The Comics Professor

Read the introduction to A Philosopher Reads... Marvel Comics' Thor: If They Be Worthy

With the release of Thor: Love and Thunder quickly approaching, I'm pleased to share the introduction to my recent book, A Philosopher Reads... Marvel Comics' Thor: If They Be Worthy, for your enjoyment.

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Who among us has not doubted our worth or worthiness at some point in our lives? Maybe it was about our worth as a friend, family member, or romantic partner, and maybe it was as a student, employee, or volunteer. Maybe it was just an issue with our self-esteem or self-worth in general, leading us to feel inadequate in many areas of our lives. Whatever the context or degree, most of us, at one time or another, have felt we were not living up to a standard, whether set by others or by ourselves, and however reasonable (or not). When you don’t feel worthy, it can be nearly impossible to do anything, to interact with other people, and to perform the most basic tasks, even picking up a pencil, a book, or… a hammer.

Consider Thor, the Asgardian God of Thunder and son of Odin the All-Father. (Yes, I know he’s not the only Thor—I’m getting to that.) Thor must be judged worthy in order to lift his mighty hammer Mjolnir and command his full powers. Granted, his alternative is not too shabby: In the early comics, the Odinson would otherwise be Donald Blake, handsome and successful doctor, beloved by his nurse Jane Foster. In later years, other than brief periods in other mortal forms, he would remain his enormous Asgardian self, with his beloved hammer in his hand—and the worthiness it implied.

Being judged worthy by Mjolnir is, of course, very important to him, and it’s not hard to see why, especially when we realize this goal was… ahem… hammered into him from a very early age. In general, everyone appreciates some occasional external validation, even when things seem to be going fairly well for them. Often, it’s difficult to tell why people feel bad about themselves, especially when things look great for them from the outside. You may have just received a promotion at work, had your first child, or climbed your first mountain, and people would assume you’re on top of the world (literally, if you just climbed a mountain). But none of that matters if you don’t feel worthy, or if you see yourself as inferior, lacking in some way, or maybe even a loser. This is only compounded if you rely on someone else—or something else—to validate your worth for you, another entity with a mind of its own that makes judgments based on standards that may be irrelevant, unreasonable, or impossible.

Now imagine being Thor. After untold centuries of defending Asgard and the other realms from Frost Giants, Dark Elves, and the occasional Fire Demon, you suddenly find yourself judged unworthy by your beloved hammer. You’re unable to lift it, or even budge it, and then you discover someone else was able to lift it and has taken your place as the new Thor. (Never mind that Thor is actually his name—we’ll get to that too.) On occasion, other people have been able to lift the hammer momentarily, most notably Captain America, but even he didn’t “become the new Thor” when he did it. (As you may know, Cap prefers a shield anyway.) One notable exception is Beta Ray Bill, an alien from the planet Korbin who fought Thor and picked up Mjolnir, transforming into a larger, armored version of himself. Normally, whenever someone other than Thor manages to lift the hammer, it’s merely an affirmation of their worthiness. But this time, when the Odinson was found unworthy, a new Thor appeared after she lifted the hammer, sending the original into an emotional and philosophical tailspin—one we will explore in this book.

What about this new Thor? Don’t think we’ve forgotten about her—she’s a big part of this book as well. After months of secrecy and false leads, she was revealed to be none other than Jane Foster, originally Blake’s nurse and love interest, who had since become a doctor herself and remained in Thor’s life as a valued colleague and confidante. While the Odinson was struggling with unworthiness, Jane was undergoing chemotherapy to fight cancer, only to have her progress stalled each time she transformed into the Mighty Thor.

Why did Mjolnir regard Jane as worthy and the Odinson as unworthy? Had something about the Odinson changed, or did Mjolnir “change its mind” about what it regarded as worthy? Does the Odinson become worthy again—and, if so, how? More generally, who (or what) is Mjolnir to be judging worthiness anyway? Who is the appropriate judge of worthiness, others or oneself? And most important, what does it mean to be worthy—and how might it be related to unworthiness?

All these questions and more are raised in the seven years of Marvel Comics about Thor written by Jason Aaron and illustrated by a cadre of magnificent artists such as Russell Dauterman and Esad Ribić. In this book, we will follow the saga of these two Thors, as told by Aaron and his artistic collaborators, thinking about the philosophical concept of worthiness as we go.

