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C2E2 2017: Interview with Marvel and Black Mask Star Matt Rosenberg

Matt Rosenberg is one of several comic book writers who has conquered both the world of creator owned and corporate comics. He broke into comics as one of the co-writers on 12 Reasons to Die, a comic released in conjunction with Ghostface Killah’s 2013 album of the same name from Black Mask Studios. From there, he has dabbled in a variety of genres, including superhero road trip (We Can Never Go Home), espionage (a Quake one-shot for Marvel), crime (Kingpin, 4 Kids Walk into a Bank), and even comedy (Rocket Raccoon.) Rosenberg’s work has clever plots and a sly sense of humor, but there is also a spirit of social consciousness that imbues both his comics for Marvel and Black Mask

I had the privilege of chatting with Matt at C2E2 about many of his current and former comics, including Rocket Raccoon, the upcoming Secret Warriors series, Kingpin, and the long anticipated sequel to We Can Never Go Home.

Graphic Policy: What did you enjoy most about writing Rocket Raccoon in the streets of New York versus his usual space adventures?

Matt Rosenberg: Rocket is a character that a lot of people have done really well in his space adventures. I don’t think I would do that well with that. It’s not my strong suit. But I’m from New York and grew up there.

Rocket’s great because no matter where you put him, he’s a fish out of water. He’s the only one of his kind and is sort of lost. There’s no difference for him between a space cantina and the D-Train. I wanted to give him an Earth experience where it’s not social satire, but it’s pointing out a lot of things that are weird about American culture.

And he’s just super fun to write. He’s a jerk, but a really good-intentioned jerk.

GP: He’s cute.

MR: Yeah, he’s cute. He may be gruff, but you can’t hold it against him. I love him. I’m really happy that I did my run on him. But I am very excited for Al Ewing and Adam Gorham to send him back to space.

GP: Al is one of my favorite Marvel writers. So, why did you decide to make Kraven the Hunter the Big Bad of your Rocket Raccoon run?

MR: First of all, I love Kraven. “Kraven’s Last Hunt” is one of the best Marvel books and one of the best comics period. Rocket is on Earth, and no one really respects him because he’s an animal, he’s different, and he’s an outsider. The book has a lot to do with xenophobia, and people not respecting each other.

Kraven is someone who hunts people and things, but only the things he respects. I thought it was an interesting dichotomy because the character that is trying to kill him is the only one on Earth that shows him proper deference. Kraven has a lot of respect and admiration for Rocket, and that’s why he wants him.

Everyone else doesn’t care that someone is trying to kill him because he’s basically a raccoon to him. I thought Kraven presented an interesting opportunity. And I got to put the “Kra-Van” in there, which I love. He’s a madman so it’s fun.

GP: Moving onto your new series Secret Warriors, which of the members of the team was most difficult for you to write, and why?

MR: Devil Dinosaur’s really difficult because he’s a dinosaur. It’s hard because you have to put him places. Amy Reeder and Brandon Montclare, who write Moon Girl and Devil Dinosaur, are really good friends of mine, and I bug them a lot like “What do you do with him when people have to go into a building?”

And they’re like, “He goes into large buildings.” Yeah, I guess.

For me, [the hardest to write] in a lot ways is Ms. Marvel because that is a book I love so much. What Adrian [Alphona] and [G] Willow [Wilson] do on that book is so important to me. I think in twenty years she’s gonna be considered one of the great characters in superhero comics standing on her own.

I love Quake, and she’s one of my favorite superheroes. But Ms. Marvel is such a specific, singular voice. A lot of people have written Quake. I think of her as a [Brian Michael] Bendis character, but Jonathan Hickman’s run on her is really good. A lot of people have contributed. Ms. Marvel feels like just a few people’s visions, like Sana [Amanat] who edits it. That’s really intimidating, and her fans expect her to be certain things, which I want her to be.

But we’re also challenging the team in different ways. She’s gonna be challenged. I love her so much. In the book, we put [the Secret Warriors] through the wringer, and they don’t all get along. I don’t like writing her and Quake fighting. I kind of want those characters to be friends, and they’re not. They wouldn’t be in a lot of ways if you think about it. They have differing beliefs, ways of acting, and end goals. Quake is a spy, and Ms. Marvel is a superhero.

