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The Real Deal with Ogun

After sitting on it for months, we recently released an image from the Madripoor set of Marvel Studios Disney Plus streaming series The Falcon and The Winter Soldier that revealed what appeared to be a biker gang logo. Shortly after running the story, we were contacted by Twitter user and Murphy’s Multiverse reader @AmzingShite, who believed he had a match for the face on the jacket; he believed (and in subsequent conversations on Twitter it became clear that a lot of folks share the same opinion) that the face was incredibly similar to a red demon mask worn by one of Wolverine’s oldest acquaintances: Ogun.

First introduced in the 1984 series Kitty Pryde and Wolverine, Ogun is a ninja who once served as friend of Logan’s and mentored him in the Art of the Samurai. During their time together, Ogun revealed to Logan that he had mastered the forbidden art of cheating death. Ogun could copy his psyche and then upload it into the bodies of others where it would slowly begin to erase their personalities and install his, a process he intended to do to Logan before the X-Man departed. Following Logan’s departure, Ogun fought all over the world wearing the red mask seen in the picture above, one that presents a common depiction of demons in Japanese art.

That connection to Logan has people plenty excited as fan-generated rumors were already circulating that Wolverine would pop up on location in Madripoor, but what’s more interesting is the relationship Ogun himself as to the island, specifically to an underground tournament fought there at one point…

Apparently bored killing people on his own merit, Ogun joined the Yakuza as an enforcer. Already shown in Avengers: Endgame, the Yakzua are expected to appear in The Falcon and The Winter Soldier in the episode where the gang visits Madripoor. In that regard, it’s possible that we see Ogun as the head of a Yakuza biker gang, thus explaining the symbol on the jacket.

There is, however, one more interesting possibility that could connect The Falcon and The Winter Soldier not only to someone from Logan’s long history, but also to a long-standing rumor about the plot of Shang-Chi and The Legend of the Ten Rings! During an arc in Wolverine, Vol. 2, Ogun found himself in Madripoor at the time a secret, underground martial arts tournament was being fought. It’s a crazy tale that involves him trying to take over Madripoor by taking over the body of Viper, but it checks enough boxes to at least bring it up here.

Admittedly a blurry picture of a biker jacket is absolutely not enough evidence to suggest that Ogun is showing up and that’s not what I’m suggesting here. It’s likely that this is either just an Easter Egg for Ogun or completely unrelated; however, to me, the images are similar enough that not taking the time to point out the potential connections would be silly given we originally published the picture and had some great followers from our community (including @hradesi14 who gave a nice summary of Ogun’s character) point it out to us.

This is one we’d love to hear about in the comments. Do you think we’ll see Ogun in The Falcon and The Winter Soldier? Are we just a few degrees of separation away from the MCU version of Wolverine? Get a discussion going in Disqus and let us know.

June 15, 2020
What Anthony Mackie’s ‘FALCON & THE WINTER SOLDIER’ Update Means

A recent interview by Jimmy Fallon of The Tonight Show with Anthony Mackie sparked an expected burst of articles in comic-book-movie-blogger-land quoting Anthony on the status of his upcoming TV series The Falcon and The Winter Soldier. Unfortunately, it seems like there is some confusion about how much the series has left to film and when they might go back, so I thought I would try my best to bring clarity to some of that based on what I know.

Let’s start with Anthony’s quote from this interview:

Well, I’m happy to say, we are not cancelled, we are on hold. So we’re going back hopefully sometime soon and finish it up. We have very little stuff to do. I’m very happy with it. We have a little bit more we can go back and do but everybody rest assured, it will come out. We are not cancelled.

When Anthony says “very little stuff” and “a bit more” please bear in mind that the man was filming this series for close to 5 months before they were put on hold. “Very little stuff” in comparison could certainly still amount to several weeks at least, which is what has been previously reported. And certainly it could be his “bit more” is just in reference to his character’s part, while stunt crew and other actors may have much more to do beyond that to finish up.

Case in point, in a Sebastian Stan interview with SAG AFTRA Foundation interview last month, Seb said they had “roughly a few weeks of shooting” left on FaTWS.

That is certainly “a bit more” than some might think going by the “very little stuff left to do” headlines I’ve seen recently. Please understand, I don’t say this to tear down my fellow bloggers, only to make clear that there is indeed a significant amount of work left to do on Falcon and The Winter Soldier and I don’t want to give fans a false hope about it finishing up super fast and being ready for an August 2020 premiere. This seems to me and other much more “in the know” types I’ve spoken to, to be near impossible. I hate saying that, many who’ve been following me on Twitter a while know this show is my #1 I’m looking forward to the most. But I can’t deny it seems unrealistic the show will make August 2020, and perhaps not even the Fall.

On March 6, Czech extra casting company Extrafilms posted on Facebook that there was specifically 3 weeks of filming to be done in and around Prague. The casting call for active runners and bike riders to film at a stadium there mentioned the shoot had a filming date of March 20th. My friend from the Czech Republic @FFilmu on Twitter had also found street permits revealing that the production would likely have been there until March 23. The production was shut down and began leaving around March 10-11, meaning nearly 2 weeks should have been remaining to film in the Czech Republic.

