re still doing good. 

The underlying message tends not to be that sometimes they will do good, but that they’ll make an exception.  And if they’ll make an exception, won’t they do it for you, good reader?  A lot of villain-books, and movies, and tv shows, trade on this line of thinking.  They’re not overt about it, but the stories tend to line the villains up against unpopular causes, ideas, or even everyday annoyances.  A villain takes out someone who talks in the movies – oh *we* would never do such a horrible, senseless thing, but since it’s fiction, aren’t we on the villain’s side?  A little?  And if we’re on the villain’s side, then isn’t the villain on ours?

I’m not really against fashion designers, but they haven’t been making good headlines lately, so I don’t mind if a fictional one gets knifed up.  And although I’m aware that the Fantastic Four are heroes, I’m not exactly attached to them.  But Tyger Tyger, this last person to trust Daken, I liked.  I liked that she shot him in the heart the moment he ignored her warning that if he stayed she was going to shoot him in the heart.  I liked that she was a villain, but she was just trying to do her job.  I just generally liked her, so I felt a little put-off, betrayed if you will, when it turned out that Daken just stole her empire out from under her.  Sure he’s a bad guy, but – did he really need to do that?

And this is the bottom line of any real villain book.  The audience is meant to have sympathy for the evil character.  They are meant to like them, and confuse the fact that they just happen to be on the same side in one particular context with the fact that they usually wouldn’t be on the same side.   Maybe they secretly are good.  Or maybe they’re bad, but they can’t possibly find a way for that inherent badness to inconvenience *you*.  And this is exactly how the other characters in a villains’ book are meant to feel.  In the end, though, evil characters in fiction and in life aren’t immoral when they happen to go up against an unpopular character.  They aren’t immoral except when it comes to certain people who they actually like.  That’s not the way immorality or inherent evil work.  They’re just bad, and if you forget that, you’re going to get a rude awakening.

Guest article series by Gabriel “TheJoker138″ Coleman.

Let’s get right to it this time, shall we? We start off in Outworld, where Not-Jade is sitting around naked. This is the scene they took the shots of her for the opening credits from. She essentially has set up a sauna, and is using flowers as perfume. Shang comes in and implies that she must have whored herself out to get those flowers into the mines, which understandably pisses her off. He touches her hand, which causes it to wither and age, and then turns it back with a wave of his hand, saying that she hasn’t seen anything yet.

It cuts to the temple of the order of light, where Kung is meditating with the other monks. He has brought Taja and Siro with him, and she looks bored, while Siro is asleep and snoring loudly. She throws a pebble at him to wake him up, and then leaves. He follows, followed shortly by Kung. He asks them what’s wrong, and is actually quite understanding that they don’t feel the whole meditation and spiritual thing is for them. They decide to head back to the trading post, despite the fact that there is a heatwave going on, and it’s very, very hot out. Before they leave the head of the order of light, Master Wang, talks to both Kung Lao and them, saying that he’s sorry to see them leaving so soon and wishes them a good journey.

Heh heh… Wang…

Siro and Taja walk off, and Master Wang runs after them, giving them Kung Lao’s water bag to take with them. He’s out of breath from the run, and drinks from it as well. There is a person dressed in all black following him back to the temple. He rejoins Kung and the others in their meditation, but drops dead soon after, and his body decomposes into a shitty looking CGI skeleton and then to dust as Kung and the others watch. They figure it must be sorcery of some type, which causes the person in black earlier to run from the room, Kung giving chase. He catches up to the black clad figure, and pulls off their hood, revealing that it’s Not-Jade. She jumps through a portal back to the mines before he can do anything to her.

Shang is pissed that Kung saw her, and says that he’ll have to deal with the situation himself now. They also go on to explain why Shang doesn’t just use one of his portals to escape, by saying that there are guards and spies in the prison who would report back Shao Kahn if he was one day gone, and that they would track him and punish him wherever he went. I don’t quite buy this, but at least it’s something. Shang steals the soul of one of the other prisoners to make himself more powerful, and heads to Earthrealm despite Not-Jade warning him about the guards and spies.

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Guest article series by Gabriel “TheJoker138” Coleman.

Seeing as I’m going to be here talking about Mortal Kombat stuff with you guys for quite a while, (22 episodes of Conquest, 13 of Defenders of the Realm, 2 full length movies, and two… other things) I figured you might want to know some of my background with the series. When the first game came out, I was only six years old, so I missed the boat on actually playing it when it was new. However, by the time Mortal Kombat 2 came out, I was a second grader who had a Sega Genesis coming to him for Christmas of 1994. I got the Genesis itself, the pack in game Sonic The Hedgehog, Sonic 2, and Mortal Kombat 2.

I don’t recall ever asking for the Genesis, but I was already somewhat familiar with MK2. The Pizza Hut near our house had two arcade machines, Street Fighter 2 and Mortal Kombat 2. I always gravitated towards the MK2 machine, wasting quarters and hardly ever winning matches against the CPU. I guess my parents picked up on it, and not being the reactionary type who think that video games cause children to become psychopaths, probably got me the Genesis so I would play it at home and not throw away their quarters anymore. This didn’t really work out for them.