So, Ms. Marvel was a challenge for me because we want people who like the Ms. Marvel book to pick up Secret Warriors and feel like it’s their character, but it’s a very different setting for her. She’s out of her element a little bit, and that was hard.

GP: At the Secret Empire panel, they talked a little bit about Secret Warriors, and that the Inhumans are getting rounded up into camps. What are the implications of that plot point in light of the camps in Chechnya where gay men are being rounded up, tortured, and killed?

MR: It’s hard because everyone wants different things from comics. Some people really want escapism. Some people really want social commentary. Some people want things to be uplifting. You can’t do all of those things in a story.

What I like about Secret Empire is that there are facets to everyone. It’s a dark story, and it’s a story that’s controversial because it’s about the rise of facism and why a hero would become a villain. It’s a time when that stresses out a lot of people understandably, and there’s a lot of real world stuff that you can see on the pages.

What’s going on in Chechnya and the rise of white supremacy with more nationalism and more jingoism is obviously a problem. I’m a leftist. But we’re not the escapist book. If you want to see a happy, uplifting book, we’re not necessarily that book. We are about watching the people, who get stepped on, and the people, who are a little bit underappreciated, fight back and kick the bad guys in the face.

It’s hard to make the correlation with the real world because real people are dying and having their rights trampled on. I don’t think a comic can address that in a way that does what is happening in Chechnya justice. It’s a human rights violation, an upcoming holocaust, and a nightmare. And we’re dealing with a cartoon dinosaur. We don’t have the language emotionally to handle that in a way that is deserving of the magnitude of the event.

But if you wanna see the downtrodden fight back, that’s what Secret Warriors is. Everyone’s book has a different purpose, and that’s what our book has always been. They’re young. They’re kids with very diverse backgrounds and methodologies. They’re people coming together to fight back. That’s something I really believe in. People need to look out for each other and support each other as much as they can, which is why I wanted to write this book for that event.

GP: That team lineup is seriously stacked.

MR: I’m excited for it. I hope that some people read the book, and it’s inspiring. That’s sort of what we wanted to do. It gets dark, but there’s light at the end of it.

GP: Moving onto Kingpin, why did you decide to make the journalist character, Sarah Dewey, the POV character instead of Wilson Fisk?

MR: Wilson Fisk is my favorite Marvel villain by far. He’s a character who is always two steps ahead of everyone else. He’s controlling the chessboard, and if it’s his POV, there’s not going to be as much mystery. Knowing what the Kingpin is going to do takes away so much from him.

We talked about doing it from a superhero’s perspective or another gangster’s perspective, but I really love the idea of books like Marvels or characters, like Ben Urich. You can follow a character into this world and see [the Marvel Universe] from their perspective.

Sarah is a journalist, who’s not a perfect person. She’s had some problems in her life and has fallen on some bad times. She’s coming out of an awful, failed marriage. The idea of Kingpin to Sarah is that she knows he’s a bad guy, but he’s good to her. Not everyone is a hero, but is the Kingpin going to be a hero to her?

I want the reader to wonder if he’s going to be a good guy in the end. I think the Kingpin definitely has the capacity to be a good guy. You can’t forgive past deeds, but he has all the trappings of a classic hero.

GP: You really believe in him.

MR: In a lot of ways, yes. I said to someone once, “He’s almost a superhero.”

And they said, “No, he’s a monster.” Daredevil and Spider-Man want to save New York City by fighting in alleys. Kingpin wants to clean up New York City and make it a better place, but he’s in the whole city. He’s not in alleys, but he’s trying to make sure there aren’t warring crime factions in the streets. He’s trying to make it so the regular person doesn’t have this rough, violent city. He’s bringing a classier element of crime. Kingpin wants New York to be a nicer and safer city for the average person.

Well, [some might say], “He kills people.” But the Punisher kills people. Is the Punisher a superhero? No, but he’s on the other side of the line from the Kingpin. [Others say], “He’s trying to make a profit.” Tony Stark is trying to make a profit. He’s making technology that he uses as a superhero and vice versa.

I don’t think Kingpin’s a good guy, but he’s passionate toward a good thing. His methodology is wrong, and his moral compass is wrong. But that’s what’s fascinating. Can he fix it? Can he end up being a hero at the end of his story? I don’t know if he’s worth redemption, but I would like to see him try.

GP: You’ve written a lot of event tie-ins for Marvel, like the upcoming Edge of Venomverse and Civil War II: Kingpin. How do you balance serving the ongoing plot of the event with telling your own story?