Around this same time, I also spoke to Atlanta resident @loburger, the same guy who caught some great footage of them filming at Atlantic station and more set images referencing Samson Development, about what was going on at his location. He told me, via a couple friendly security guards watching over things, that the series was meant to return for a bit more filming at that location at the end of month. So it was going to be two more weeks in Prague and then back to Atlanta for at least a little more. He also mentioned to me on March 10th they still seemed to be constructing more stuff for sets there. As of May 16th, according to @loburger everything was still there at that point. In other words, definitely more planned to do in Atlanta, I’d say. Whenever that may be.

You might at this point say, “Okay, there’s only 3 weeks left to film. No problem, they can finish that in July for August or in August for September. No problem.” Except, there are some pretty damn big problems. One of the biggest for pretty much everyone worldwide being COVID-19.

Even if they’ve completely straightened out the script to remove some or all of the “pandemic” elements to the story which we believe would have involved a Madbomb storyline, and they have the same amount of planned reshoots left as they did before the shutdown, there is the risk of everything shutting down again. There is also the high likelihood that everything will take significantly longer to film based on new COVID safety guidelines limiting crew, extras, and actors and dictating what they must do to stay safe. So maybe approximately 3 weeks left becomes 4 to 6 weeks? Maybe cases spike and they have to stop again for several months? Or maybe they plan to start and have to throw out those plans last minute, make different plans, or just keep waiting. While I have heard that perhaps mid to late July is the expected time filming will resume for many productions, including the Disney Plus shows, there is no set start dates that we’ve heard about yet, and even if there were it could very well change at the last minute. All we can do is wait and see.

Because unfortunately, there are much bigger problems and caveats in the way of the series finishing. COVID-19 cases and deaths continue to rise in Georgia all the while the state continues to loosen restrictions on social distancing and other preventive measures. This is all very worrisome and as much as I want the shows, I want the people making them to stay safe more.

While things currently seem to be more stable over with my friend in the Czech Republic @FFilmu, and some filming has resumed there with plenty of guidelines. That could change quickly for the worse as well. And yes, I do believe that they want to return to Prague to complete filming there. But that would again involve a smaller crew, less extras, and in all likelihood take longer than the estimated 2 weeks left to film there unless other plans are made.

So what happens if Georgia and Prague are not feasible or too dangerous due to this virus spiking? Los Angeles has been trending poorly with the virus as well. On top of that, a significant problem is studio space is hard to come by all over. This is yet another big problem for any of these shows to get finished this year. Everybody wants to finish their movies and TV series that have been paused, not just Disney and Marvel.

Now that I’ve depressed everyone including myself here. I do think there is hope that both The Falcon and the Winter Soldier and WandaVision are completed and air in 2020. But we must be cautious with our optimism to avoid a very possible let down with further delays. You may now understand why Disney/Marvel have refrained from officially announcing changes to the release dates of these shows. I suspect that it is due to continued uncertainty due to the virus about when these series can be completed. Even with filming done there would still editing and vfx to finish on new footage, scoring, and I’m sure other elements to complete. That all takes time. And I’m sure most if not all of you reading this wouldn’t want them to rush it.

I truly believe these shows will be worth the wait tho. So hang on, there is a light at the end of the tunnel and those of us longing for our favorite MCU characters to return will get there. I am very hopeful of that.

June 14, 2020
The MCU’s Best Storytelling Days Are Still To Come

As part of the relaunch of Murphy’s Multiverse, we invited several friends, old and new, to write some guest features. This was written by our friend and longtime supporter, Joao Pinto.

Avengers: Endgame marked the end of an era. We said goodbye to several characters in more ways than one, as the MCU rode into the sunset at ease with what it had accomplished for over a decade. A couple of months afterward, Spider-Man: Far From Home served as an epilogue to the Infinity Saga, one that showed us that going forward things will have definitively changed and that nothing will be as it once was. As fans look forward to what’s coming next, from Disney+ shows to theatrical releases, from sequels and spin-offs to entirely new IPs, there is no way not to wonder if the connection with the new characters we’ll be welcoming, and with old ones now under a brighter spotlight, will run as deep as the ones many had with the characters that won’t be along for the ride. Will their stories be able to hold their own when compared to a 23-movie-long behemoth of a storyline? Nostalgia will manage to creep in, but there are a couple of hints that make it believe that the MCU’s best storytelling days are still ahead.

Since 2008 the MCU has expanded and gotten bigger with every single chapter. And every few years since the first Avengers movie it was time to bring the team back together, with more members, bringing new franchises into the mix, until we got to the point in Avengers: Endgame where there were 25+ superheroes suiting up for that final battle. So, how do you top that? You don’t. And so there would be little sense in even trying to do so.

Late last year we were hearing that an Avengers-like event movie would have to wait another five years. Considering what 2020 has been like, it’s easy to understand if we now have to wait until at least 2025 to get something like the now-iconic Alan Silvestri theme back in theaters. And what this self-imposed five-year waiting period tells us is that Marvel is very confident about their new strategy, the stories they want to tell, and how they want to tell them. The Avengers movies were always a chance to touch base, to get people to the theaters in droves, to hype up the brand, and continue to make a solid argument for both the commercial and cultural relevance these movies had earned. But nowadays, they seem comfortable enough to take a chance and live off of some “smaller” franchises, some brand new ones and even some tv shows for a while. So what can we expect in terms of their new approach towards storytelling for the next few years?

