Thor: The Eternals Saga, vols. 1 & 2 2008 (SC TPB) app. 210 pages each

Written by Roy Thomas, with Mark Gruenwald, Ralph Macchio. Pencils by Keith Pollard, with John Buscema, and Walt Simonson, Arvell Jones. Inks by Chic Stone, with Ernie Chan, Gene Day.
Colours: various. Letters: Joe Rosen. Editor:

Volume One: reprinting: Thor (1st series) #283-291, Thor Annual #7 (1979-1980) - with covers
Rating: * * * * (out of 5)

Volume Two: reprinting: Thor (1st series) #292-301 (1980) - with covers
Rating: * * * 1/2 (out of 5)

Number of readings: 2

This is a massive epic comprising about twenty issues -- and even then makes peripheral references to previous Thor adventures (including events subsequently collected in the TPB Ragnarok -- reviewed below -- and even going back a hundred issues or more!). As well, it's intended as a sequel to Jack Kirby's interrupted series, The Eternals. Along the way, we get the origin of Thor's Asgardian realm, and a lengthy adaptation of Richard Wagner's operatic Ring cycle. And it represents much of what's good...and, arguably, what's bad about comics. It is deliriously ambitious in epic concepts...and overly obsessed with comic book minutia and patching over continuity problems -- a hallmark, nay, an obsession of Roy Thomas in particular, whose recurring theme in so many stories he's written at Marvel and DC both is simply tying together past stories and events into a coherent narrative. Comicdoms self-apppointed continuity Mr. Fix-It, if you will.

And by its very length (and with chief instigator Roy Thomas bowing out before the end!) it can feel as though the creators themselves had trouble staying on top of all their ideas.

And it's spread over two TPBs but, other than a "1" and "2" unobtrusively on the spine, there's nothing that obviously alerts a casual purchaser to that fact (no "volume one" or "volume two" as part of the cover title), so they might be surprised (and miffed) to find the first volume ends on a cliffhanger.

Anyway, each volume has its own focus.

Volume One details Thor's encounters with The Eternals, both a millennium before in a flashback tale (from Annual #7) and then in modern times. The Eternals are a race of superhumans created by the star-spanning Celestials, the latter being enigmatic giants as far above Thor's god-like race as Thor is above mortals. The Celestials have been guiding earth evolution for hundreds of thousands of years and are now in the process of their final judgment on the result -- a judgment that, if negative, will mean the end of life on earth.

This is all drawn from The Eternals' own then recently cancelled series. Yet it's explained as you go, so you don't really need to know much about it or be that familiar with the Eternals.

And the ensuing half score of issues are an entertaining romp.

Super hero comics are THE great storytelling stew, mixing genres with delirious abandon in a way novels, movies and TV rarely attempt, so there's an unapologetic blending of urban cities and otherworldly realms, super hero action, magic, and science fiction. Thor attempts to confront the Celestials, then allies himself with the Eternals, getting drawn into a few conflicts with the Eternals' opposite numbers, the evil Deviants, eventually building to a climactic battle between Thor and his Eternal allies...and his own Asgardian people, led by his sire Odin (allied with the Greek gods) who, incomprehensibly to Thor, seem to have sided with the Celestials!

It's pretty entertaining. Like a lot of comic book epics of yesteryear, it's comprised of smaller one or two-issue arcs within the greater epic, although unlike some, it remains focused on the basic story (there are no unconnected filler issues). And there's even a mad wackiness that evokes Jack Kirby himself such as an issue involving Mexican masked wrestlers (a real life entertainment) in which an evil Deviant, who works as such a wrestler, breaks off a battle with Thor...because he has a professional match scheduled! It's nutty -- but that's the world these characters inhabit.

Writer Thomas keeps things bouncing along, capturing Thor's mix of emotive bombast and steely determination in the face of daunting odds. And he threads question to provoke and intrigue as we go, such as why Odin seems opposed to resisting the Celestials. He even plays around with some subtle emotional undercurrents. At this point, Thor is somewhat estranged from his father, Odin, and is even self-exiled from Asgard, and he carries that baggage, perhaps colouring his judgement in scenes with the Eternals and their own Odin-like patriarch, Zuras.