We will start with how worthiness was understood in the early comics, which matches many of our basic intuitions about what makes a person worthy, but also leaves many questions that will be answered as we go on. When Aaron’s run begins, we will see Thor begin to have doubts about his own worthiness as well as the worthiness of gods in general. This will raise the topic of what being a “god” means to an Asgardian and how this version of godhood can translate to our world. After the Odinson is declared unworthy, we will follow Jane Foster’s tenure as Thor, exploring how and why Mjolnir regards her as worthy, as well as the ways her worthiness may be different from that of her predecessor. As she fights to assert herself as the new Thor on Earth as well as on Asgard—Odin is not a fan, to put it mildly—the original Thor is left to deal with his own unworthiness, which gives us the chance to discuss how one experiences and deals with such feelings and begins to combat them. Finally, we will come to a deeper understanding of worthiness alongside the Odinson, and watch as he rejoins Jane to fight beside her before she… well, let’s leave something for later, shall we?

I’m excited that you’ve chosen to join me on this philosophical journey through one of the most fascinating and exciting storylines in a half-century of Thor comics. (And that includes the ones about the frog.) Jason Aaron and his artistic partners have given us a unique way to explore many dimensions of worthiness by observing how Thor Odinson and Jane Foster each deal with the burdens of being the God of Thunder, as well as why they were chosen—or, in the Odinson’s case, rejected—as being worthy of the honor. I wrote this book to be enjoyed by anyone, whether you’re new to Thor or philosophy, or you’re a longtime fan of either (or both). Regardless, when you reach the end of the book, I hope that, not only will you feel entertained and have a deeper appreciation for the stories of Thor, but you will have new ways to think about any issues you may have about your own worth, value, or self-esteem.

Copyright © Mark D. White 2022

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See here for more on the book, including the table of contents, reviews, and related podcasts.

Buy the book at Amazon, Barnes & Noble, or IndieBound.

New book: A Philosopher Reads... Marvel Comics' Thor: If They Be Worthy

I'm very pleased to announce my next book, A Philosopher Reads... Marvel Comics' Thor: If They Be Worthy, coming out next year from Ockham Publishing ahead of the highly anticipated film Thor: Love and Thunder. (Information about pricing and pre-ordering are coming soon.) UPDATE: It's now available.

From the publisher website:

We all know the Mighty Thor: Prince of Asgard, son of Odin the All-Father, and God of Thunder. He has long been one of the few in the universe worthy to wield the mystic hammer Mjolnir… until, one day, he is not. Soon, a new Thor emerges, a woman who commands the thunder and the hammer in ways all her own. She is none other than Jane Foster, and as she learns to be her own version of the Mighty Thor, the Odinson can only watch and wonder why he is no longer worthy, while this new Thor clearly is.

This is not just the story of two Thors, though. This is a tale of worthiness: what it means, how it can be lost, and how one can reclaim it. This is the journey of a god-prince, born and raised to be a hero who wields the ultimate weapon, who suddenly finds himself unable to even budge it and has to struggle to relearn who he is and what it means to be a god. This is also the adventure of Dr Jane Foster, battling the scourge of cancer whilst juggling the responsibilities of being a god, before being forced to choose between the two.

In this book, philosopher Mark D. White, author of A Philosopher Reads Marvel Comics’ Civil War and The Virtues of Captain America, introduces you to the world of Thor and leads you through the legendary saga of Jane and the Odinson, written by Jason Aaron and drawn by Esad Ribić, Russell Dauterman, and many others. Along the way, White draws on Western and Eastern thought, ethics and existentialism, as he explores the philosophy of self-worth and worthiness, as well as questioning the nature of gods in the Marvel Universe.

Written in his characteristic light style, A Philosopher Reads Marvel Comics’ Thor is the perfect mix of superheroes and philosophy, accessible to new fans as well as experienced Asgardian travelers.

This is the long-awaited second entry in the A Philosopher Reads... series, following my book on the Marvel Comics "Civil War." It is a slim volume, about a third as long as the Civil War book (as well as my other books on Captain America and Batman); as the series moves forward, I will alternate between "full-length" books, covering the entire history of a superhero or team, and "novella" length ones, focusing on a specific storyline or period. (The third entry, already in the works, is planned to be full-length, but more of them after that will be novella length.)