Strange Alchemy 2.0

If you’re here on Murphy’s Multiverse you probably know what “Strange Alchemy” means in the context of the MCU. It’s basically what Avengers: Infinity War‘s writer’s room called the process of bringing characters together, trying to figure out the most interesting pairings to, as they once did in medieval times, try to turn base metals into (cinematic) gold.

This has always been one of the most interesting aspects of the MCU. The way they manage to flip the status quo through these interactions and keep coming up with something fresh that keeps most characters (some that find little moral adversaries in their solo outings) on their toes. By reshaping pre-established power structures, characters (and therefore storylines) take a step forward, forcing themselves to become a bit more layered in order to keep up with the growing complexity of their surroundings.

With huge team-up movies on standby, Marvel will maybe make up for it by sprinkling even more cameos throughout both the theatrical releases and the Disney+ shows, making it easier to get characters to show up on several projects instead of being mainly allocated to their little corner of the MCU, enriching the interconnected narrative. This connectivity has always been a hallmark of Kevin Feige‘s MCU and getting characters from Thor, Ant-Man, and Captain Marvel to show up on WandaVision might just be a small hint of things to come.

Deeper dives with substance

It’s not that we haven’t had TV shows that reference the movies and their events, but the reality of it is that the opposite has been negligible. But now, Disney+ will finally give the theatrical side of MCU the chance to interlink with made-for-TV content, allowing the story to go back and forth, and maybe expanding the MCU into even bigger and better heights.

This time we’ll get to go deeper, in a more intimate light, into the stories of characters introduced in the movies, both by continuing plot points that were set up in a movie (Falcon and The Winter Soldier; Loki) or by setting up a plot point of its own and then having the big payoff play out in theaters (WandaVision). This will allow for longer, more complex stories to be told, with varying paces and scopes. We’ll also get to see some new characters brought into the mix through Disney+, by giving them the time equivalent of two or three movies to introduce themselves into this universe. Stereotypical origin stories, something that the MCU has been trying to avoid (we haven’t had one of those since Doctor Strange in 2016), will have the chance to be treated in a different light, with perhaps also a greater ability to bring in established characters to help make the show feel like part of something bigger. For the sake of example: If you give Bruce Banner a 30-minute cameo in a She-Hulk movie you might risk him upstaging Jennifer Walters. But if you give Banner and entire She-Hulk episode to be on, she still has at least another 5 episodes to have everything be about her story. This way, if the story could do with the presence of another, more established character, the writers can always choose what’s best for the plot without the concern of deviating too much from the focus of the show.

By deciding to make most shows a single season event, Marvel Studios also shows their intentions of keeping the stories moving forward. By the end of the season, each character might not be where they were at the beginning in such a way that a second season would need to be reframed and relabeled. This doesn’t mean that every character will either die or indefinitely move to the movies at the end of each show, it just means that after Ms. Marvel is done, Kamala Khan could easily move into a Champions limited series or something of the sort. This means that we won’t get stuck into a routine of endless seasons from each show, always with similar foes, similar sidekicks, and now have the change of always leaving on a high note, with characters constantly evolving within the MCU.

Broader events

One of the most common complaints when it comes to how Marvel Studios decides to adapt the comic stories to the big screen is the number of details they tend to leave out. Sometimes they even decide to get bits and pieces of a couple of storylines in the same movie together, leaving even less screen time for most things readers would have expected to be able to see. This all comes down to time. Not only the available run time for the movie, but also the number of years they have available with the character and the actor that portrays it. We can’t seriously expect Marvel to address every single bit, of every single major storyline of any given character. They’ve been picking and choosing while being concerned with the overarching story, making sure characters are all moving at the exact pace that allows for all the pieces to be in place when the time comes for them to get together in some major event.

Even these events, that are the ones that on the comic side of it tend to have a huge amount of setup, countless side stories that focus on specific characters and their own path through it all, are more often than not streamlined so that the story told is done in a way that is compatible with the blockbuster runtime. And even if they mostly end up getting a similar amount of runtime as a “regular” movie, some of these stories run so deep they could be a trilogy on their own.

But now, with both movies and streaming shows at their disposal, Marvel might finally take their major, and not so major events to another level. Having each medium being able to support the other, while having all the talent contractually on board can allow for an even more immersive experience that mirrors what comics have been doing for decades through tie-ins. Imagine if, when the time comes, when they decide to get an Annihilation movie into production (for real this time), we get a Disney+ limited series with an episode dedicated to each character that’ll play a big part in the main theatrical event. We probably won’t have Ronan available, and Drax really isn’t the same character, but after having them introduced in previous projects, we could get Nova, Super-Skrull and Silver Surfer episodes setting up the movie.

Interconnected episodic segments, on the big and small screen, telling different sides to the same story, focusing on both the grand scheme of things and the smaller details of some personal struggles. The possibilities are as exciting as they come.

