In a land of superheroes and mutants, it takes a lot to stand out.
Fortunately for Thor, he's a god.
Thor has been a fixture in the Marvel universe for over forty-five
years, as a founding member of the Avengers and star of his own title
throughout the years. And today he is at the height of his powers,
with his series hitting the top of the charts and talk of a major
motion picture in the works. It's a big jump for Thor because if you
turn back the clock two years he was reportedly dead, with no series,
no Avengers membership and no movie in the works.
Thor's road back to top started in September 2007 with a
new series helmed by writer J.
Michael Stracyzinski and artist Olivier Coipel. After a 3-year
absence, this new series found Thor reviving Asgard after the mythical
events of Ragnarok – setting up shop in Oklahoma. Yes, Oklahoma.
Ten issues have been released so far, and after a brief hiatus the
book returns on October 29th with Thor #11. J.
Michael Stracyznski acts as writer and shepherd, navigating it to new
heights and through crossovers, tie-ins and special events. As the new
issue nears release, we talked to JMS for more.
Newsarama: Thanks for talking to us, Joe. Over the
course of the ten issues released so far, you've firmly put the
Asgardian in the top comics sold each month. What's your secret to
making Thor work this well?
J. Michael Straczynski: It's been amazing to
watch, because for Thor, which was always a
mid-selling book, to be in the top ten for every single issue since
the reboot is just a great compliment. I don't think even Marvel can
quite figure that one out, because there's very little action, no
cross-over material (which I think may be one of the contributing
factors to it doing well, you don't have to read 15 other titles to
follow what's going on), and it's set in Oklahoma. If there's any one
element to point to, in addition to Olivier's amazing artwork, it's
that it's an honest story, with a strong character, on a journey
that's designed to feel appropriately mythic.
NRAMA: There's been a delay between issues #10 and
#11 of several months. Can you tell us what's the cause of this?
JMS: The responsibility is mine, and I'll take the
rap for it. I got sideswiped by a bunch of feature film deadlines that
were supposed to fall in a nice, orderly fashion and ended up all
landing at the same moment, time-on-target. My goal is to get the book
back on a more regular schedule ASAP.
NRAMA: The solicitation for Thor
#11 promises to see Thor going out into the modern world more and
Loki's machinations beginning to bear fruit. What can you tell us
about this issue?
JMS: One of the problems with Bad Guys is that
they invariably tend to lose. I want Loki to win from time to
time...and s/he's being very, very careful and very precise in
unraveling this newest scheme. It's subtle and it hinges on the fact
that s/he's telling the truth all the time. It's just in how you
phrase or frame that truth that the evil slips in. Loki travels to
Vegas to meet someone we haven't seen in a long time, and sets in
motion the final phase of the plan.
NRAMA: One of the more striking turn of events in
your remaking Thor in the Marvel universe is
recasting Loki as a woman. Freed from the shackles of being a male
trickster, she's more dangerous and elusive than ever. What brought
you to the decision to go this route, and how to do you think it
colors the Asgardian mythos in Marvel comics?
JMS: Not at all, because Loki has always been a
shape-shifter, both in the comics and in mythology. He's a trickster,
and is not above appearing as anyone needed to get the job done. We
will get a big hint about how s/he was able to pull off this
transformation in the next couple of issues, and when Thor finds out
he's going to go right up the flue. Let me put it this way: who's the
only other Asgardian who didn't make it through, and whom Loki may be
holding prisoner for reasons of his own? And what happened to that
person's body?
NRAMA: Loki's had her hand in several things
behind the scenes, but foremost has been bringing to light the fact
that Balder is a son of Odin and prince of Asgard. Was this inspired
by some Asgardian stories, or where did it come from?
JMS: That comes right out of the mythological
foundation of the character. Balder was always represented in myth as
being one of Odin's sons. So I thought it was appropriate to bring
this element into the book.
NRAMA: Balder's new status has put his
relationship with Thor in a new place, especially on Thor's part.
What's Thor's take on the new developments?
JMS: He's cautious about it. On one level, Balder
is his brother, literally and figuratively...he trusts Balder
implicitly and would do anything for him. But when it comes to the
responsibilities of princedom, Balder is a bit of a naif, he's
inexperienced, and can be more easily swayed if he's not very, very
careful.
NRAMA: We can't forget the impact of Asgard as it
sits in the plains of Oklahoma – and it's neighboring town, Broxton.
We've seen the residents here and then, most notably (for me) with an
Asgardian/human romance a couple issues back. Where do you see the
Broxton – Asgard relationship going?
JMS: There's a change coming in the not too
distant future that will turn all of Asgard upside down...a schism
that will affect its relationship with the town and one another for a
long time to come.
NRAMA:When writing gods, it can be hard to
humanize them but you've done so by placing them in the modern world –
trying to come to grips with the new status quo. Will we be seeing
more of their interaction with normal humans?
JMS: Definitely. Loki is nudging Balder toward
opening Asgard to the outside world (or vice-versa). S/he's going for
the bird in a gilded cage scenario...and there's a lot of truth in
that argument. So yes, that process will now accelerate quite a bit.
NRAMA: Re-reading over the issues so far in
preparation for this interview, I'm amazed at the slow-burn approach
you used to reintroduce Thor into the thick of things; it's utterly
classic and gripping. You're no stranger to fast-pace storytelling, so
what led you to this approach?
JMS: I wanted the book to have a regal sort of
feel to it. It has its own pace, its own voice that's just not like
much else out there. My theory going in was that comic book readers
have the patience for a strong, detailed character story that doesn't
need to blow stuff up every day. Yes, there's a time and a place for
that, and there's a heck of a big blow-up coming very soon, but
there's room for variation. When the Seinfeld show said it was going
to be a show about nothing, everybody said it couldn't/wouldn't work.
It did. Thor is about something, about that character
finding his destiny, but it's not doing what was expected...and yet
it's doing very well.
NRAMA: For the most part, you've carefully avoided
the wider Marvel universe and all the wars and invasions to focus on
Thor's own attempt to recreate Asgard. Why is it so important to focus
on this rebuilding for Thor and the cast?
JMS: So that they all have the proper amount of
gravitas, and so we can really get into the characters in a way that
you can't if you're running from one crisis to the next and doing
crossovers that steal story time from the main book. My theory on
crossovers, in general, is that you do them to promote the characters
that appear in it so that readers check out the individual books. Now
it feels more and more like the individual books are put in service of
the crossovers...and that has the potential to kill any chance for
long-term, unaffected storytelling with a single, clear voice. Every
time I got Amazing Spider-Man or Fantastic
Four or another book firmly on the rails, we got pulled into
some big event book or crossover and it cost momentum and messed badly
with the pacing and structure of the book. I was very clear that I
wanted to keep Thor out of the rest of the Marvel
universe for no less than the first six issues. And the success of the
book, I think, speaks well to that decision.