As the description above says, A Philosopher Reads... Marvel Comics' Thor: If They Be Worthy covers the seven years of Thor comics written by Jason Aaron in collaboration with magnificent artists such as Esad Ribić and Russell Dauterman, starting with Thor: God of Thunder #1 in January 2013 and ending with King Thor #4 in February 2020, covering four volumes of Thor comics plus miniseries such as The Unworthy Thor, War of the Realms, and King Thor. (To provide background for these stories, as well as the characters and concepts in them, I discuss plenty of older Thor comics too—the reference list is quite exhaustive, trust me!)

It is also the first superhero-and-philosophy book of mine that is not based primarily on ethics, focusing instead on different philosophical aspects of the concepts of worth and worthiness as suggested in the adventures of Thor from 1960s to today, plus other concepts relevant to the story, such as godhood, humanity, and mortality, all of which Jane Foster and the Odinson struggle with in their own unique ways.

I'm sure I will have much more to say about this book in coming months, possibly including podcasts and videos (!), but for now I'll just say this: A Philosopher Reads... Marvel Comics' Thor: If They Be Worthy is a love letter to the concept and legacy of Thor, including both the Odinson and Jane Foster, and especially the incredible storytelling of Aaron, Ribić, Dauterman, and others. It is an honor to write about these characters and concepts, for which we all owe an Asgardian-sized debt to Stan Lee and Jack Kirby, and I can only hope I have done them, and everyone involved, justice with my words.

My thoughts on Avengers: Endgame (Spoilers clearly marked)

Well that was something!

After rewatching Avengers: Infinity War Thursday night, I saw Avengers: Endgame Friday morning by myself—well, me and the hundred other people in the sold-out small theater, but you knew what I meant—and then again with my kids in a much larger (but still sold out) IMAX theater. I grouse a lot about the modern movie experience, what with the ubiquitous cellphones and incessant chattering, and I've been going to the movies less and less the last several years because of it, but this was an occasion that demanded and justified the full social experience. The Friday audience was quiet, applauding only at the end of the movie, but the Saturday crowd was into it, cheering at every character introduction and revelation throughout the entire film. As many comic book fans of a certain age have noted, we were ostracized for our hobby as kids (and perhaps even more so as adults), so it's immensely gratifying to arrive in the year 2019 where we can sit in a theater with several hundred people, only a fraction of whom have likely every read a comic book, and cheer together to the exploits of the heroes of our childhood (and adulthood).

What about the movie itself? Again, I'm afraid I don't have much to say that probably hasn't already been said, and if you're looking for dispassionate criticism and analysis, look elsewhere my friend. I'm writing as an unabashed fan here.

Avengers: Endgame is a magnificent film, filling every last one of its 181 minutes without a lull, with excellent pacing and balance between its many subplots and storylines, and hitting every last emotional note it needed to. I'm frankly astonished at the magnitude of this movie and how well it put a bow on the unprecedented 22-film story that is the Marvel Cinematic Universe—so well, in fact, that I had a distinct feeling of loss at the end, not just for any events in the film itself, but for this initial stage of the franchise itself.

There isn't much more I can say without giving away story details, so this is where I warn...

THERE BE SPOILERS AFTER THIS GLORIOUS GIF OF GONEMMENEMMENEMMENON!

(Did you remember that he said that in Infinity War? I have to admit I did not, until I rewatched it Thursday night, after which I felt really stupid for forgetting it. Of course you remembered it, because you're all very smart.)

Here are my thoughts, with varying significance and coherence, starting with the six original Avengers themselves.

Captain America. As you might guess, my favorite moments were those centered on Captain America, who received a fantastic send-off. Before he "retired," he managed to poke a little fun at his catchphrase "I can do this all day" as well as his fan-favorite rear end, and also wield the mighty Mjolnir (as he has several times in the comics), which brought perhaps the loudest round of cheers in the Saturday showing. (And I have to wonder how much Nick Spencer paid the Russos to have Cap say those two little words. They used it well, but geez guys, give us some warning next time!)

Most interesting, compared to the comics, was that Cap retired at all. A constant theme, which I highlight often at my The Virtues of Captain America blog as well as the book of the same name, is that he continually feels the contrasting pulls of duty and love (or "mission" versus "life") and reliably picks the former. As much as he feels he's done enough and deserves happiness, he always returns to the shield, without fail. Of course, given the realities of comic book publishing where established characters rarely change too much, this is understandable, but Evans's retirement gave the filmmakers the opportunity to have their Cap make the other choice—while leaving a world with a very capable successor in Sam Wilson. (This makes me wonder if the announced Disney streaming series featuring Falcon and the Winter Soldier was just a ruse, or if it was always meant to be about Sam as Cap and Bucky helping him.)