All of this is nothing but an opinion. On paper, it might have everything going for it, but it will still come down to the quality of the scripts, of the performances, of the directing, and so on. But the MCU hasn’t gotten as big as it has because people took to it because of their pretty faces and explosions. They’ve done their job and they’ve done it well. They’ve been competent. Even nowadays, with so many projects being put on hold, release dates shifting all the time, considering the way they’ve handled themselves over the years, there is no reason not to think that the final products might actually be better because of the waiting time. Scripts can be polished, visual effect don’t need to be rushed, plans can be improved. These 10+ years of content can give Marvel a bit of extra tranquility, but surely also remind them of the added responsibility to not just maintain but to raise the bar on what a shared cinematic universe can really aspire to become

June 13, 2020
‘WONDER WOMAN 1984’ Released Pushed To October

Warner Bros. sequel to 2017’s successful Wonder Woman has been given another new release date. Due to the uncertainty of fans returning to theaters with the coronavirus pandemic still growing, the film has been pushed back 2 months for an October 2, 2020 debut.

Wonder Woman 1984 is coming to your favorite theater this fall. See it October 2, 2020. ✨ #WW84 pic.twitter.com/OvW9AAa7gT

— Wonder Woman 1984 (@WonderWomanFilm) June 12, 2020

Originally scheduled to be in theaters for December 13, 2019, it was originally moved up 6 weeks to November 1, 2019. Had the shuffling stopped there, fans of comic book films would have had one last hurrah before COVID-19 closed theaters and rearranged film slates; however, Warner Bros., in an effort to open the film as a traditional post-Memorial Day tentpole, moved it to June 5, 2020. With theaters being shut down at that time, WB bumped it to August 14, 2020, hoping that the COVID-19 pandemic would quickly resolve itself. This latest shift (which may not be the final adjustment since a now deleted tweet initially indicated that the film would be in theaters for Thanksgiving) seems to indicate that the studio is growing increasingly concerned about audiences being ready to head to theaters this summer.

The move came in a flurry of activity by the studio as it moved or removed several films on its current slate. Tenet, Witches, Tom & Jerry, Godzilla vs Kong and The Matrix 4 were all a part of the game of musical chairs that seems to have become a Friday night staple during the pandemic. As it stands now, the studio is re-releasing Christopher Nolan’s Inception on July 17th, Tenet’s original date, with an attached preview reel of their upcoming slate. That preview reel could well feature first looks at The Batman or Suicide Squad in addition to any of the films mentioned above.

June 13, 2020
Without Denny O’Neil, We Wouldn’t Have Gotten the Best ‘DAREDEVIL’ Run

Daredevil is probably the most consistently great comic book of the past twenty or so years. I mean, it’s had its middling to average runs here and there but for the most part, it’s the one book whose pedigree of writers and artists have yet to be matched. This was mostly in due part to Denny O’Neil, the man who gave Frank Miller the reigns to not only write the comic but to draw it as well. Frank Miller, of course, paved the way not only for future Daredevil writers by reinventing the character for subsequent stories to come. Being the progenitor of talent he was, O’Neil likely saw the potential in creators like Miller that early on.

In addition to his work on Marvel, O’Neil’s stint on Batman and Green Lantern/Green Arrow with artist Neal Adams became nothing short of legendary. The duo dusted off the Caped Crusader’s campiness brought on by the 60s TV show and pulled the character back down to the darkest pits of Gotham where the character started. The response to this back-to-roots change to the Batman was acclaimed. Villains like Two-Face and the Joker saw a resurgence in their popularity and super iconic Batvillain was Ra’s Al-Ghul introduced. With Green Lanter/Green Arrow, O’Neil tackled social problems head-on, exploring themes of drug use, radicalism, and activism unlike any other writer of the time.

Denny O’Neil passed away at the age of 81 yesterday. His work will be remembered forever. Our hearts go out to his loved and to all those who admired him. Rest in peace, king.

June 13, 2020
Jeff Lemire’s HAWKEYE May Be A Big Influence on Upcoming Series

Even though we don’t know when production will begin much less when it will air, fans are very excited for the Marvel Studios series Hawkeye to drop on Disney Plus. Kevin Feige has told us two very important things: it will introduce Kate Bishop and it will feature some more of Clint Barton’s time as Ronin. Rumors have swirled about other potential plot point and characters, but those two tidbits from Feige are key. Additionally, if we’ve learned anything from the limited information available to us about the other Disney Plus series, it’s that they will truly build a world, full of supporting characters, around the leads. For The Falcon and The Winter Soldier, that means we’ll meet Sam Wilson’s family and get some more details about Bucky’s history; the same is very likely for Hawkeye.

Executive Producer Trinh Tran has promised that the show will paint a picture of Clint Barton’s past and while it’s been retconned a few times over the years, there are some parts and people that seem to stand the test of time. Clint’s story is rooted in an abusive childhood, depends on a relationship with his older brother, Charles Bernard “Barney” Barton and time spent at a carnival where the brothers met some criminals who influenced the rest of their lives. It’s also likely we’ll see a deeper dive into Kate Bishop’s history which means a look at her father, Derek, and his dirty dealings.

