![]() Coipel’s design for Asgard is splendid, but it’s not the baroque city of old. This juxtaposition has a historical context in the series, and is well used. Their Thor has an epic presence and the Asgardians, although they mix, are unworldly. What Straczynski and artist Olivier Coipel do best is establish a sense of scale, grandeur, and a distance about Thor and Asgard, which has all too often in the past been missing. This is achieved in a consistently fascinating manner, avoiding the use of super villains, incorporating the ramifications of Civil War, emphasising just how powerful Thor really is when compared to Earth heroes, and offering intriguing small puzzles along the way. The originality stretches to the reconstitution of Asgard, the home of the Norse gods, then the restoring of its citizens. It’s also strangely biblical considering it concerns a mythical god. ![]() ![]() As we all know, however, in superhero comics that’s rarely the case, but Straczynski’s reasoning for Thor’s reappearance is original, moving far beyond the “oh I ducked behind a tree” style of explanation so common. ![]() ![]() Michael Straczynski began writing these stories Thor had been absent from the Marvel universe for a couple of years, seemingly deceased. ![]()
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