Iron Man. Despite the tremendous moments that Cap had in this film, the emotional center was definitely Tony Stark, which was appropriate given that it was Iron Man, as played by Robert Downey Jr., that got this entire party started in 2008. For the same reason, it made sense that he would die while dealing Thanos the final blow (or snap). (I like to think that, as he usually does in the comics, he uploaded a version of his consciousness into a computer so he can be the AI in a successor's armor, whether that successor is Pepper, which is doubtful, or someone like Riri Williams, Ironheart from the comics, who did have an AI version of Tony in her helmet for a while.)

Speaking of Pepper, it was amazing to see her in the armor, even if (as I suspect) just for this one time. We all knew it was coming after the earlier scene with little Morgan, but to actually see it... that elicited another huge cheer from the Saturday crowd (as did the collection of the MCU's incredible collection of female heroes protecting Peter and the gauntlet at the end). And seeing her fighting back-to-back with Tony... that, together with the stakes of the situation, made me forgive the fact that, as Rescue in the comics, Pepper's armor had no weaponry.

(And Tony's final words to his daughter, "I love you three thousand"... I'm tearing up again as I type it.)

Black Widow and Hawkeye. Black Widow made the ultimate sacrifice, of course, to Hawkeye's objections. (I'm sure he felt he should be the one to die, given the fact that he had racked up quite a few murders in the preceding five years, but would good ol' Frank have done the same thing?) But, I suspect she will be back, depending on how Cap "returned" the Soul Stone in his reverse-time-heist before getting hitched and living out his days as Married Old Man Steve. If the goal was to restore the original timelines, did he just give the stone back to the Red Skull—I really want to see that conversation—or did he just prevent Nat from sacrificing herself in the first place? And if he gave it back, could he somehow have saved Nat? (If only Evans didn't want to retire, I would ask for a streaming series on Cap's trips in the past to restore the Stones. Hear that, Feige?)

The Hulk. The newly chill Hulk was wonderful (calling back to Bruce's efforts at maintaining inner peace when Nat found him the first Avengers movie), especially with the kids who wanted their picture with him, with Scott when he saw he'd lost his taco, and especially when revisiting the Battle of New York and having to fake his old raging self. It also made his sadness and grief more apparent after losing Natasha, when he did show his anger a little more.

Thor. And of course, "the Odinson abides." This was the one part I think they took a little too far, though it provided some great laughs, especially with Rocket (who would imagined those two would make such a great pair, in both Infinity War and Engame), and a touching moment with his mother. I was sorry we didn't see him interact with Jane, though, which leads to my next comment...

Playing with time. What better way to pay tribute to the entire 22-film series than revisit some key scenes from the earlier films to the process of finding the Infinity Stones in the past? That was simply brilliant. Both times I saw it I tried to figure out which scenes which pulled from the earlier films, such as the famous shot of the six Avengers standing back-to-back in a circle during the Battle of New York, and which ones were new, such as the elevator scene in New York (calling back to Captain America: Winter Soldier even though it was set during Avengers) and the subsequent lobby scene with Alexander Pierce (also from Winter Soldier), which featured a key move from Loki (who managed to play an integral role despite dying early in Infinity War). I have to assume the quick shot of Jane Foster was old and Natalie Portman didn't shoot any new footage—otherwise, I think someone would have interacted with her. What's more, I found it very clever of the Russos to use the time travel device (plot device, that is) to bring in the Ancient One as well as the younger Howard Stark, Jarvis, and best of all, Peggy Carter.

There's so much more I could mention, such as the emotional reunion of Peter Parker with Tony Stark, the return of the Wakandans, Valkyrie on her magnificent flying steed, Janet van Dyne (!) at the end, and Captain Marvel's limited but effective role (my favorite scene of hers being when she met Peter, showing that she doesn't have to be fierce all the time). My one complaint: I wish they would have done more to show the return of half the life in the universe than Clint getting a call from his wife and Scott seeing more birds outside. I realize the movie was long enough as it is, but just a 30-second montage of people hugging returned loved ones around the world (and on other words) would have been nice to show the enormity of what our heroes accomplished (before Thanos arrived and blowed them up but good).