We already know that Matt Fraction’s acclaimed Hawkeye run is going to heavily influence the series. What you’ll see here are some panels from other classic and recent runs that could help us get deeper into the pasts of our Hawkeyes. I have no insider knowledge here, just a lot of comic books, a decent memory, a subscription to Marvel Unlimited and a little more free time than normal. So, enjoy the read and let’s see if we can spot these influences when the show airs!

Hawkeye, Vol. 3 (2003). Fabian Nicieza and Stefano Raffaele.

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Why They Might Use This Run

As you’ll see, each of the books here that take a deep dive into Clint Barton’s background will have a few things in common. First of all, they’ll focus on the relationship between Clint and his older brother, Barney, Secondly, the books will show the time the Barton boys spent living the carnival life. Finally, they’ll tell some version of how they were influenced by Swordsman and, in almost every instance, Trick Shot, a couple of carnival showmen with criminal proclivities. In this case, this is probably my favorite iteration of the Clint/Barney relationship, which could make for a really interesting plot device.

Possible Influential Panels

The flashback, as many do, starts with Clint stumbling upon Swordsman embezzling money from the carnival. In this version, Swordsman chases Clint, causes him to fall and break his legs and prepares to kill him before he’s stopped by Trick Shot.

Following the unfortunate series of events, Barney invites Clint to join him in enlisting in the Army. Clint, at first reluctant to go, changes his mind but misses the bus. Barney goes on to become an FBI agent after leaving the service and, in a cruel twist of fate, meets up with his brother while undercover and is shot in the chest by Clint!

Hawkeye: Blindspot (2011). Jim McCann and Paco Diaz.

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Why They Might Use This Run

McCann’s series, as many of the others here, give us some insight into the early days of the Barton boys. We get a little different version of things each time, but here their abusive father dies and the boys run away and, of course, end up at the Carson Carnival of Traveling Wonders. While the carnival life really seems like an odd thing to put into the series, it’s hard to imagine the boys not being influenced by Swordsman and Trick Shot. This limited series gives us a brief look at the original Trick Shot, Buck Chisolm, training Clint. It also sees Clint square off with Barney, who is working for Zemo as the new and improved Trick Shot. Should Barney feature in the series, it’s possible they go with this version of the character and take the sibling rivalry to a new level.

Possible Influential Panels

All-New Hawkeye, Volume 1 (2015). Jeff Lemire and Ramon Perez

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Why They Might Use This Run

This 5-issue limited series details (and retcons) the early days of Clint Barton and his brother Barney and Jacques Duquesne, aka the Swordsman, as their paths converge at the Carson Carnival of Travelilng Wonders. The events that take place here, during Clint’s formative years, put him on the road to becoming Hawkeye. While this retcon removes Trick Shot from the early days, it makes Duquesne an even bigger part of Clint’s early years and considering that we saw Barton’s skill with a blade in Avengers: Endgame, it seems very likely that we’ll see Duquesne’s early influence on the Bartons and this version is a little more mild than some of the other options.

Possible Influential Panels

Lemire’s run made some alterations to the Barton boys’ history as told in Hawkeye: Blindspot but he did shine a little more light on the abuse they suffered at the hands of their father and, after his death, their foster dad. The flashbacks show us the day where Barney has finally had enough and fights back. The ordeal leads to the boys running away and stumbling upon the Carson Carnival.

After the boys fall in love with the wonders of the carnival, their foster father shows up and begins to rough them up until he’s interrupted by Duquesne. Duquesne runs their foster father off and immediately becomes a hero to the boys.

Duquesne takes Clint under his wing, teaching him to shoot a bow and quickly realizes the skill of the young man. In fact, Duquesne begins to train Clint to join his act. Unfortunately, Duquesne takes Barney under his wing, but instead of teaching him archery, he teaches him to become a criminal. Clint discovers what’s going on and confronts Duquesne. Thought it doesn’t turn violent, it leads to Clint and Barney going their separate ways.

All-New Hawkeye, Volume 2 (2015-16), issues 4-6. Jeff Lemire and Ramon Perez

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Why They Might Use This Run

These 3 issues give new insight into Kate Bishop’s early years and establish just why she and Clint Barton have such an incredible bond. Just like the 2015 series, the events that take place in Kate’s formative years put her on the road to becoming Hawkeye.

Possible Influential Panels

Lemire continues to use flashbacks to give us the goods. The second half of the series fills in some serious gaps in Kate’s past. We find out her father, Derek, hasn’t made all his money through his publishing company and that he’s involved with some dangerous-though-D-list-criminals, mostly notably the infamous El Matador. Kate decides to snoop on her father’s dealings, finds herself stranded in the top secret meeting location, found by someone who looks suspiciously like Tarantula and then held for ransom by the wily Matador!

As it turns out, Clint and the Avengers have been tailing El Matador and rescue Kate. After being saved by Earth’s Mightiest Heroes, Kate is fascinated that Hawkeye, using just a bow and arrow, can hold his own a team of super-powered or suited up heroes. Given a few tweaks here and there, these scenes could easily be retconned into the MCU. We know that, for at least part of Hawkeye, we will see some more of Clint’s adventures as Ronin. We also know, thanks to Rhodey’s exposition in Avengers: Endgame, that one of Clint’s adventures ended up leaving a bunch of dead criminals in Mexico. It doesn’t take much imagination to tie that brief description to the first meeting of the Hawkeyes!