Admittedly, there can always be a problematic aspect to using one series -- Thor -- to wrap up loose ends from another -- The Eternals (something that is not uncommon in comics where series get cancelled in mid-story...but are still meant to be part of the company's continuity). It means that the titular hero has to share space with others...even as those others are ultimately guest stars and can't really be afforded as much space as their fans might like. Given that The Eternals series was developing an epic saga involving The Celestials, fans can be happy Thomas attempts here to provide some closure to it -- but it can seem a bit perfunctory at times, the various individual Eternals not getting as much face time as a fan might want.

As well, even Thomas seems to be struggling to stretch things out, or to justify conflicts. At one point Thor is angry because other characters aren't willing to stand up to the Celestials...then later is trying to stop them from possibly provoking the Celestials by standing up to them! At one point an Eternal seems to be a servant of the Celestials...yet later he sides with the rest of his people against them.

The art is handled by Walt Simonson on the Annual (a few years before he would take over the comic as both writer and artist for an acclaimed run), John Buscema for a few issues, and mainly Keith Pollard. Simonson is almost unrecognizable inked by Ernie Chan, one of those inkers who tends to impose his style on the pencils -- but Chan has an attractive style, so the result is decent. Buscema's issues, coming at the end of a long stint as Thor penciller, seem a bit uninspired, but I suspect that has a lot to do with Chic Stone's inks -- Stone also inking Pollard. It isn't that Stone is a bad inker -- he provides clean, efficient lines -- but it's rather devoid of style or mood, making the art flat and workmanlike. In its thick, bold lines it reminds me a bit of Gene Day's inks (and perhaps significantly, Day inks the double-sized 300th issue). And Pollard was a competent artist of the era, though not as strong as, say, Buscema -- and perhaps more suited to the down-to-earth realism of Spider-Man than the epic grandeur of Thor. Still, throughout the art tells the tale well enough. And with the emphasis on plot and machinations and exposition, it is the writing more than the art that is intended to turn the pages.

Though a flaw with this saga is when you actually contrast it with Kirby's Eternals issues -- the art lacks Kirby's power and drama, and Thomas's plotting likewise lacks Kirby's almost Shakespearian melodrama.

And though volume one builds to a cliffhanger, it is resolved quickly within a few pages of the beginning of the second volume as the story veers off in a wildly different direction (now drawn entirely by Pollard). Though theoretically still part of the Eternals/Celestial arc, Thor -- and writer Thomas -- get distracted by a new idea as Thor tracks down Odin's sentient, disembodied eye which relates to him events from the distant past. And what ensues is both Thomas' attempt to reconcile and explain the discrepancies between Marvel's Asgardian pantheon and its mythological inspiration (though I think later Thor writers more-or-less ignored Thomas' explanation), and also Thomas' clearly passionate desire to adapt Wagner's operas into comics. It's an audacious thing to do. Nor is Thomas simply vaguely inspired by the operas, but faithfully adapts them, and that comprises the bulk of this collection.

But it's problematic on a number of levels. For one, years later Thomas adapted the cycle again, this time with Gil Kane, which I had already read, meaning from my point of view I'm reading a TPB collection of a story I already had. And given how literally Thomas stuck to the source material in Thor, it's unclear why he even wanted to repeat himself, though since he left Marvel in the middle of it, and was tying it into the comic book Thor, maybe he felt he wanted to do a straight, stand alone adaptation (and he had no way of knowing Marvel would one day republish his Thor issues as a TPB). Both versions have their strengths -- Kane's dynamic art and a more theatrical telling in the later version, while here there's an appeal to Pollard's more down-to-earth pencils, and though Thomas recycles the same scenes and dialogue, there's just an extra line or two to here that humanizes the characters more.

Though a problem with any version is, frankly, the source material -- outrageous as that may sound to opera buffs. But just as the Norse gods as interpreted originally by Lee & Kirby diverged from their origins in an attempt to make them more in tune with modern mores, making Thor and the others more noble, more sympathetic, Wagner's opera is perhaps dated a bit, full of swaggering, hyper macho characters that are, frankly, a tad obnoxious and unendearing, and with even a subtext about gentic purity. Frankly, it's not surprising the Nazis took these operas so much to heart!

It's also problematic because the adaptation hues pretty closely to the myth and fantasy aspect of the character, meaning it lacks that narrative stew appeal I earlier applauded (Pollard's visuals eschewing the sci-fi traipings of Marvel's Asgard). As well, Thor spends a huge run of issues...as a bystander, observing events. And even though, in the convoluted logic of the tale, the protagonists of the cycle look like Thor...it's not quite the same thing.

Furthermore, the Eternals are reduced to a cameo at the beginning and end of the collection, when the plot finally returns to the Celestials story that started it -- especially disappointing for fans of those characters.