That ending. The funeral scene, with the slow pan over the entire cast of the Marvel Cinematic Universe, was poignant in its intimacy as well as breathtaking in its scope, showing the scale of that universe with all the sub-franchises contained in it, and everyone paying tribute to the hero that started it all. as well as, I like to think, the actor—very much still alive—that played him so well.

That other ending. Even though, in spirit, the series began and ended with Tony Stark, as a Cap fan I appreciated that the final shot of the film showed Steve and Peggy dancing (I assume in the late 1940s), picking up not long after where they left off when Cap made the ultimate sacrifice himself in his first film. That gave the movie, which was incredibly heavy emotionally, an optimistic conclusion, showing that true love and lasting happiness is indeed possible... if you have Pym particles and a time machine. (If anyone knows where I can get these things, let me know!)

That other other ending. The cast credits, ending with tributes to the six that started it all, really drove home that this is the end of an era, even if it is also the beginning of a new one. It really hit me, especially on my second viewing, that this was the last time we'll see some of these characters on the big screen, and what they, along with everyone else involved in these films, have accomplished. Twenty-two interlinking movies in twelve years, most of them standing fairly well on their own and each mini-franchise possessing its own unique aesthetic, but all feeding to a large narrative... just like the Marvel Universe of the comics.

And that, perhaps more than even the faithful renditions of the characters and the Easter eggs for the diehards, is what makes the MCU gratifying to comics fans: The movies feel like the comics. With both, we can revel in the continuity of the large-scale narrative at the same time that we appreciate each individual story, scene, and line. Not all of the movies need to be equally good, and you don't have to like every character as much as your favorites, but you can still enjoy most if not all of the movies on their own and the series as a whole. (For my part, I regard all 22 movies as at least good, with most of them very good and a few of them excellent.)

What's even better than that? As I mentioned at the beginning, my childhood obsession is now a cultural phenomenon. And when an entire large theater erupts in cheers, five minutes into the movie, at the first appearance of Captain Marvel—a character introduced into the mainstream consciousness in her first movie just a few months ago—you know that something amazing has happened. I'm thrilled to have been there to experience it... and I can't wait to see what happens next.

Two new Fantastic Four-related posts, and a pitch for Thor #5

Hard to believe this is my first post here in 2015... sad but true...

Nonetheless, just a quick post to point your swiping or clicking finger toward several items of potential interest:

1. I have a guest post at The Cultural Gutter, one of my favorite websites, recounting my experiences and impressions reading the entire run of Fantastic Four over the last year or so, along with some of my favorite panels from over 50 years of their comics (most of them seen on my Twitter feed over the past year—occasionally with snarky commentary, although mostly at Reed's expense).
2. Speaking of the Fantastic Four and Sue in particular, my latest post at Psychology Today deals with invisibility—mostly in a social, metaphorical sense, but I draw ties to the Invisible Woman, as well as a little-known hero with a modest cult following in some parts, Batman.
3. Finally, I want to recommend Jason Aaron and Jorge Medina's Thor #5 to anyone not currently following the adventures of the latest person worthy to wield the mighty Mjolnir. This is a quick one-shot between longer arcs that both refreshes the status quo for new readers, as well as, for longtime readers, establishes the various other characters' opinions regarding the new Thor, including Odin, Freyja, and, most entertainingly, the Absorbing Man and Titania, with whom Aaron and Medina indulge in a bit of metacommentary about fan reaction to our new Goddess of Thunder, both positive and negative. (See below.) Buy this issue now, or thou wilst be sorry --  I promise thee that.

Thoughts on the new Thor: Legacy, characterization, and a possible reboot

Recently it was announced—on "The View," of all places—that the next person found worthy to wield the power of Thor in the Marvel Universe would be a woman, after the current Thor is judged unworthy. (See here for the best write-up I've found, including an interview with writer Jason Aaron and EIC Axel Alonso.) Predictably, the comics internet went crazy, with some fans excited and supportive of the move and others very upset, many of them angry that "their Thor" could possibly be a woman.

After following the news and conversation all that day, I want to offer a few random thoughts.

1. It's a bold move on the part of Marvel Comics and I think it's a positive one. Those of us in comics fandom who want a more diverse range of characters would of course prefer that new, nonderivative female characters would be created and promoted, but we also realize the reality of the marketplace and how difficult that is. Personally, I would love to see Sif or Valkyrie put forward more—and to Marvel's credit they have tried—but it may be the case that the best way to diversify the line is substitute women and other minorities for established characters (as they did so well with Miles Morales) and hope that over time they establish themselves as beloved and independent iterations. (From what I've seen, few consider Miles to be a replacement but a fascinating character in his own right.)