MR: The short answer is that it’s the job. I grew up reading Marvel and liking them as a company. I love what superhero comics do. It’s really a tapestry and a huge picture that everyone is working in tiny portions on. It’s a challenge to be relevant to someone else’s story while telling your own satisfying story. That’s the challenge that I grew up loving, like “How do the X-Men deal with Civil War?”

GP: It’s like a puzzle.

MR: Exactly. When it works well, stories complement each other. When it doesn’t, things feel crazy and schizophrenic. I did the Civil War II: Kingpin book [with the idea that] the heroes are fighting so what does Kingpin do? How is he going to rise to power? Everyone is afraid to operate, and the Kingpin finds a way to operate. That’s what the book is about.

Do you need to read it to read Civil War II? No. Do you need to read Civil War Ii to read it? No. But I think if you understand both, there’s a nice complement. I think that’s the balance you should have. Don’t make anyone read anything else that they wouldn’t normally read, but complement each other if you can.

GP: That makes sense. You’re doing The Archies one-shot with Alex Segura and Joe Eisma. How are you bringing the world’s first “cartoon band” into 2017?

MR: Archie is sort of having a renaissance now and modernizing. The Archies and the Archie universe is really classic Americana. I grew up in New York City, and Archie didn’t feel like my childhood, it felt like Happy Days. That idealized sort of thing.

That evolves and changes, and what Americana is in the greater pop culture sense  is updated and changing. Hopefully, it’s more inclusive to people who aren’t white suburban kids. It’s nice to watch that. The Archies is about kids in a band, and it’s not perfectly idyllic. They struggle to put it together, and there’s conflict. It’s about Archie’s aspirations to make something of his talent. I think that’s something people can identify with.

You don’t want to make something that’s so current that it’s alien to classic Archie fans. But you don’t want to pick it up and feel like it’s anachronistic. A lot of it is the language and the visuals, and the way people interact. Not so much that they’re on Twitter.

GP: The main Archie does love using hashtags as plot points.

MR: But it doesn’t rely on those hashtags. The main book doesn’t, and we don’t. We want it to feel like a modern and to give it to people who haven’t read Archie in years to jump right in.

GP: I have one last question about the We Can Never Go Home sequel. What can fans of the original miniseries expect from the sequel, and because you had those playlists in the back of We Can Never Go Home, what music are you listening to while scripting the new series?

MR: A lot of people when they were done reading We Can Never Go Home thought it was truncated and cut short. That’s definitely not true. We didn’t want do more; that was the story we wanted to tell from day one. Josh [Hood], Patrick [Kindlon], Tyler [Boss], Jim [Campbell], and I wanted to do a book that was essentially about growing up.

There’s no finality to growing up. I feel like it’s an ongoing process. It can be a frustrating and heartbreaking one. An important thing for me going back to those characters’ world is not to end it or say what we didn’t say before, but to say something different.

I don’t want to talk about it too much, but the sequel is going to focus on some different characters. Madison and Duncan will be in it, but it’s a journey from a different perspective that relates to them. It takes place a year later in 1990.

As far as the music, I haven’t started working on [a playlist]. I’m a little nervous about it. I put a lot of my favorites in the first volume so there are gonna be some deeper cuts in this one. It’s all punk rock stuff from 1976, 1977 to 1990. We have some new characters so I’m hoping to throw in some different genres. I hope people are into it.

It’s coming out either the end of this year, or the beginning of next year. We want to make sure there are no delays, and that it’s the best book it can be. We don’t wanted it to be rushed. Josh is such a brilliant artist, and I want him to have time to do his absolute best. People are impatient, but we hope the book pays off in the end.

Matt Rosenberg is currently writing Kingpin for Marvel Comics and 4 Kids Walk Into a Bank for Black Mask Studios. He is also writing the upcoming Secret Warriors series for Marvel along with a story in Edge of VenomverseThe Archies for Archie Comics, and another volume of We Can Never Go Home for Black Mask Studios.

You can find Matt’s website here, and his Twitter here.