Thomas leaves the project shortly before the end, with the writing chores taken over by Mark Gruenwald and Ralph Macchio (Macchio and Gruenwald were credited with plotting assistance earlier so that one can assume their story was, more or less, what Thomas intended). Anyway, when the two take over, there's some quick explanations that kind of clarifies motivation, as if they realized Thomas had let it get a bit too muddled. In fact there's a rather crucial bit relating to astrology and cosmic cycles that isn't really explained until you read an editorial published with one of the comics -- an editorial Marvel thoughtfully reprinted in this collection (albeit, at the end of the volume).

Though if the "why" is explained, a lot of the "how" remains vague...a problem with magic-based stories. Indeed, for such an epic saga meant to explain so many things...you can find yourself still not really sure what was going on or how such-and-such relates.

Still, the plot lifted from Wagner's opera(s) is interesting enough -- particularly if you're unfamiliar with it. It's not like there isn't an entertainment aspect to it...but it just doesn't feel wholly like a Thor story.

Once the saga finally comes back to the Celestials in the double-sized 300th issue...it all seems a bit perfunctory and anti-climactic. Thor remains mainly a bystander, and the solution to Odin's long ago capitulation to the Celestials seems like a Shaggy Dog story. There's reams and reams of exposition harkening back to various Thor comics as if to pretend this was all foreshadowed years earlier. And when the Celestials are finally thwarted...it requires bringing in characters and ideas that basically come out of nowhere. By this point the saga is bursting its seams with too many ideas and theological pantheons -- even working in some Christian martrydom imagery to little sense.

Still, it does all get completely wrapped up, with the collection including #301 which resolves a dangling plot thread from #300.

I enjoyed the first volume, with its emphasis on Thor and Eternals and Celestials, and the mysterious machinations of Odin, and its eclectic plotting and introduction of the dilemma, more than the second volume which is largely a perfectly decent adaptation of Richard Wagner's operas, book-ended not altogether effectively by the Celestials Saga. Yet one can't divorce the first volume from the second. I mean, you can to an extent. Despite ending on a cliffhanger issue, and with the greater conflict still unresolved, there are enough mini-arcs and issue or two (or three) conflicts that do get resolved, that there's still an enjoyability to it. And the volume two/opera material is entertaining and full of twists and cosmic machinations -- and my ambivalence may stem a lot from simply having read Thomas & Kane's later re-telling of it (which a lot of people picking this up won't have).

But as a massive epic, it ends up a bit unwieldy, possing intriguing questions with anti-climactic solutions, stretching the ideas past their tension point, and trying to graft together two epic arcs that don't fully complement each other. And the art, though serviceable, is a bit flat.

Thor: If Asgard Should Perish 2010 (HC) 232 pages

Written by Len Wein, with David Kraft. Pencils by John Buscema, with Pablo Marcos. Inks by Joe Sinnott, Tony DeZuniga.
Colours: Glynis Oliver Wein, Marie Severin. Letters: various.

Reprinting: Thor (1st series) #242-253 (1975-1976), with covers

Rating: * * * (out of 5)

Number of readings: 1

Reviewed April, 2011

Marvel is clearly anticipating a Thor marketing wave from the up-coming motion picture. But why these particular issues in this particular format is a question. Presented as part of its hardcover Marvel Premier Classic series (listed as vol. 54), If Asgard Should Perish reprints 12 consecutive issues, starting with Len Wein assuming the scripting chores for the series, while artist John Buscema is in the midst of his long association with the character. Indeed, this is the first of two consecutive hardcovers reprinting Wein's run on the series!

The advantage to reprinting a consecutive run is that it allows sub-plots to unfold teasingly as they were meant to. So in this case, the collection begins with an apocalyptic four parter in which Thor (and girlfriend Jane Foster, and recurring buddies, The Warriors Three) travel, literally, to the end of time and back again, to save not just the world, but the world in multiple epochs. But unrest is brewing in mythological Asgard, as All-father Odin seems to be acting a bit odd and tyrannical (well...more tyrannical than usual). Eventually Thor returns to Asgard to battle his own, erratic father.

Thor can be a problematic character to write, balancing the mythological and the super hero. And the same plots tend to recur -- which is why it's in the details that a story can be refreshed, more than the basic plotting.

