Writers - Stan Lee, Larry Lieber, Robert Bernstein
Pencilers - Jack Kirby, Al Hartley, Joe Sinnott, Don Heck
Inkers - Joe Sinnott, Dick Ayers, Al Hartley, George Roussos, Paul Reinman, Chic STone, Vince Colletta, Frank Giacoia
Publisher - Marvel Comics. $99.99 USD
It’s appropriate that Thor finally gets the Omnibus treatment, as this book weighs as much as a sledgehammer. The Mjolnir-wielding Norse god made his first appearance in Marvel’s anthology series, Journey Into Mystery #83, starting a long, unbroken run that first had him in just half the book, but within a year or so the main Thor adventure was backed by the beloved Tales of Asgard. All the Thor material from #83-#120 and Annual (“Special”) #1 are here.
Jack Kirby had done a version of Thor in one DC comic before this, but the basic set-up of having Thor sort of sharing the body of lame (in both definitions) Dr. Donald Blake seems like more of a Stan Lee “hero with feet of clay” device, perhaps inspired by the Fawcett Captain Marvel/Billy Batson idea (and which would inspire Marvel’s own Captain Marvel/Rick Jones set-up). Blake finds a cane through improbable means and when he strikes it, he turns into the God of Thunder, aware of what happened while he was Donald Blake and yet not sharing or at least not interested in Blake’s knowledge; ie you wouldn’t ask Thor to perform surgery on you.
There’s the added gimmick that Thor cannot be separated from his hammer for more than 60 seconds (Asgardians measure time the same as us, even if they are immortal), or he turns back into Blake. Lee handled a lot of Marvel books back then, so he only plots many of these stories, letting brother Larry or Robert Bernstein script them, and of course it’s difficult to determine how much Kirby himself added. Even at his angriest, most anti-Marvel/Lee period, Kirby probably wouldn’t want to take a lot of credit for the first year or so of Journey Into Mystery’s stories, as most were pretty poor. Blake’s medical practice was left vague enough that one day he could be performing surgery in a hospital, while another day he could be working at a clinic, or as a kind of proto-Doctor Without Borders in a banana republic. Whatever happened, he would have some reason to become Thor, who so excites his beloved nurse, Jane Foster, but she is always kept at arm’s length due to misunderstanding or a desire to keep her safe from his dangerous double life.
This romantic thread is often irritating, and invariably gets in the way of what should have been a grand, mythological adventure book from the start, though I suppose something can be said for Lee’s ability to make even godlike characters relatable with dating woes, or Thor’s difficult relationship with his dad, Odin. Odin is basically a bigot: he loves his son, but can’t understand why he wastes his affection on Jane Foster, a human woman, and thus beneath him. There is something charming about Thor pining away and moaning in public over his girl trouble. And of course, Loki is a classic villain, the evil stepbrother who might have been better if he had been the favorite son…but probably not.
It takes quite a while for the series to get going. Aside from Loki, who appears constantly, Thor’s rogues gallery is pathetic, with losers like “Sandu the Supernatural” and “The Carbon-Copy Man.” Even decent villains such as The Radioactive Man, The Executioner, The Enchantress, The Cobra and Mr. Hyde aren’t all that interesting in their first appearances. Lee really misses an opportunity to draw parallels between Thor and The Executioner, both saps for love. It has to be said, though, that unlike, say, the Superman books of this period, Lee/Kirby & Co evolved the series beyond its confining status quo. Little by little, the Tales of Asgard become not just abbreviated versions of myths, but original adventures themselves, and also the main series draws more inspiration from the wonders of Asgard, making room for characters like Balder the Brave and Heimdall to play more of a part in Thor’s life.