Thor #186 (March 1971)
"Worlds at War!"
Stan Lee-John Buscema/Joe Sinnott
Doug: Hi! For the next four weeks I'll be taking a peek at some random issues of Thor -- all of which were culled from the giving hands of a couple of eBay sellers several months ago.

Doug: And truthfully, you and I are thrust headlong into the middle of a story -- and we'll be thrust headshort out of it that way, too! Odin is in pitched battle with Infinity as we "splash", and the text box on said page states: "Ruled by a super-powerful being known only as Infinity -- the far-off world beyond threatens to destroy the universe! Seeking to save the cosmos, lordly Odin has dared to enter the world beyond -- together with the mysterious Silent One. But now, as Odin battles Infinity -- he senses danger to the mighty Thor, who has followed -- to aid his father --" Odin is blasting away, and the strain on him is obvious. But as he battles, he senses that Thor has reverted to his human form and is facing great menace.

Doug: With one mighty blow, the Thunder God fells his nemesis. But as he turns to leave, hoping to reach Odin in time to assist him, the giant is hit by an energy bolt from the darkness of Infinity, and rises. Having declared that he is indeed an agent of Infinity, it makes sense why he's come back for more. Well, Goldilocks wallops him upside the head again, and down he goes -- again.

Doug: Now speeding through time and space to find his father, Thor comes upon the mysterious Silent One, waving the Thunder God back. Offended at this, Thor raises his hammer to smite the elderly one, but is stopped by the roar of Odin. As is typical, the brash son questions the father -- uh uh. Not advisable. It's now Odin who threatens a good smiting, and Thor accedes. Suddenly the Silent One gestures for Thor to follow him, and the Thunder God feels that perhaps he will at last have an answer as to what is happening. We then get a couple of cutaway scenes, as the impact of the battle with Infinity is felt around the cosmos. On Earth, astronomers struggle to explain what is happening as natural disasters strike American cities.

Doug: Fandral, Hogun, and Volstagg have burst forth with an oath to finish withdrawing the Odinsword. Sif opposes them, and then Balder the Brave enters the fray. Banging a gong (get it on), the Vizier summons the warriors of Asgard. Under the shear weight of the masses, the Warriors Three succumb. But the threat of Infinity is not over, as even watchful Heimdahl remarks that time and space are not right -- as he's never seen it. Cut back to Thor and the Silent One, who continue to journey. Finally reaching their destination, Thor is shocked when the old man falls suddenly forward in worship -- of Hela, Queen of the Dimension of Death.


Doug: This was an action-packed issue! I am not wholly certain what the heck was going on... a look at the covers around this issue tells me that this was a four-issue arc. The art team of John Buscema and Joe Sinnott was stellar as always -- we've beat the dog dead that Sinnott exerted a lot of influence on Big John's pencils, but for me it's a comfortable, reliable look. I would criticize one point, however, and that's the lack of backgrounds in approximately 10% of the panels. You may think that's a nitpick, but I'd offer that for the most part it seems that the panels are rendered with great detail. It almost makes me wonder if Vinnie Colletta didn't wander by and see the pages laying on a table! Speaking of panels, and of panel lay-outs: Can anyone recall off the top of their head if Big John very often burst the bounds of the panel line, a la Adams, Steranko, or Colan? Seems to me that Buscema remained pretty conventional. Stan's script is fine -- nothing spectacular (no truly memorable Stan-isms), but by 1971 most of us are aware that Stan was releasing his hold on his writing chores to head to the realm of publishing.
7 comments:
Great cover. Is it just me, or are there times when Joe Sinnott’s inking makes John Buscema look more like Sal Buscema? It’s either because the fine detail of his inking dials down JB’s broad strokes and moves it closer to SB’s smaller-scale, fine lines.....or it’s because there are certain similarities between the two anyway and Sinnott lives in the middle ground.
Or it could be that I’ve spent far too much time looking at comics and need to stagger out, blinking, into the sunlight once in a while.
Too close to call really.
Richard
I think there are two things that are very interesting about the cover to this issue: the coloring on the staggering Thor is effective, and that Mjolnir is strapped to Thor's wrist and not raised in defense. This is a submissive Thor we see...
Doug
This issue is collected in Essential Thor, Vol. 4, but I haven't gotten to it yet. I put the volume down shortly after I made it through the final Kirby issue.
Mental note: Read it when I get home tonight.
Inkstained --
You know, I didn't even check that Essential Thor volume, which I have; I thought it ended before Buscema took over the art chores! I, too, shall check it out!
Doug
I love this comic! It's one of the first I ever owned, so it has a special place in my heart for nostalgic reasons as well as for being a fine example of the Buscema / Sinnott team. Thanks for posting!
I have this whole storyline, picked up fairly cheaply in comics shops some years ago as it took place when my collecting was still hit & miss. I seem to recall this saga being much longer than 4 issues though but my memory could be playing tricks on me and since my cat if comfy on my lap I'm too lazy to go to my collection to double check. This was Stan's one big Thor epic post-Kirby and prior to handing the writing reigns to Conway. Doesn't quite match Kirby at his best on the strip but still fun, and Big John drew some of the loveliest depictions of Sif, Karnilla and Hela. Thor was one of my favorite comics, in large part due to the supporting cast, which I'd rate as second only to Spider-Man's. Most of the early Thor's were dreadful until Stan & Jack started telling more epic tales and significantly expanded the cast.
This pretty good, with Buscema's art the main selling point. He had a hell of an act to follow, but I think by the time of this issue he had found his footing.
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