When reading superhero comics, it's often difficult to untangle objective analysis of the story's merits from appreciation of how that story manages to play off against the expectations of long-time fans. The genre is too entrenched, and its most prominent characters have been around too long, to see it through truly fresh eyes. Thor: the Mighty Avenger is no different in that respect. This retelling of the origin of a classic Marvel superhero is easily accessible to first time readers. But truthfully, much of the pleasure derived from the series comes from how the comic successfully reinvents and streamlines many of its well-worn elements so that they at least feel like they're new again.
What is immediately appealing is how writer Roger Langridge has removed the Marvel-style Sturm und Drang and replaced it with a low-key, leisurely paced approach to storytelling that leaves room for humor and more subtle character moments. It's far less melodramatic, but more human in scale. Jane Foster isn't just the love interest who prompts the hero into action, but the point-of-view character who bridges the gap between the mundane and the superhero worlds. Thor himself is an affable individual who can sometimes behave impetuously under pressure. The budding romance between the two anchors much of the story, making Thor's quest to return to Asgard all the more interesting.
The writing is ably complimented by the drawings of Chris Samnee, whose blocky and impressionistic linework isn't nearly as fussy as the more heavily rendered art found in many mainstream comics. Particularly noteworthy is how his figures are just stylized enough to appear fantastic, without resorting to outrageous bodybuilder type physiques dressed in skintight fetish-wear. Jane looks like an ordinary, if attractive brunette. Thor has the build of a heavyweight athlete. Hank Pym has a more slender frame. Namor the Sub Mariner has a lithe but muscular figure with a slightly alien appearance. This thoughtful approach to character design is nicely accompanied by the muted tones of colorist Matthew Wilson.
Even the fight scenes are considerably lighthearted, with comparatively little emphasis on collateral damage or bodily harm. Nor do they function as a metaphor for the inner demons the hero must confront and conquer. I particularly like how the confrontation between Hank and Thor was resolved by Hank using his brains instead of his brawn. Even the first meeting between Namor and Thor portrays the former as cool and calculating, and he ends up lecturing the latter on the value of humility. That's right, the guy who screamed "Imperious Rex" in past incarnations is telling Thor to bring it down a notch. Every fight serves as part of a learning process in order for Thor to eventually make his way back home of Asgard.
What this means is that Thor the Mighty Avenger doesn't fit in with the rest of Marvel's lineup: Not the mainline Marvel Universe, or the Ultimate Universe. And probably not with the upcoming Thor movie. This probably also means that the series won't last beyond the original creators' involvement with it. Frankly, that's not necessarily a bad thing.