Review: Kingpin #2

Kingpin2CoverIs Wilson Fisk a man or a monster? Is he the crime lord Kingpin, or a philanthropist that funds a children’s hospital and gets genuinely emotional when they pass away. The answer that Matthew Rosenberg, Ben Torres, and Jordan Boyd give us is a bit of both. Kingpin #2‘s most shocking moment is Wilson beating up Tombstone and Hammerhead in a sequence that Torres makes into an old school monster mash with huge, ugly bodies whaling at each other while colorist Boyd adds distinct effects for color and blood. However, later, there’s an adorable series of panels where the huge Wilson has a couple sick kids jump on his back like he’s a human jungle gym. Kingpin is full of contradictions, but that’s what makes it one of Marvel’s more fascinating books.

Even though the book bears the name Kingpin, the down on her luck journalist and single mom Sarah Dewey is the true protagonist that we’re meant to feel for. At this point in her story, her life doesn’t revolve around Wilson Fisk, and she is still writing about and following the up and coming boxer Orlando Perez around. They’re friends too as evidenced by the friendly hug she gives Orlando when he tells her that he has a big match against a contender. Orlando also listens to Sarah when she talks about her terrible ex-husband, who slept with their babysitter and shows his real colors later on when he manipulates her busy journalist schedule to make her miss her visitation. Sarah’s life is really in a downward spiral and maybe swallowing her sense of ethics and writing what could end up being a hagiography for an old gangster, who claims to be retired, is her only way out.

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The battle between is definitely raging in Kingpin #2, but with less punching and kicking and more manipulation of language. From his days of avoiding the law as Kingpin, Wilson has known his share of smooth mob lawyers, who could get him off on any charge. He puts these skills to good use deflecting questions about his criminal past from Jessica and saying that he took on the Kingpin name to protect himself personally. The influence from Vincent D’Onofrio’s performance in Daredevil can definitely be heard in Matthew Rosenberg’s writing of him. You almost believe Wilson when he says that he opened a hospital not out of guilt, but so no sick child would be a burden on their parents like Wilson was to his father. But, in the artwork, Torres draws a hulking, powerful Wilson Fisk, who could probably kill Tombstone with his bare hands if he didn’t want money for his hospital from NYC’s richest and most powerful. Except this larger scale can also be used for light, slightly ironic humor like a panel of Kingpin playing with a Spider-Man toy with one of the kids at his hospital.

Jordan Boyd’s funereal color palette (The hospital and the fundraiser for it look almost the same), Ben Torres’ unhesitating look at human pain and suffering through intimate close-ups, and Matthew Rosenberg’s pitch perfect writing of Wilson Fisk’s double talk and Sarah Dewey’s determination and vulnerability ensure that Kingpin #2 doesn’t suffer from a sophomore slump. And a final page cameo throws the moral order of this comic into even more imbalance.

Story: Matthew Rosenberg Art: Ben Torres Colors: Jordan Boyd
Story: 8.0 Art: 8.0 Overall: 8.0 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: Civil War II Kingpin #1

Back in 2013Civil_War_II_Kingpin_1_Ribic_Variant, I clamored for Marvel to release a Kingpin solo series, and three years later, my prayers have finally been answered in Civil War II: Kingpin #1. In this comic, writer Matthew Rosenberg (We Can Never Go Home) and artist Ricardo Lopez Ortiz (Zero) use both the conflict between heroes and the fact that Ulysses, a new Inhuman, can predict crimes before they occur to craft a clever crime yarn in the shadow of yet another summer event. And speaking of shadow, this is where artist Ortiz and colorist Mat Lopes (The Wicked + the Divine) dwell as the Kingpin tries to rebuild his criminal empire in a world where superheroes can protect you’re committing a crime before it happens.

Ortiz and Lopes’ art kind of reminds me of Michael Lark’s on Daredevil in the mid-2000s when that comic was a straight-up crime book, but where Lark evokes stylish film noir, their work looks like the indie crime books at Image or Black Mask, like The Fix or Rosenberg’s own 4 Kids Walk Into A Bank albeit with a subtler approach to humor. (Kingpin is the master of condescending sass.) It’s a word of tattered newspaper and backroom deals where one false move leads to a spray of bullets. Ortiz also draws some potentially character-defining images for the Kingpin that fits his cynical attitude towards people outside the law (Superheroes) upholding the law like a powerful panel of him pressing a finger down on the star symbol on Sam Wilson’s Captain America costume that cuts to a pair of panels of Kingpin towering over the hero. Even if he is down in resources and soldiers, the Kingpin’s sheer presence can’t be discounted, and his bluffs look like threats. But a later scene of Hawkeye buying a coffee on Kingpin’s dime while he’s slumped impassively at a table shows that maybe the crime lord has lost a step when in fact he is biding and preparing to strike instead of picking fights with the Avengers’ bow and arrow guy. Ricardo Lopez Ortiz’s work in Kingpin #1 shows how important body language is to building and especially reintroducing a character in a comic.