Furthermore, there is a tradition of the current Thor losing his "worthiness" and the mantle being passed to another character, such as Beta Ray Bill (a horse-faced character for people like me to identify with), and we all know that Thor himself became a frog for a spell (after which an independent Frog-Thor was created, because you demanded it!). A female Thor was a natural next step in the evolution of the Thor mythos (just like I believe Sam Wilson-as-Cap is), and it allows the current Thor to go through a redemption storyline. I have no doubt the current Thor will come back, but as long as good stories are told in the meantime, I'm all for it. (And this is Jason Aaron, one of my favorite writers in the medium right now, so I have no doubt the stories will be fantastic.)

2. I think another reason this change is being met with skepticism—aside from issues with the character's gender—is that Marvel does not have an established traditon of legacy in the same way that DC does (or did before the New 52). There have been a number of Flashes, Green Lanterns (even just counting the Sector 2814 ones), Robins, and even Batmen. In particular, Wally West and Kyle Rayner served as "the" Flash and Green Lantern, respectively, for over a decade after their predecessors "went away," and a large contingent of fans embraced them, largely because their characters were more fleshed out than Barry Allen and Hal Jordan were at the time. While they were beloved, Barry and Hal's original adventures were mostly about using their powers to fight bad guys, not explore their deepest character traits, which made them relatively easy to replace with new people that, given the times in which they were introduced, were explored in more depth.

But when the Marvel heroes were created (or defrosted) in the 1960s, they were instilled from the get-go with well-defined character traits that served to make their superhero identites indistinguishable from their "real" identities. So even though there have been others to use the names, many fans don't see them as the authentic versions. With all due respect to Bucky and Rhodey, Steve Rogers is Captain America and Tony Stark is Iron Man because Steve and Tony's personalities are as much a part of the identities of Cap and Shellhead as are the shield and the armor. (Even in DC, the trinity of Superman, Batman, and Wonder Woman have become inseparably tied to Clark/Kal, Bruce, and Diana, but few others have.) And Thor takes this even further because Thor is his given name—there is no difference between the hero Thor and the "civilian" Thor (now that Don Blake has been rendered irrelevant). (Apparently the current Thor will go by a different name after he is "deposed," but even that highlights how odd this transfer of title is.)

This doesn't mean that "mantles" can't be passed on in the Marvel Universe, but merely that replacing Thor or Cap has more impact—and receives more resistance aside from issues of gender and race—than it would in DC, where multiple generations of heroes was once a grand tradition.

3. Who will be the new Thor—and who should it be? The safe bet is that it will be Angela, newly revealed to be Thor and Loki's sister. Less likely, it could be Valkyrie, another natural choice for her longlasting popularity and close ties to Asgardian lore, or Jane Foster, who recently moved to Asgard as an emissary from Midgard (Earth) and is suffering from cancer (which could be cured with the Odinforce, even though she doesn't want this). My ideal choice would be Sif, who seems to be the natural successor to the current Thor just as Sam Wilson is the natural successor to Steve Rogers (after Bucky had his shot). (As for hair color, I have it on good authority that people can change their hair color, especially if they undergo a transformation to become the Norse God of Thunder.)

4. Finally and most speculatively, I can't help but think that so many major changes at once—new Thor, new Cap, newly dead Wolverine, possible cancellation of the Fantastic Four—are increasing the odds that there is some sort of reboot coming at Marvel after this "Time Runs Out" business coming in the Avengers titles. I may be wrong, and I really hope I am, but it seems that the powers-that-be at Marvel are playing with their favorite toys one last time, taking bold chances with them, before they get all new ones. They've done radical things before—killing Cap, replacing Peter Parker, taking Dazzler seriously—but now they're doing a lot of it all at once, and frankly it worries me. Again, I hope I'm wrong, because I love the Marvel Universe and its rich history that, for the most part, the creators there respect. 

Why is Loki: Agent of Asgard #1 such a great comic? Here are some reasons...

If Al Ewing and Lee Garbett's Loki: Agent of Asgard #1 doesn't end up being the best single issue of the year, then we've got a great year ahead of us. Why did I love this book so much? How much time do you have?

(Look Ma, I'm writin' a listicle! *sobs*)

1. It's a fantastically constructed done-in-one that tightly packs in everything you could want in a comic book. (This could be a listicle of its own—nested listicles, much structure, wow...)

