During the previous volume of Jason Aaron’s epic run, a new Thor was introduced in the shape of a masked woman. Despite the character being well-written and well-designed, the mystery surrounding her secret identity caused a disconnect between her and the reader. At the very end, the identity of Thor was revealed to be Odinson’s former lover, Jane Foster, who is stricken with breast cancer.
In this new phase of the run with the comic retitled as Mighty Thor, we see how Jane copes with her illness, whilst Asgardia continues a descent into chaos and war threatens to spread through the Ten Realms. With early signs suggesting a War of the Realms, Malekith the Accursed is planning a conquest towards Alfheim, the Realm of the Light Elves, with the help of some of the God of Thunder’s rogues gallery.
Although the character of Jane Foster dates back to the very beginning of Thor’s Marvel Comics history, the decision to make Foster the Goddess of Thunder whilst she wrestles with cancer adds a whole new perspective to the decades-long comic. Suddenly, we have now a human just like us given the chance to become a god among others, even if not everything is not on her favour as Thor has been branded a fugitive, as well as a pretender to wield Mjolnir, not least from Odin himself. As a cancer-ridden victim, she’s not going to let that get her down as being a doctor herself, Jane just wants to help, whether it is towards fellow patients suffering from similar diseases or travel to the Ten Realms to save those from the carnage of war.
Despite the more human angle from its hero, Aaron is also aiming for something bigger with the storytelling that will set up the 2019 crossover event The War of the Realms, as most of the nineteen issues here comprised of extensive battles, such as with Dark Elves, evil corporate heads (including one turning into a minotaur) and even the Shi’ar Imperium. You could argue that these grand action-centric arcs are there to show off Russell Dauterman’s hyper-detailed artwork that dominates most of the volume, in which his inventive panel layouts brings something fresh to the action. Along with Matthew Wilson’s colouring, Dauterman shows distinction each of the Realms that are presented here. There are a number of guest artists such as Rafa Garres, Steve Epting and Frazer Irving, and even though none of them don’t live up to Dauterman’s work, they are efficient with their own visual identity.
As grand as these storylines are, whenever Aaron throws in a touch of characterisation, even if there is an ounce of humour, these are the moments that you’ll remember. Very much an ensemble piece, Loki may not be in the comic a lot, but when he appears, the God of Mischief steals the show, whether it is him being self-aware of the comics history or presenting different incarnations from over the years. Despite having comic timing, the book does not shy away from Loki’s darkness as he commits acts that are unforgivable and possibly sets up another agenda that he has in mind that opposes the other villains.
There are a couple of issues that feel like filler and Aaron expanding upon the world-building, tying into the Viking roots. As a whole, this volume can feel disjointed in how it jumps from one extensive action set-piece to set-piece, all of which functions as the slow build-up to an upcoming event. However, Jason Aaron and the number of artists has done enough right with individual moments that may not reach the brilliance of Aaron’s initial Thor run, but I’m excited to see where the story goes.