I had this Genesis and my MK cartridge for a long time. It was the only system I had until after the PS1 was already out, at which point I switched to a N64. There were other games, of course, including Mortal Kombat 3, Ultimate Mortal Kombat 3 and of course the first one which I had missed out on. But it was always MK2 that I came back to. I borrowed an older friends strategy guide for it and photocopied it at my moms office. I practiced the fatalities and special moves by plugging in a second controller in and doing Vs. matches against no one. I improved enough at it that I could get through the arcade version in one or two quarters most time, and even beat a lot of human competition.

I remember one day I went into the Pizza Hut and the cabinet wasn’t there anymore, leaving only the Street Fighter 2 machine and one of those claw machines you can get stuffed animals from. I guess that MK2 either wasn’t profitable for them anymore, or it broke down and they figured it wasn’t worth it to fix. Either way it was gone. There were places to play MK3 at, sure, but none of them were as close to my house or as oft visited as that Pizza Hut.

By the time MK4 came out, my love of the series as a whole had already started to diminish. I caught a few episodes of the animated series on TV when I was up that early, which wasn’t often. I saw the second movie when it came out on VHS tape for rental, and it put me off even more. I never even bothered to watch Conquest when it was on. But that MK2 cartridge was always there, and to this day it’s the one thing I miss most about my Genesis. Sure, there’s a downloadable version of it (arcade perfect even!) on the PS3, but it’s not the same. There’s something about blowing out the cart, whipping out my stapled together bootleg strategy guide, and watching as lighting illuminated the cloudy sky to reveal the MK dragon that I’ll never have again.

That’s one of the reasons the new game has me excited enough that I decided to go back and look at this material I skipped at the time. The footage from it has everything I loved about MK2, but updated with a shiny new coat of next gen paint. The demo plays like a souped up version of MK2 with all the best parts of MK3 thrown in for good measure. The roster is all classic characters that I remember and love (or hate… I’m looking at you, Nightwolf) and remember. I know it will never live up to my memories of MK2, but I still hope it can carve out it’s own niche in my long history with video games, one that will be just as fulfilling as those days gone by. But anyway, I’ve blathered on enough about the good old days, let’s hop into our second installment of Mortal Marathon, with episode 3, Cold Reality.

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(Gavok note: In a month from this writing, the new Mortal Kombat game will be released to consoles. Everyone at 4thletter! who doesn’t matter is excited about it! I’ve always been a big fan of the series and its entertaining sense of crazy mythology. Over the next month, I intend to cover a few things that relate to the series, some more loosely than others. Meanwhile, Gabriel “TheJoker138” Coleman was inspired enough by my looks at the old MK comics to start up his own series of reviews. Not for the comics, but for the two Mortal Kombat television series and the movies. He needed a place to showcase them and I felt bad for denying the other 137 Jokers, so here we go. Oh, and he’s got a Twitter too.)

Mortal Kombat was huge in the 90’s. In the nearly 20 years since the first game in the series was released in arcades, it’s easy to forget that. Some readers may not have even been born yet in it’s heyday. But make no mistake, Mortal Kombat was one of the first video games to really hit the big time as far as multimedia blitzes go. In fact, it was able to accomplish a few things that even today’s biggest video games, such as Halo or the Call of Duty series, haven’t. Like those series there were action figures, a novel, t-shirts, and other such merchandise, but there were also movies and TV series. Sure, the first movie is a guilty pleasure, the second is awful, and neither of the series lasted longer than a season, but the fact remains that the MK brand was strong enough to justify their existence.

And that’s what I’m here to talk to you about today. In this series I plan on going through both films, and both TV series on an episode-by-episode basis. I’ll take a look at their similarities and differences to the games that inspired them, and review each movie, each episode, and each series as a whole.

The first of these to be released was the feature film in 1995. But that’s not where I’m going to start. Instead, we flash forward to 1998, and Mortal Kombat: Conquest. By this time the end of the Mortal Kombat boom was already almost over, and this series failure may have been the first real indicator of that. As I said, it only lasted a single season, and was largely ignored, even by fans. I will admit that when it first aired, I never even watched a full episode of it, and I was a pretty big MK fan. The only reason I even know it exists was due to the fact that it aired either right before or right after (I honestly can’t recall which, but if you told me I had to choose I’d pick before) WCW Monday Nitro on TNT, and was advertised pretty heavily on it.

The reason we’re going to start with this series instead of the first film is because, chronologically, it comes first. It takes place 500 years before the film (which I assume was set in 1995, meaning this takes place in 1495) and focuses on The Great Kung Lao, ancestor of the Kung Lao we all know from the games. In the canon of the games, he was killed by Goro in the tournament after Shang Tsung was dethroned as champion. If you’ve read Gavok’s short write up of weird things that the MK brand spawned, you know it doesn’t quite end that way for him in this series already, but we’ll get to that later. I should also mention that the first episode is actually a two-parter, and one that packs a ton of set up and action into it, at that, so this might take a while.

This starts off, like a lot of MK media, with a voice over by Raiden (played by Jeffrey Meek) that sets up the basic premise of the show, and of the MK tournament itself. During this, Kung Lao is shown practicing for his match against Shang Tsung, where he is the last Earthrealm fighter. Shang Tsung is also shown finishing the previous fight, where he dominates his opponent and steals his soul. Shao Kahn (also played by Meek) watches over this, pleased. Shang looks pretty close to his MK2 look (minus the silly Devo hat), as does Kahn. Kahn’s helmet looks kind of cheap, by the way, but still much, much better than he did in the second film.

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