Let's start with one great attention-getting splash page for an opener and another shocking one to close, with an entire adventure in between—an adventure that stands perfectly well on its own while setting up a larger story to come.

Did I mention that it also recaps Loki's essential history with the Avengers—and features the Avengers too? Yes, all in one comic, I kid you not. If they're not careful, they might attract the mythical New Reader with this book—and actually keep him and her. Wait... do you think that was their plan all along? That's just devious enough to be worthy of Loki himself.

2. Just when you thought Kieron Gillen was the master of Loki-speak, Al Ewing threatens to take that horned crown from him. Under Ewing's pen Loki is just as snappy and clever as we've come to know him, and when interacting with the Avengers you can't help but hear his lines in Tom Hiddleston's voice. (Hey Google, I said Tom Hiddleston! TOM HIDDLESTON! That's three times! Now where's my check?)

3. Lee Garbett brings his clear lines and layouts to a book with a distinctly darker feel than the Stephanie Brown Batgirl series on which he shone so brightly—do I ever miss that book—and makes it his own while at the same time very different from adventures of the wide-eyed Steph and battle-wisened Babs. His characterization is magnificent, not just on Loki but on the other characters as well, especially Thor and... no, I can't give it away. Together wih colorist Nolan Woodard, Garbett makes his book a joy to look at as well as to read. (Hats off to Jamie McKelvie for the new Loki design.)

4. What's that? Did I say "joy"? In a modern comic book?

Verily! This book was fun to read, and will surely be fun on numerous re-readings. I laughed outloud through the book, not just at Loki's dialogue and inner monologue but also at his devious machinations—all the twists you expect from Gillen's writing of him against the background of a simpler and more new-reader-friendly premise.

5. And this passage, from Loki's mind:

Magic is taking a thought and making it real. Taking a lie and making it the truth. Telling a story to the universe so utterly, cosmically perfect that for a single, shining moment... the world believes a man can fly.

Best explanation of magic in comics I've ever seen (when one is given at all)—and also keeping a nice link to Gillen's emphasis on stories through Journey into Mystery and Young Avengers. There's also a distinct Douglas Adams quality to it: I immediately thought of his line from The Hitchhiker's Guide to the Galaxy about flying being jumping and forgetting to fall. And the subtle Superman reference is just one of the pop culture references strewn through the book—see if you tell what he's singing in the shower—another legacy continued from Gillen's development of the character.

Loki: Agent of Asgard #1 is a success on many levels. Ewing and Garbett have successfully taken over Loki from GIllen's capable hands and put him in a new context that will be familiar to longtime fans and new wanderers from the land of cinema alike. And did I mention it's fun? In the end, that may be the best thing about the new Loki title—I expect lots of pathos, betrayal, and misunderstandings throughout this run, but I hope it never stops being fun.

Verily, let's have a Valkyrie ongoing series!

The 12-part biweekly (semimonthly?) series Fear Itself: The Fearless, which focused on Sin's plan to reclaim the Serpent's Hammers after the end of Fear Itself and Valkyrie's attempts to stop her, came to its conclusion last week. I found the series much more enjoyable than it's predecessor, perhaps because it was not weighed down by the event status of Fear Itself, and the creators were more free simply to tell their story.

Along with Chris Yost and Fear Itself scribe Matt Fraction, Cullen Bunn crafted a story of a strong female Asgardian warrior fulfilling her destiny, finding her lost love, and leading her fellow heroes in the fight. And as rendered by Mark Bagley and Paul Pelletier, the series was remarkably devoid of any of the blatantly sexist imagery that fills so much of comics these days. It's fairly safe to say that Bunn and his colleagues write Valkyrie the way I wish Wonder Woman would be written--fierce yet noble, compassionate yet uncompromising, and informed by a mythology that reinforces these ideals, rather than upends them for shock value.

So I ask the powers-that-be at Marvel, why not try an ongoing series for Valkyrie? Let's admit it, you've struggled with female-led titles for years: after some success with She-Hulk and Ms. Marvel a few years ago, the most recent Black Widow series was short-lived, as was Green Arrow/Black Canary Hawkeye & Mockingbird. We all have the highest hopes for Kelly Sue DeConnick's Captain Marvel series featuring Carol Danvers, but you could certainly use another female-led ongoing. Along with Ed Brubaker in Secret Avengers, Bunn showed in The Fearless that Valkyrie can be a compelling character with ties to both Asgard and Midgard--and with The Mighty Thor and Journey into Mystery, it would give you a trilogy of Asgardian titles. (Can you say "crossover"? I knew you could.)

