It’s the whole multiverse on the corporate side, but I think a part of that sort in the story is also happening. I have nothing but my own speculation here. Disney’s Star Wars branch has promised a krayt dragon-sized bolus of content over the next several years, mostly thanks to The Mandalorian, The Disney + ace series. Shows with characters like Boba Fett, Obi-Wan Kenobi and Lando Calrissian have all been announced, along with a new movie –Thieves squadron. (This film will be directed by Wonder woman director Patty Jenkins. Much like Spider-Man Version One director Sam Raimi taking the reins as director of the upcoming Dr. Strange film, crossovers also occur in our universe.) It’s a typical metacrisis-inducing trick. The universe becomes more complicated and begins to undergo mitosis.
But I speak most of Ahsoka, set to play Rosario Dawson as Ahsoka Tano, who first appeared in the animation Clone Wars. Before Dawson plays it on Mandalorian, the last time Ahsoka appeared it was on the cartoon Star Wars Rebels, and part of its history involved a magical time travel and multiverse link called the “world between worlds.” If you look closely at the official logo for the new show, that little ring around his name looks like the WBW to me. So, I’m not saying; I say it like that.
Buy Why, you plead. Why complicate a bunch of perfectly fun sequels with the restrictions of continuity and apocrypha? No one tries to explain why James Bond gets a new face every few years (although to be honest they spend a lot of time [and relative dimensions in space] explaining why the same thing happens Doctor Who).
Crossovers and by extension multiverses solve storytelling problems specific to large shared stories. People love when their favorite characters meet. This is the narrative version of getting your dolls kissed. (“Action figures” are dolls. Deal with it.) This story goes back at least to the birth of comics – the first crossover, according to Priceless Evolution of the Costumed Avenger by Jess Nevins, that was when The Wizard teamed up with the Midshipman and the Shield in March 1940. The following month, the two best-selling stars of the early Marvel Comics met – the Sub and the Torch human (not the Fantastic Four One, but an android whose barrel-like body eventually became the current Vision).
Seven months later that was the big deal. That’s when DC introduced the Justice Society of America, which included Batman, Superman, Wonder Woman, The Flash, and basically every other superhero you’re going to see in the next decade of DC movies.
Today we could think of them as simple teams. But at the time, it wasn’t clear that all of these heroes lived in the same town, could fly over each other on a mission, mistake each other as enemies, fight, and then join forces to fight the real villain. . Batman’s Gotham City and Superman’s Metropolis were not within a train ride of each other. How could they be? They were both in New York, basically. You couldn’t make it from there – until you could, because the writers said so, and what was a multiverse collapsed into one shared universe.
The idea of a shared and organized universe didn’t really crystallize as a concept until the 1960s, when Stan Lee was running Marvel. His controversial how much of a writer Lee was, but even his detractors agree that he was doing conceptual work on several books and characters, all of which are interrelated. And in DC, the so-called Golden Age of Justice Society comics, and its rebooted iteration decades later as the Justice League, were Teams to End All Teams until that the heroes of the golden age begin to meet. , when the modern 1961 Flash met the 1940s Flash – still alive, but living in a parallel universe (here we are). It started a tradition of crossbreeds that DC called “crises”. Because when universes meet, it’s always a crisis. The worlds are threatened! Megalomaniacal aliens are trying to remake reality! All time and space are in danger! Excelsior!
This sort of thing seems particularly hostile to the comic book form, where time and space are so malleable. As writers like Scott McCloud have pointed out, a story can on a cliffhanger in one issue, then pick up again in the next instant in the next – a month later in real time. The gutter between two comic book panels may indicate a jump at the same time in the same place, or a million light years away. A single comic book panel can happen in an instant or in a millennium. A good writer – usually a writer named Grant Morrison, to be honest – can play around with this uncertainty. When Morrison writes multiverse stories, as in his Infinite crisis, sometimes the characters realize that someone from another distant universe is watching their every move through some kind of window that looks down from a higher dimension. It’s you. You are the person. The implication of any fictitious multiverse (?) Is that our universe, this one, where you are reading this article, is one of the parallels. A world where no one has superpowers and aliens are not real! Can you imagine