These final issues of the series build up to the Hawkeyes going their separate ways after sharing some honest moments about how much each one means to the other. The great takeaway here is that Clint, through all his troubles and daddy issues of his own, has provided Kate with the positive father figure she was never going to have in Derek.

When you’re dealing with a character like Clint Barton, who has been around for so long, there are so many possible stories from which to draw. If you’re looking for one that seems most ready made for Disney Plus and that keeps as many of the key points as possible, it’s certainly Jeff Lemire’s. Lemire’s work on Kate Bishop’s background is equally well-done and likely to inform the MCU version of the character. At this point it’s likely to be a while before we start to uncover some plot points for the series, so as we sit around and speculate, it’s great to have these panels in mind!

June 13, 2020
Scoob! and the Hanna Barbera Family: The Potential For The Next Big Cinematic Universe

As part of the relaunch of Murphy’s Multiverse we invited several friends, old and new, to write some guest features. This was written by MCUExchange’s Joseph Aberl.

There is something rather fascinating about the direction modern cinema has taken. Just having a successful trilogy was once the main goal for any franchise. There was only a handful that truly managed to break beyond that border, but it came at the sacrifice of quality. One can only look at the many sequels that films like A Nightmare on Elm Street or Friday the 13th managed to gather alongside their pop culture acclaim. As the franchise went on, they did start getting a bit campier in nature and they started to veer the franchise off of what made it unique, to begin with. Characters like Freddy Krueger became more known for the comedic aspects as the series went on. It wasn’t until the release of Freddy’s Nightmare that it managed to return to the roots that defined him.

This approach changed when in 2008 Marvel Studios kickstarted their cinematic universe with Iron Man. At the time, it still seemed like a crazy concept that could’ve fallen apart at any time. If any films in the lead up to The Avengers bombed, it would’ve remained a one-time experiment. Somehow, the major crossover turned into a cultural success story that would just mark the beginning. After eleven years, the franchise is going stronger than ever with 23 films. They try to keep things fresh by focusing on a different genre with each film. It became a template that many sought to copy.

Naturally, a variety of new franchises were banking on advertising themselves as future “cinematic universes”. There was the infamous Dark Universe. It would’ve seen the return of classic Universal monsters that crossover with each other. After a botched outing with The Mummy, the franchise was dead on arrival. This short-lived concept is rather ironic given its history. The original 1930s monster movies established the first inklings of a shared universe with crossover films.

Even Warner Bros. faced some troubles when kickstarting their cross-cinematic franchise. Using DC characters like Batman, Superman, Wonder Woman, and many more, they had a foundation to build upon. While Man of Steel gave them a unique and darker approach, they started to rush to catch up with Marvel. Luckily, they decided to change their strategy. By utilizing a slightly disconnected concept, iconic characters are receiving their franchises. Some are more independent like Joker while others continue from the established universe. Moreover, they are looking at elements from a self-contained story that have potential to expand. This is what led to Aquaman getting a spin-off focused on the Trench. As such, it feels more like an expansion of an existing world rather than forcing one into existence. Warner Bros. can test the waters before rushing into it.

Just recently, a new contender threw their hat into the ring hoping to bank on this concept. Warner Animation tried their hand at establishing a franchise built around the characters created by Hanna-Barbera Productions. The recently released film SCOOB! includes a variety of famous characters that can splinter off into their films. In a way, this does highlight Warner Bros. general approach. The film mainly focuses on the duo of Scooby-Doo and Shaggy, but we are also introduced to a variety of childhood icons like Blue Falcon, Dynomutt, Dick Dastardly, and Captain Caveman. The post-credit stinger even adds to that list to tease other projects. To balance it all, the film moves away from the classic formula of the Scooby-Doo franchise by adding superhero elements to the story.

Hanna-Barbera is no stranger to this concept. Their various iconic characters ended up crossing over multiple times. They even joined for a sport-centric show. The Laff-A-Lympics series was the point where the shared universe was fully realized. This was even taken to its natural extreme in a the show, Harvey Birdman, Attorney at Law. The self-aware series parodied the original line-up by twisting them into modern sensibilities. All encapsulated in an adult meta-comedy that functions as a connected universe. The show introduces a lot of characters but adapts them to abide by the show’s internal logic. The first episode eases the viewer in by using characters from Jonny Quest, who are a bit more grounded than say a talking shark from the future, before escalating it. Also, the focus remains on Harvey Birdman as the glue that keeps everything together.

Sadly, when watching the film, even nostalgia cannot hide the feeling that this was rushed. A twist on the classic formula has been done before but it can easily become muddled. Scooby-Doo is a legacy series with a very established genre behind it. It still going strong since its initial inception in 1969. The new direction was teased but there is a mental connection one makes with such an established franchise. The main focus of the film repeats mistakes we’ve seen happen before, e.g. when Sony tried to spin-off the Amazing Spider-Man 2 into a shared universe. Trying to include as many potential franchises in one film can distract from the actual plot, a mistake even Marvel Studios is not completely innocent of repeating. The Spider-Man sequel did exactly that by rushing through iconic villains without much build-up.

