Shōryū: 昇龍 Rising Dragon
Another powerful principle of Ansatsuken. Ki is used to propel one upwards towards the foe. While the ascent is invincible, the decent is not. This can be used for reversals, to punish frequent jumpers and counter against rushing attacks.
Many techniques are based off of this principle, and they have been listed from weakest to strongest. As new moves are introduced and current ones are modified, this list will always be subject to change.
Kōryūken: Performed by Dan Hibiki. Not bad, but not good either. Heck, Dan barely has his arm stretched out for this attack. Overall, pretty weak.
Dragon Smash: Performed by Sean Matsuda. An original take on the move, Sean uses both fists to strike his foe. It's not as powerful as you'd think, however.
Kōryūrekka: Performed by Dan Hibiki. Better, but Dan can only get in about 4 hits. Moreover, he barely covers any ground with this Super Art, unlike Ken.
Shō'ōūken: Performed by Sakura Kasugano. For her part, Sakura put quite a bit of effort into hers. While using ki, she runs towards her opponent a bit before attacking, putting in as many hits into one swing as she can (up to 4). She can get in another swing as an EX move.
Shōryūken: Performed by Ryu and Ken Masters. This is how it's done. A straightforward execution that's one of the most feared attacks this style has. Ryu's only does one hit, but Ken can get in three, surrounding his fist with fire for extra (yet non-lethal) damage.
Go Shōryūken: Performed by Akuma. A deadly variant to the Shōryūken, potent enough for 3 hits. No fire of any kind needed for this one. Should he become Oni, he would use one fist before switching to the other one.
Midarezakura: Performed by Sakura Kasugano. Her version of the Shōryūreppa, Sakura sacrifices some power in exchange for a quick succession of 6-7 hits. This Super Art is still quite effective, however.
Hisshō Buraiken: Performed by Dan Hibiki. The Saikyo fighter really shows off his potential here with a torrent of punches and kicks, finishing with a Kōryūken. This 19 hit (!!) Super Art is one of the more useful ones in Hibiki's arsenal (which is saying a lot).
Shōryūcannon: Performed by Sean Matsuda. This Super Art starts like his master's, but after the first upswing, Sean uses his ki to send himself and his opponent higher, getting in as much hits as he can (up to 9). A pretty impressive move.
Shishō Buraiken: Performed by Dan Hibiki. Dan's best Super Art is given an Ultra upgrade. He starts with an overdramatic swing to the jaw and (if that even connects) quickly follows up with a barrage of strikes to various vital areas, ending with a Kōryūken to the gut (8 hits in all). As the unfortunate sap lands, Dan flashes his signature grin with a thumbs up. If there were ever a reasonable excuse to take Dan seriously, this will do just fine.
Shōryūreppa: Performed by Ken Masters. Ken swings an uppercut into his foe thrice, setting the victim ablaze the second or third time for more damage. This is one of his best Super Arts.
Kinjite Shōryūken: Performed by Gouken. A deceptively simple Super Art, Gouken uses a great deal of ki for damage and airtime. As the name suggests, this Shōryūken supposedly forbidden, so Gouken tries to avoid using it.
Shinryūken: Performed by Ken Masters. Ken's dedicated this Super Art to Gouken, so you know he's giving it his all. Ken spirals upwards into his opponent, gaining no distance, but delivering a flaming torrent of pain. If he wants to be Ultra flashy about it, however, he starts with a punch and a few quick kicks first. Either way, Ken can only muster enough ki for 17 hits (max).
Messatsu Gō Shōryū: Performed by Akuma and Evil Ryu. The dark variant to the Shōryūreppa, good for 9 hits. When Akuma performs this technique, the last three hits are slow and painful. Should Ryu's intent become tainted enough to use it, his execution is quite different. After the first two swings, he knocks his opponent into the air, soaring high enough to hang above them. He then channels a great amount of dark ki and brings it down hard, driving it, and the victim's head, into the ground with extreme force. 14 hits in all for the crazed warrior.
Metsu Shōryūken: Performed by Ryu. This is the move that gave the Muay Thai king, Sagat, that infamous scar. He elbowed Sagat with his left arm, launched his right fist into his abdomen and struck him upwards across the chest with great cutting force. Ryu has since modified this Super Art to be somewhat less lethal. He instead uppercuts the foe in the stomach with his left fist and strikes the chin with his right, using a great deal of ki at that point to finish the opponent. The damage this Super Art causes is quite unpleasant, either way.
Shin Shōryūken: Performed by Ryu and Gouken. This Super Art is feared by all who witness it. The user begins with a punch to the gut with his right, followed by a strike to the bottom of the jaw with his left and raises himself and the opponent to the air with the same fist. The user applies more and more ki with each hit, sending the foe skywards, to land with an unpleasant thud. Ryu needs enough ki for 4 hits, while his master only needs enough for 3 hits.
Tenchi Sokaigen: Performed by Oni. The ogre's taken this principle to its most terrifying extreme yet. He summons a monstrous amount of vile ki and strikes the ground. The impact is damaging enough on its own, but if he hits his opponent dead on, the blast knocks the victim high into the sky. Oni then takes off after them with a devastating Shōryūken. All this with just 2 hits.
The Shōryū principle is certainly one to be reckoned with. It's powerful and can add a bit of flair to a fight.
(If you must debate me on this and other analyses, please contact me elsewhere. Thank you.)