“You killed my—“
“Yes, yes, I killed your father. What is it with you women? I killed my father and you don’t hear me complaining about it.”

— Chun-Li and M. Bison from the Street Fighter animated series.

Years ago, I went and saw Street Fighter: The Movie in theaters. It was, as we all know, a bad movie. It’s infamous for being a bad movie. I hated it. As time went on, I learned to forgive it and even enjoy it for its ridiculousness. More than that, I understood the movie.

At least, I understood why it came to be. Street Fighter II was all the rage and a movie was a natural follow up. With so many characters to choose from, the best they could do was create a GI Joe setting where the then-most popular character in the US leads his fellow good guys against the main villain and his cronies. It was there to sell action figures. It was stupid, but I understand why it was.

Last night I watched Street Fighter: The Legend of Chun-Li. Most fighting games have the habit of having a crappy first attempt and a beautiful second attempt. Street Fighter, Mortal Kombat, Fatal Fury, Guilty Gear, the Marvel games and so on. By all means, it should be the same with the movies, considering what a turkey the first movie was. They HAD to improve. The studio pressure was lessened this time. We didn’t need Guile and his kung-fu commandos taking on M. Bison’s armies. They were free to tell a more fitting story. They were allowed to do better! They WOULD do better!

Right?

The real question isn’t whether or not Legend of Chun-Li is worse than the first Street Fighter movie. Because it really is. It really, really is. The real question is whether Legend of Chun-Li is worse than the Happening. I honestly can’t figure out a good answer for that right now. It’s that close. It’s definitely worse than Mortal Kombat: Annihilation if that means anything to you.

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I’ve always been a fan of the Street Fighter games and their stories. With the sudden resurgence of the series with its kickass new videogame and horrible, horrible new movie which I will unfortunately see on opening day because it probably won’t be in theaters anymore by Saturday, I’ve been checking out a lot of the comic-related stuff. While UDON has three different Street Fighter comics coming out at the same time (Street Fighter II Turbo, Street Fighter IV and a Chun-Li miniseries), I decided to give the manga Ryu Final a look.

I’m not usually a manga guy, but we had it at work and I wanted to give it a shot because it takes place during the course of Street Fighter III. I love the SF3 games and they never get any play. They always appear neglected by Capcom and a lot of the fans, such as the lack of any of its characters in SF4. I should also bring up the bizarre and confusing ordering of the game series’ canon. Some games replace others in continuity, even when they appear to be sequels. By the end of it, it looks like this:

– Street Fighter
– Street Fighter Alpha 2
– Street Fighter Alpha 3
– Super Street Fighter II Turbo
– Street Fighter IV
– Street Fighter III: Second Impact
– Street Fighter III: Third Strike

All while sharing the same universe with Final Fight, Rival Schools and Saturday Night Slam Masters.

Ryu Final takes place during Third Strike, the latest entry in terms of continuity. It follows Ryu, piecing together nearly all of his character interactions and the game endings that relate to him. A run-in with Ken ends with Ryu defeated and questioning why he even fights in the first place. Soon after, he meets with a crazy 150-year-old man named Oro who soundly defeats him and forces him under his wing as his new apprentice. The two of them wander the world together as Ryu takes on various SF3 characters like Hugo, Yun, Yang and Dudley.

This quest for answers brings Ryu closer and closer to his final battle against his main nemesis Akuma. Which reminds me that the manga is completely worth reading just for a flashback sequence that shows Ryu’s origin. Long story short, a younger Akuma saves a very young Ryu’s life by jumping out of the shadows in a cave, punching his fist THROUGH the back of a bear’s skull and stopping with his fist inches from Ryu’s face. The manga does well in adding more dimension to the Akuma character, even including an odd Killing Joke moment of laughter between Ryu and Akuma before their fight.

For me, it all boils down to how awesome Sagat is. For those who play the games, you’re probably wondering what the hell Sagat has to do with anything. He wasn’t in any of the SF3 games. As far as the canon goes, Sagat and Ryu agreed that Ryu would seek out Sagat when he was ready for them to have their true, clean fight. So during SF3, Sagat is just chilling out in Thailand. In this book, Ryu does meet up with him as to fulfill his promise of a rematch and the entire thing is totally sweet.