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Matthew Rosenberg makes Wilson Fisk a slightly sympathetic if highly opportunistic character in Kingpin #1. In the second half of the comic, he takes on the mantle of the “bad guy fighting worst guys” as he and his all time favorite lackey Turk fight human traffickers that the superheroes have neglected. But he’s not some uber dark vigilante as this exercise in “heroism” is just Kingpin asserting his power over Janus, who has started working more morally unsavory crime jobs to make ends meet in the Civil War II era Marvel Universe. Kingpin digs up the worst of dirt on the nebbish Inhuman so his future prediction blocking ability will always be in the pocket of his organization. Up to this point, Rosenberg has portrayed Wilson Fisk as an underdog as he gets shot by C-list villain Bushwhacker, pushed around by various superheroes, and only two crime bosses show up to his meeting. But the last few pages jolt you out of sympathy and show that the Kingpin is back and is ready to reach the heights when guys named Miller, Bendis, and Brubaker were writing him.

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And if the $4.99 price tag on Civil War II: Kingpin #1. scares you, wait there’s more. Rosenberg pens an origin story for Kingpin’s Inhuman sidekick Janus that is part early David Cronenberg movie, part a darker version of last year’s hilarious Secret Wars tie-in Hank Johnson, Agent of HYDRA. Janus is utterly an outcast as he can’t even do basic warehouse duty for Black Cat without getting into some Terrigen mist even though it seems like the only side effect is puking and spacing out 24/7. (Think Peter Parker after he got his powers turned to eleven without the genius intellect.) And he gets zero acknowledgment from the Inhuman community, much less Medusa or the royal family. His initial connection to the Black Cat is kind of poetic because she has bad luck powers whereas he is extremely lucky to have the ability to somehow block Ulysses’ future predicting powers. And of course, he ends up a pawn in the hands of the Kingpin, who is ready to become the ultimate war profiteer. Dalibor Talajic and Jose Marzan also create a nice continuity from Ortiz’s grimy artwork and even create a nice Steve Ditko vibe, which fits a character, who has great abilities, but is underappreciated by the world around him. Also, colorist Miroslav Mrva leaves the shadows occasionally to show the trippy, mind and body altering nature of becoming an Inhuman. Making the first issue extra sized was a smart decision from Rosenberg as Janus’ backstory is out of the way, and the main story as well as future issues can focus on the rise of Kingpin’s rebellious enterprise.

If you’d rather watch old Sopranos episodes on HBO Go instead of the latest Marvel Cinematic Universe blockbuster for and are okay with a touch of Philip K. Dick to go with your turf wars, Civil War II: Kingpin #1 may be the comic for you.

Story: Matthew Rosenberg Art: Ricardo Lopez Ortiz, Dalibor Talajic, Jose Marzan
Colors: Mat Lopes, Miroslav Mrva

Story: 8  Art: 9  Overall: 8.5  Recommendation:  Buy

Review: 1872 #1

1872For the most part Secret Wars has been a retrospective look back at some of the biggest crossovers which ever occurred in the Marvel universe.  While it has focused on a lot of these kinds of stories it has also branched out a bit from time to time.  Some of the minor focuses have been to recast heroes or to shine a light on some villains, most of whom have been working in some kind of confine of the Secret Wars world.  In the case of 1872 though we get something completely different from what we have seen thus far in this series.  Secret Wars was itself designed as a simple enough way to clean up the Marvel Universe, touching base with some of the bigger stories which have maybe gone off the plot of the main universe, while also addressing the various multiverse dimensions which are populated by a different list of heroes.

If this was the inspiration for Secret Wars then it was rewritten and thrown away, as the context of this series is exactly that of an alternate timeline that has never seen before.  In other words, it is expanding the multiverse, not contracting it.  Here Steve Rogers is cast as Wyatt Earp and Tony Stark is cast as Doc Holliday, as they battle a corrupt mayor (Fisk) and governor (Roxxon).  The issue at hand is the water supply for a small valley, which while it is fueling the work in a mine, it is also depriving people of their access to water.  Steve stands as the representative of the law, one which he knows is broken in certain ways, but which has lines which he seems reluctant to cross, else he erode his own sense of morality.  Standing beside him is Tony, a sidekick for banter but dangerous enough by himself it would seem.  Banner is also here, though his role is still a little vague.