SCOOB! repeats that mistake with characters that haven’t truly seen the limelight in quite some time. Scooby-Doo could’ve worked as an introduction into a world full of copy-cat mystery solvers, superheroes, and talking animals. Yet this film isn’t even about Scooby and the gang. Most of the film focuses on Dick Dastardly villainous plot and the Blue Falcon trying to escape the shadow of his father’s legacy. Daphne, Velma, and Fred are relegated to side-characters in their own film. In comparison, films like Iron Man and Man of Steel kept their focus on their main cast. There may have been minor hints but it wasn’t until the sequels that the universe started to truly expand.

Let’s be honest, the fact that Marvel Studios was able to establish a shared universe for this long is a miracle. It could’ve fallen apart at any time. There is a reason why it is commonly compared to a TV show, as it requires a showrunner that makes sure that every gear is in place. Each film can turn into a pothole for another. The view of the entire franchise as one also creates the habit of generalizing every new entry even if it tries to change up the formula. They are limited because most of their characters are defined as superheroes.

The Hanna-Barbera line-up could’ve avoided this issue. Not every character dabbles into same genre. Yes, they have countless groups of mystery-solvers but most of their IPs are unique. You could split up SCOOB! into multiple films that are connected through an overarching plot. Scooby-Doo introduces us to the more grounded world with a mystery that lays the groundwork. This is then continued in a film following Blue Falcon’s world-trotting adventure as a superhero. Dastardly could be the mastermind that was manipulating different events from the shadows. As it stands now, a sequel to SCOOB! will have to reinvent the franchise again. The ending tries return to its roots but there could be a disconnect moving forward, It either has to return to the formula it tried to leave behind or continue as a Blue Falcon franchise.

There shouldn’t be a rush to establish a cinematic universe. Already existing IPs have a enough options to work with. If that is all stockpiled into one singular film, they start to blend together and lose their identity. It may have worked for Marvel Studios but they are also looking into ways to tell stories in new and interesting ways. Sony ended up partnering with them to make use of that existing franchises. Warner Bros. meanwhile decided to go a different route with DC. Universal just dropped the concept entirely to return to the classic structure. Even large IPs like Pokémon didn’t even think about advertising a shared universe until their first entry, Detective Pikachu, proved that there was an audience.

There is a good chance for the Hanna-Barbera universe to take off. The foundation may be rocky but there is a reason Scooby-Doo is an icon. Even with the film being released on video-on-demand rather than the traditional route, it was a financial success. SCOOB! managed to even beat out the recently released Troll: World Tour that saw similar success via streaming. From that standpoint, Warner Animation has a good reason to continue working on expanding this universe. Iit is an opportunity to introduce a new generation to characters like Secret Squirrel, Jabberjaw, Space Ghost, Top Cat, and many more. If they truly want to make this a unique experience, here’s hoping we get the ultimate crossover with a return of the Laff-a-Lympics.

June 12, 2020
DC To Announce New Projects At Fan Event on August

Geeks World Wide reported yesterday that DC is hosting a free, virtual fan event on August 22nd. According to the report, the event, titled “DC FanDome”, will go live at 10:00 AM PDT/1:00 PM EST and will include new announcements related to WB Games, films, TV and comics as well as interviews with the creators and cast of the DC Universe over a 24 hour period.

“FanDome” is a great idea and happening at the right time as fans are eager for any news to come their way. The fan experience here is unprecedented as we will all have the ability to personalize our own experiences and enjoy the content in which we are most interested. This news comes on the heels of SDCC announcing Comic Con at Home and it certainly makes one wonder if DC will have any presence at that event when they can dominate the news cycle just a month later at their own event.

Disney’s D23 convention, which has been held in-person every other year, could look to put together something similar and generate its own news cycle as well. However, given the fact that all Marvel Studios productions have been on hold since March and there is continued uncertainty as to when things will resume and if productions will meet their currently scheduled release dates, it seems unlikely such an event from Disney would include announcements of new projects. That being said, things like interviews, concept art and even some interactive Q&As might be just what fans need to lift their spirits.

In this case it looks like DC is blazing a pretty cool trail by giving fans who are starving for anything the content they need. Bravo, DC! Let’s see if other studios follow suit.

June 12, 2020
HORIZON: FORBBIDEN WEST is the Sequel We Cannot Wait For

I came late to the next-gen wave of video games. The last console I owned was a Playstation 2 and it wasn’t until late last year that a buddy of mine lent his Playstation 4 to me. The first game I played right out of the gate was Final Fantasy 15. As a lifelong Final Fantasy fan, the game was mostly ok for me. Didn’t really hit the right spots for me unlike some of its superior predecessors like Final Fantasy 9. I thought to myself if this was next-gen gaming, I guess I’m not missing out that much.