But there’s another part that’s great involving a flashback. We go back to see Sagat after SF1’s conclusion. Ryu had sucker-punched Sagat and gave him a huge, bloody wound on his chest in a major upset. Sagat’s top pupil has lost faith in him and Sagat has lost faith in himself. He responds to his loss by tearing apart trees in rage.

Then he finds that he almost crushed a kid during this. The boy is laying there, horribly wounded and half dead. A doctor finds that the wounds were caused by a tiger mauling him. There are poachers out there who will force children to act as decoys for the sake of catching their prey. Hearing about this, Sagat races into the jungle.

“What am I doing?! Am I going to defeat the poachers to avenge the young boy…?! NO!! I merely want to avenge my own honor… That is all I fight for! This has nothing to do with compassion… This is about making myself feel better! What a petty man I am! But… I don’t care! No one can stop me now!!”

There are two hunters going after a giant tiger. One gets mauled to death. Sagat steps in and stares down the tiger until it leaves. The surviving poacher is grateful, but Sagat calls him out on exploiting the children. He begins to slap the shit out of the guy repeatedly while bitching him out. His chest wound is still fresh and the pain kicks in again, causing him to hesitate and allowing the poacher to escape into his camp. The poacher brings out a little girl and holds a gun to her head, saying that he’ll let her go if Sagat forgets this night ever happened.

The wounded little boy from earlier shows up and yells at him to stop.

After the flashback, we see that these two siblings have grown up to be farmers who are loyal and close to Sagat. Sagat rules so very much.

But yeah, Ryu Final is worth a try if you’re riding the SF4 high. The UDON Street Fighter stuff isn’t bad either, now that it’s coming out regularly again, but I noticed a big problem in Seth’s plan in the first Street Fighter IV issue:

Don’t do it! That guy in the bottom right beat up Batman and can tear your spine out! Wait, never mind. I forgot that I hate Crimson Viper. Forget I said anything.

Well, the series went out strong, and with its characteristic emphasis on family.  Add in a big battle won despite staggering odds against our hero, a curtain call by all the characters in the series, and an ending filled with hope and positivity and – *sniff* – I’m going to miss you, Jaime!

Alright, let me shake that off and get into a bit I can criticize.

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The latest issue of Batman/Superman has Batman announcing his absolute control over Gotham and much of the world.  This doesn’t surprise me.  Batman is self-righteous, is a control freak, is someone who balances, not always well, his sense of responsibility with his sense of entitlement.

What does surprise me, at least as far as the character is concerned, is that he does this after brutally beating Catwoman and Nightwing.  Considering the fact that the character is emotionally involved with both of them, that comes off as him beating his girlfriend and his son.

Why this sudden reign of terror?  Because he acquired the powers of Superman.  I’ve said before that Superman/Batman is the comic to watch, and I meant it.  I mean it now.  I just find it interesting that this comic follows a very common literary idea: excess leads to disaster.  Read the rest of this entry �

While Robin ends with Tim Drake coming into his own as a hero, Birds of Prey finishes with Barbara Gordon losing her identity.

At the end of the series, Babs has to blow up her second headquarters in two years.  She’s faced the Joker again, only to get knocked around.  She’s faced Calculator and seen him literally attain new heights while she’s left in the dust.  Her team is hated in their new town, and while they manage to disperse the criminal syndicate they were running, they can’t shut it down.  She’s lost a friend, possibly permanently.  All in all, this is a low point for her.

The different approaches to the two series make sense.  Tim is a young hero and former sidekick, so his series need to see him reach a new level of independence and maturity.  Babs is well-established, and has to find some new direction.  Her new direction is hinted at in the upcoming mini-series, Oracle: The Cure.  I know, I know, the name is supposed to be a reference to curing a sick little girl.  Still, either Babara Gordon is going to record a cover of Boys Don’t Cry, or DC is teasing us with the possibility that Babs is going to walk again and Cassandra Cain is going to have a little battle for her own cowl.

I hate being brought face-to-face with my bias as a comics reader.  The Robin series ended in a way which I didn’t approve of, but which made sense dramatically.  Tim Drake became a competent and autonomous hero while having to give up some of the things he’d loved as a child.  Couple that with the death of his last parental figure and you’ve got a strong, archetypal coming-of-age story.  I hate it.

