A mixed bag. Writer Kieron Gillen is clever, and Loki is just his kind of character: snarky, slippery, and too clever by half, always fibbing, feinting, and maneuvering. Gillen’s ingenuity shows up on both the macro level (overarching high concepts) and the micro (throwaway banter). Apart from a few strained figures of speech — odd moments of prolixity — the writing is smart, and arch, and sometimes sings. Fans remember this as a pivotal run for Loki, and for good reason, as Gillen’s version of the character opens up a lot of potential. This is the reborn Loki, or Kid Loki, introduced around 2011, and Gillen makes the most of that, creating a sympathetic but still secretive and scheming young antihero who is actually fun to watch in action.
But: This Loki is tangled up in Marvel’s event series of the time, Siege (2010) and Fear Itself (2011), and so it’s full of loose ends and odd transitions. I suspect that this was the most interesting thing to come out of Fear Itself, but it’s still annoying to have important action happening out of sight. Characters who seem vital to the action barely register here (Thor dies off-panel). At times, Gillen’s ingenuity results in tortuous plots and a great deal of Marvel Universe busyness, to the detriment of the storytelling. I prefer him in self-contained stories that don’t depend on following a bunch of comics written by others.
And the art? Inconsistent, often ugly. The inconsistencies that mark this run become more glaring when gathered between two covers and read in just a few sittings. Some talented artists are at work here — take longtime Gillen collaborator Jamie McKelvie, whose aseptic style is not my cuppa tea but delivers the clearest pages in the book; or Pasqual Ferry, who draws a nice interlude in fact written by Rob Rodi. Several issues are drawn by Doug Braithwwaite, with art based on his penciling, sans inks, but digitally finished with cloying, painterly colors that tend to quell the drawing’s energy and obscure fine details. Sample penciled pages in the back matter show how much clearer the pencils were on their own (Braithwaite favors a heightened, heroic naturalism that reminds me of John Buscema, but I find the colored versions heavy and murky.) A few issues penciled by Whilce Portacio are downright bad — messy and incoherent. Overall, I found the art more a chore to read than a delight, which is usually a dealbreaker for me when it comes to superhero comics.
So, this Loki is a smart, self-aware superhero comic, and a fitfully interesting example of a writer using a big event series to make his own mark and transform a familiar character. Loki seems to me a much more fully realized character thanks to Gillen, and there are delightful details (one chapter is narrated by the Asgardian rascal Volstagg; another depicts Loki adopting a hell-hound, or puppy, rather). But the frustrations of the genre are also here, in spades.