That was until I played Horizon Zero Dawn. Boy, what an experience. Never has a video game mesmerized me since maybe, Chrono Cross on the PS1. From start to finish, I was immersed in this intriguing and beautiful world inhabited by cults, tribes, and cybernetic beasts. The lengths one would go through to single-handedly take down a Behemoth or a Frostclaw was nothing short of breathtaking. The story, for all its sci-fi clunkiness, manages to find its heart with Aloy, an outcast warrior seeking a place to belong to and her quest to find the answers behind this crazy post-apocalyptic, primitive, hi-tech world she lives in.

DLC included, I clocked in about 90+ hours by the time I finished the game and I’m ready to clock in more than that seeing this brand new reveal for the game’s sequel, HORIZON: FORBIDDEN WEST.

Good Lord does this look fantastic. As if the first game wasn’t mesmerizing enough to look at, they went ahead ad made it look crazier. There’s so much to pick up here as a fan. The swimming mechanic which I thought was oddly missing from the first game is finally being introduced here. The cyborg crocs or Snapmaw’s as they call them in the game, are back. Lance Reddick as the mysterious Sylens is back and he’s leading a tribe seemingly hellbent on overriding these beasts with some unseen tech.

But by far the biggest talking points here are the new creatures. The giant-ass tortoise, the pterodactlys, and those fucking mammoths at the very end. I’ve always imagined Aloy as Legolas every time I tried taking down a Thunderjaw in the first game and it looks like this sequel will finally make that fantasy come true as you take down these monstrosities.

The idea of venturing further out into this world is super exciting. One of my favorite aspects of the first game was figuring out just where exactly this whole story was set. I was more than surprised to find out via an in-game collectible that the story takes place around Colorado. So to move further west means to head to California, which I’m sure will be very interesting. Some people have figured out that the Chinese references are in San Francisco’s Chinatown and that the sand dunes are what remains of Nevada.

I never buy any product at launch but man is this game tempting me to get a PS5 as soon as it’s out.

June 12, 2020
‘SPIDER-MAN: MILES MORALES’ Looks Wild

For as far as I can remember, I’ve always enjoyed Spider-Man games, even the ones from the terrible web-swinging mechanic era. I distinctly recall 10-year old me typing ‘EEL NATS’ in the cheat section to unlock all those costumes in PS1’s Spider-Man 2: Enter Electro. Seeing obscure costumes like Ricochet and Amazing Bag Man for the first time was one of my first educational deep-dives in learning all about Spider-Man. The first movie tie-in Spidey game was fun for me simply because of the movie it was based on and that game was terrible.

So it comes as no surprise that once the web-swinging issue was solved and the sandbox open-world notion was introduced with Spider-Man 2, these Spidey games started hitting differently. The freedom to swing all over Manhattan, explore the sights, and fight crime along the way, was era-defining for a superhero fan in me. The cel-shaded Ultimate Spider-Man adaptation was my jam and those challenges where you had to race against Johnny Storm blew my mind. Even the lesser-known Spidey games like Shattered Dimensions and Web of Shadows, I had a blast playing just for the world-building.

This latest Spider-Man game on the PS4 is something I just played fairly recently. Experiencing the web-swinging mechanic I fell in love with in 2004, now dolled up with modern technical ambition was an absolute blast. But what really got me was the attention to world-building. How the characters weave in and out through the story and how their are contemporized for this new generation of Spidey fans (I would often message Charles during my playthrough on how the films could take some cues from this game). Their handling of Miles Morales’ origin, in particular, was pretty amazing.

https://www.youtube.com/watch?v=gHzuHo80U2M

Today, it was revealed that the next installment in this series would revolve around Miles. Sony unveiled stunning footage where we get to see Miles in action, showcasing some of the abilities he has. Peter Parker’s suit in the first game had pretty much Iron Man-levels of technological advances which gave him access to all kinds of abilities beyond his physical powers. Here, the trailer showcases Miles’ ability to stun enemies and to cloak himself, powers ripped straight from the comics.

It’s unclear who Miles is facing off against in this trailer but true to its predecessor’s form, they look like the same tech-enhanced grunts you endlessly fought in the first game. Like with any good Miles Morales origin story, it’d be amazing to see their take on his uncle, Aaron Davis, also known in the comics as the villainous Prowler. We got a pretty great take on the character in Spider-Man: Into the Spiderverse and I’m hoping they do the same here. Seeing a bit of that purple-scheme on the grunts makes me think he’ll be at least involved in this.

There was initially a lot of talk about whether this is a full-on game or just a standalone expansion in the vein of Uncharted: The Lost Legacy, given how the first game came out 2 years ago and how it takes way longer than that to produce a complete game. Since this trailer, Sony has spoken out and confirmed the latter, stating the game will be both an “expansion and enhancement to the original.” The representative also went on to tease some of the big enhancements they game will undergo with the new PS5 engine.

Narratively, it makes sense for this game to be the connecting tissue to the official Spider-Man sequel as Peter Parker does have a personal crazy story ahead of him with Harry and the symbiote. But at the end of the day, it’s hard to complain about this not being a full game because the fact that we get to play a fully realized Miles makes this more than worthwhile. Even if it’s a game half as long as the first one, as long as you’re playing Miles, it’s all good.

June 12, 2020