And best of all, I have it on good authority that Bunn wants to do it!

Yes we can, Mr. Bunn. Yes we can.

First chapter of The Avengers and Philosophy available for free download

Thanks to Mitters' tumblr, I discovered that there are three samples from The Avengers and Philosophy: Earth's Mightiest Thinkers available at Wiley's site for the book: the table of contents, the index (in case you're curious who's included in the book--I'm happy to say most everybody!), and best of all, the first chapter, written by yours truly.

Titled "Superhuman Ethics Class with the Avengers Prime," it introduces the three basic schools of ethics--utilitarianism, deontology, and virtue ethics--using Iron Man, Captain America, and Thor (respectively), and the conflicts between them, as examples. (The title comes from Avengers Academy, as I discuss here and here.)

Download it and let me know what you think, and don't forget to preorder the book, which comnes out in May!

For the best in comics romance, revisit Thor: The Mighty Avenger

If you're like me, a comics fan who desperately needs a dose of romance on this Valentine's Day, then do what I just did: reread (because I sincerely hope you've read it already) Roger Langridge and Chris Samnee's Thor: The Mighty Avenger series (eight issues, collected in two digests, available here and here). Colyn deGraaff chose its depiction of Thor and Jane Foster as the #1 comic romance "you might have missed" today at his Canuck Goose blog, and last summer, Carol Borden of the Cultural Gutter called it "an unusual book—a superhero romance comic" that, as an all-ages book, "because it is limited in the kind of adult material that can be shown... ends up more adult in its focus on love and friendship."

As Borden points out, it is yet another retelling of Thor's origin story, much closer to the version eventually portrayed in the feature film than in Journey into Mystery #83 from 1962 (also reprinted in the first digest). Thor is banished from Asgard, falls to Earth, and must find Mjolnir, which is hidden in a vase in the museum at which Jane Foster works. Jane, fresh out of a relationship with a once-idealistic young doctor who became more concerned with success and money, finds a virtuous and chivalrous alternative in a bewildered Thor, whom she helps acclimate to his new surroundings while he tries to find his way home.

Jane is clearly taken by Thor from the beginning, Thor is ever the gentleman, and their romance builds slowly and sweetly over the eight issues of the series. I hesitate to spoil much, but the final page from issue #6 (in the second digest) is quite representative:

Chris Samnee's art perfectly complements Langridge's tender-hearted script, and both are utterly refreshing in their portrayal of Jane Foster. Together they show her to be smart, strong, and beautiful, a confident woman who can take command of Toothgnasher and Toothgrinder but at the same time a smitten girl who finds herself in love with a god.

Thor: The Mighty Avenger was unfortunately short-lived, but I hope it stays in print in digest form for years to come--and it would make the perfect Valentine's Day gift for the comics fan in your life (or yourself!).

Iron Man and Thor charge ahead in the wake of Fear Itself

I know, I know--no post in over a month. But I've not been excited about comics for a while: the DCU relaunch left me cold, and Fear Itself was largely a disappointment, redeemed only by the fantastic epilogue issues 7.1, 7.2, and 7.3. (Try to explain to the Wiley copy-editors why some comics citations now have ".1" at the end of the issue number--it's a new world, folks.) Mark Waid's Daredevil and Kieron Gillen's Journey into Mystery are the highlights of my month, along with select DC titles such as Scott Snyder's Batman, Kyle Higgins' Nightwing, and Geoff John's Aquaman.

But Ed Brubaker's relaunch of Captain America has gotten off to a slow start, forced to be an autonomous title parallel to but disconnected from the Cap-centric Fear Itself and therefore missing out on the post-Fear Itself "Shattered Heroes" theme. On the other hand, two titles closely linked to the aftermath of the Serpent War, both written by Matt Fraction, are forging ahead: The Invincible Iron Man and The Mighty Thor. (Maybe Cap needs an adjective?)

Both titles continue directly from their respective Fear Itself 7.x issues, and while Fraction can certainly be criticized for the somewhat glacial pace of his previous arcs on these two titles, Iron Man #510 and Thor #8 (if I may dispense with the adjectives) both race ahead like Guy Ritchie films shown at double-speed.

MILD SPOILERS AFTER THE JUMP...