Barbara Gordon quitting the team she established and nurtured, leaving a kid she semi-adopted, walking again, giving up her identity as Oracle and possibly stepping back into the shadow of the bat is wrong.  It’s backwards motion, it’s erasing her identity, it’s losing her place in a larger universe.  And yet I cannot find it within myself to hate it.  I’ll be disappointed if it doesn’t happen.   I need it.  I love it.  I want it. 

I want fun!  I want the original Batgirl and her adventures.  At the very least I want more mini-series!

There is a lot to be said for comics that are committed to a story, rather than bowing to popular opinion.  But honestly, I don’t want to take my comics the way I take multi-vitamins.  If there’s an Oracle mini, I’ll be there.  If it breaks in the middle to make Barbara Gordon Batgirl again, I’ll be there and tearing at the shelves.  Pander to me, DC.  Pander to me.

Robin ends on a note of triumph.  Or rather, its character does.  Kind of.  Tim Drake has established himself as someone so righteous he can dictate The Rules Of All Superheroes to Spoiler, so cunning he can set it up so he beats Shiva in a fight, so self-sacrificing that he can break up with the girlfriend that I am flat-out shocked he still has, since he hasn’t seen her in the last six or so issues, and so fair-minded that he can pacify Jason Todd, who comes by to view Batman’s last will and testament, which has been set up to be recorded in a big black obelisk in the Batcave.

Truly, Tim is the badassiest of all badass heroes, and that newfound badassery is worth the several dozen pints of personality he lost.  What the world needs is another grim n’ gritty superhero with a tortured past, and what the Batverse needs is another adult hero in the shadow of the bat, and if I were a lesser blogger, I’d sneak in a little jab about how Detective Harper, Zoanne, Stephanie Brown, and Lady Shiva all got nudged aside so the male character could commune with their dead daddy figure in a big, erect phallus but I’m far too – oh did that slip out? 

Well, it’s not like I’ve made a secret of my feelings toward this character’s trajectory.  I will sum it all up with this – when anyone told him that something sucked, my old physics teacher used to say, “There is no ‘suck’ or ‘blow.’  There are only differences in pressure.”  I can now prove him wrong, since this new grim, infallible, omnipotent Robin somehow manages to both suck and blow at the same time.

The character is on top of the world, but I’m feeling pretty cold about him.  Of course it’s natural for characters to progress as their comics go on, but this one grew out of any interest I had in him.  Oh, well.  With comics, every Wednesday has the possibility of  a fresh start.  So, out with the old, in with the Battle For The Cowl, and on to next Wednesday.

There was a lot of strange goings on during the 90’s, but one of the big things was mullets. It almost looked like you weren’t allowed to be a male superhero unless you rocked the mudflap at least once in your crime-fighting career. Superman comes back from the dead? He’s sporting an ape-drape. Venom becomes a good guy? Over the course of a couple days he’s grown an impressive set of locks going down the back of his head. Nightwing, Bishop, Nova, Longshot, etc. They all had business in front and a party in the back. The Spider-Girl comic even toyed with nature itself by giving Normie Osborn a hairstyle that mixed the mullet with the infamous Osborn cornrows!

One topic that comes up in comics a lot is if it’s the powers that make the superhero or the heroism inside. Is Superman truly a superhero because he can smash mountains or because of his never-say-die attitude? In the 90’s, that could be asked in another way. Is it the powers that make the hero, is it the inner strength or… is it the mullet?

In 1995, Marvel would test that question by releasing this wondrous piece of work.

Yes, that’s right. Billy Ray Cyrus. The comic. Written by Paul S. Newman and illustrated by Dan Barry. Marvel Music was a short-lived line that mostly dealt with biographies of musicians, such as Bob Marley and the Rolling Stones. Billy Ray Cyrus is above that. Look at that cover. You know this is going to take a turn for the outrageous. A simple biography isn’t going to cut it. This southern boy needs adventure!

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The last issue of Nightwing has been published.  No one is taking much notice of it, and it is with a heavy heart that I admit that I can see why.