The result of this strange mix is actually one of the smarter ideas to come out of Marvel for this whole crossover.  There was after all a time when western comics ruled the day in the medium, and this is a bit of an homage to those days, taking not just a crossover, but instead an entire genre and mixing it into the whole of Secret Wars.  The result is fun and is as good of a Western that modern comic readers will probably ever get to see, with the same grit that made the genre so beloved for so long without the anachronisms that are thrown in with the modern versions.

Story: Gerry Duggan  Art: Nik Virella
Story: 9.3 Art: 9.3 Overall: 9.3 Recommendation: Buy

What to Expect For Daredevil’s Second Season

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The below contains spoilers for various episodes of Daredevil Season 1

The first season of Marvel’s Daredevil was released on Friday to critical acclaim.  The series focuses on the world of New York City in the days, months and years after the alien invasion from the original Avengers.  Matt Murdock is a man trying to direct the city to a future where people can live without fear, and Wilson Fisk is a man trying to shape the city to his own interests, which are often criminal in outlook.  What is distinctive about this series is the format in which it was presented, as well as the subject matter.  As opposed to the world of power suits and magic hammers, the plot focuses on the efforts of one man.  This man may have some extraordinary abilities, but he is also more mortal than most of the superheroes from Marvel have been shown to be, and this is done through the semi-serialized format of the television series.  As opposed to a two hour movie, the series and its characters was explored over thirteen episodes, which far surpasses the length of any other character from the Marvel Cinematic Universe in terms of screen time.

dd003In order to look forward though, it is also important to look back.  The Marvel Cinematic Universe started with Iron Man in 2008, but at the time it was considered to be a big enough gamble.  Now we know that it is a gamble that paid off as we can see far into the future with phase 3 of the roll out of the movies, and numerous television shows, but it is remembering that much depended on the initial success of that movie.  If the finished product hadn’t been what it was, it was likely that the Marvel movies might have ended up as a false start as opposed to a booming franchise.  The same can be said for the Netflix series.  Releasing entire seasons of series to Netflix for binge watchers is a new phenomenon in television watching, started by the series House of Cards, but it is a phenomenon which is apparently here to stay.  In terms of Marvel’s properties though, it is a trend which maybe needed to be waded into instead of diving in head first.  After all, the series known for binge watching were more along the lines of Breaking Bad than Iron Man.  With the gamble seemingly paid off, it would seem likely that although only hinted at, that the Daredevil series will be seeing a second season.  Some have played around in the press with this idea, but generally speaking Marvel fills a pattern of leaving fans wanting more and then giving them what they want.

dd004Where might the second season of the series go?  It is hard to predict about where specifically that might be, although there were a lot of Easter Eggs left to guide the path somewhat.  Equally though various characters were used in far different contexts than in the comics.  Leland Owlsley was just a banker with no powers, and he met an end to his story.  Other mainstays of Daredevil comics were not mentioned or even hinted at, such as Bull’s Eye.  What strong influence that there was came from the Hand.  Although not focused on much in the final episodes, the Japanese were the only ones left standing in the end after the dust had cleared.  The connection of the Japanese to the Hand is not direct necessarily, but the use of Nobu in ninja costume is indicative that there might be something more to the Japanese than simply crime interests.  In the episode where Stick battles the Japanese it is clear that there are other forces at play as well.  The other Easter Egg which points towards this direction is Elektra, who was not referenced by name, rather simply as the “Greek Girl from Matt’s Spanish Class.”  Elektra of course ties heavily into the stories of the Hand, being one of its most fearsome fighters, and later one of its most dangerous enemies.  The martial arts focus ties into other planned series as well, specifically Iron Fist.

At this point where the second season might go is only speculation, but it would seem as though the minds behind the series were smart enough to leave in a few pointers of where it might head in case they ever did get a chance to get to a second season.  If Marvel does in fact have a sense of what the fans want, then they will know that one of the remaining names on the list to cross off is Elektra.  There is no better place to insert her into the Marvel Cinematic Universe than in a second season of Daredevil, and no better story to be told with her than that of the Hand.