A number of books are ending this month – Nightwing, Robin, Birds of Prey, and The Blue Beetle – leaving me with a severely reduced pull-list.  But while Robin has ended with developments that, in my opinion, suck so hard that they could depressurize a space shuttle, the final few stories leave us with some sense of completion for the series.  Tim Drake has become someone new.  Sucky, but new.

Nightwing, on the other hand, is a sad example of one of those books whose characters are never quite heavyweights in their own right, but are close enough to the larger fictional universe that they get sucked into all plot lines.  Bludhaven was flattened in Final Crisis.  The main character undertook a pointless trip to New York because everything needed to be different One Year Later.  He had a girlfriend.  She moved away.  He found another.  She moved away.  Given another year or so he would have found another and she would have disappeared just as abruptly, because he’s practically betrothed to a character in another book.  Vigilante hijacked the plot for about three months in order to publicize that character’s upcoming book.

Then it was time for the unfortunate Pre-Event-Release-Date, Post-Event-Continuity to kick in.  This happens during every Big Event.  All the characters in a minor book hint incessantly at all the wild and crazy things that have happened in Event books that have yet to be released, leaving the reader confused and missing the emotional impact of the story.

I like the character of Dick Grayson, who is, of all the Bats, the cheeriest.  But after Devin Grayson left the series was helmed by too many different authors going too many different directions.  It was lurching and staggering like a punch-drunk boxer, and it was merciful to throw in the towel now.  I just wish that there were more of a sense of completion, rather than the books just being cut off. 

But who knows?  Maybe it will come back after the next Big Event.  At least that way it will have a fresh start.

Issue number 17 of Green Arrow And Black Canary has me once again wondering what to do with a story that is going in a decent direction, but not going in the direction you want it to.

In the past, when Cassandra Cain became a completely different character, for example, I simply lost interest.  This isn’t quite the same. 

I had hoped that the new Arrow book would yield a group of characters who were like the Bats, but with a sense of fun.  Mia’s life was getting good.  Connor was fairly cheerful for an ex-monk.  Ollie and Dinah seemed to be getting along.  I wanted a big, chaotic, adventure-loving family.  That is not what I got.  Mia and Connor are out of the picture for the foreseeable future.  Ollie is getting darker and ‘on edge.’   Even Dinah seems subdued.

At the same time, the world that Andrew Kreisberg is writing is shaping up very well.  We’ve got two villains who are each obsessed with half of the supercouple.  We’ve got a burgeoning professional relationship between a police lieutenant and Ollie.  Dinah and Ollie, despite occasionally arguing, are getting along well and not falling into that ‘constantly fighting over some damn stupid thing’ trap that fictional couples often settle into as soon as they get married.

It’s not the comic I was hoping for, but it’s a good comic. 

So, the question remains:  What happens when you couldn’t be with the comic you love, but you could love the one you’re with?  Are there any comics that really didn’t turn out the way you were hoping them to, but with which you could reconcile your differences and grow to love?

In the first part of Neil Gaiman’s Whatever Happened to the Caped Crusader, two disembodied voices discuss Batman’s funeral.  One of them is, apparently, Batman.  The other is an unknown guide.  Given the fact that I’d burned out on the hallucinogenic tone of much of Batman RIP I expected to dislike this story.

I have to say, I dig it.  The overall playfulness of the story makes it work. 

First there are the weird, funny little messages in the art, such as a giant typewriter billboard with the slogan, “Don’t Type It . . . Finger it!”  There’s the fact that Two-Face drives around in a half-trashed car.  There’s Batman, in the coffin, in his full uniform.  There’s the ridiculous cat mask that Selina wears when she and Batman fight during  a flashback.

I also like the different eras and obvious lack of continuity of the story.  It reminds me of the Legends of the Dark Knightseries, in which any nutty thing could happen, from Batman starring in a vampire version of Sunset Boulevard to a supervillain a fashion show.

Of course the fact that the entire tone of the story is funereal puts a damper on my spirits, but overall I enjoyed Gaiman’s take on the Batverse.  It’ll be interesting to see how he makes sense of the situation he sets up, but if he’s up to that challenge this could be a more memorable Bat-story than several of past few years’ big events.