The opening four parter is uneven but generally works. There is a nice sense of apocalyptic grandeur, and bleak melancholy, much of the action taking place against desolate landscapes beneath dwarfing starfields. Wein has some good concepts -- Thor and his buddies reluctantly teaming with an old villain, The Tomorrow Man, who is the dictator of his own far future century, in order to battle a far greater menace. But Wein -- or Buscema -- indulge in too many protracted fight scenes, forcing the more compelling plot and character bits to peak out inbetween, like grass forcing its way through cracks in pavement.

I tend to regard Wein as one of my favourite writers of the 1970s, but he may be struggling a bit with Thor's idiom. Thor should be a figure of great passions, who loves with all his heart, rages with all his fury, and weeps unashamedly when sad. Instead, here he tends to seem rather stoic and unflappable. Likewise, Wein throws in the Warriors Three (as well as Balder and other Asgardian staples) without necessarily having much use for them. If you're going to expand your cast, it behooves you to come up with a plot that requires them. Instead they spend most of their time just hanging out with Thor, jockeying for a line of dialogue, and padding out the fight scenes...without much sense that if Thor was alone, Wein would've had to re-plot it much. And though Wein adopts the Elizabethan English of the series back then (all "verily" and "forsooth") he maybe isn't as good (at least at first) as some previous writers at evoking a Shakespearian syntax that lends the dialogue a poetic flourish.

Wein can also be a bit heavy handed, particularly in the early issues. Using dialogue and captions to clarify action is good (and something modern writers might consider using more) but when a giant hand crashes though a wall and grabs Jane Foster, do we really need dialogue stating as such?

Still, the far future adventure is a decent, somewhat eerie adventure. This is then followed by a more down-to-earth two-parter wherein occasional ally Firelord, then Thor himself, get brainwashed into helping South American rebels attack the legitimate government. But other than the brainwashing idea, there's nothing much memorable here. The rebels are just cartoony villains, with Wein not even pretending to use his story to explore real social and political issues.

After that we barrel full tilt into Asgard, The Eternal Realm, the milieu that truly allows Thor to stand out from other super heroes (interestingly, though some issues here contain the blurb explaining how Dr. Donald Blake becomes Thor...I'm not sure the Blake alter ego is employed anywhere in this collection!) Unfortunately, we've seen all this before and since, Thor having to fight someone who has usurped the throne of Asgard. Wein hasn't come up with intriguing sub-plots, or character bits, to distinguish it from other variations. It feels like Wein wrote it because it seemed like something you should write for a Thor story...but he didn't really have any particular things he wanted to do with it. That story line ends with our heroes victorious, Asgard saved...but All-father Odin vanished. So then the next few issues involve Thor trying to find him (a quest continued in the next collection -- The Quest for Odin -- not that these issues end on a cliff hanger).

And Wein seems maybe to be finding his tone a bit better. Issue #251 has Thor descending into Hel to see if Odin is there -- again, nothing particularly original for Thor over the years (though the claim here is it had never been done before). Yet nonetheless, it's a suitably moody, slight eerie tale. As well, Wein seems to be demonstrating a better feel for the passions and emotions of Thor and his godly brethren. The next two-parter has Thor (still seeking Odin) battling Trolls, and reluctantly coming to their aid against a greater threat (employing the recurring theme that Thor's nobility forces him to act against his personal wants). It's not an especially complex tale, but again, Wein seems to have now developed a sense for the fantasy milieu and the personalities.

And, of course, throughout many of these stories, we get what I think of as a signature of Wein's work -- the ending, whether it be an ironic twist, or a bitter denouement, that can sometimes elevate the more mundane aspects of the tale with a memorable finale.

Also included in this collection is a two-part "Tales of Asgard" story that ran as a back-up piece in a couple of issues. By David Anthony Kraft and Pablo Marcos, it's not particularly memorable.

Thoughout this entire collection, John Buscema provides the art, first inked by Joe Sinnott, then by Tony DeZuniga -- with mixed results. I don't know if Sinnott would be my first choice for a fantasy type series (though I liked his work better in black & white in Essential Thor, vol. 4), while DeZuniga's inks can seem a bit rough and sloppy in spots (his first issue lists him as a "guest inker" so it may have been a last minute assignment and he was rushing to meet the deadline). Buscema is an obvious artist for Thor, the character bearing some thematic similarities to Conan the Barbarian on which Buscema also enjoyed a long run. But I'll admit, some of his art here seems a bit lacklustre. Given the "Marvel Style" of production, where an artist would storyboard a scene from a writer's outline, it's possible that some of the problem with the narrative -- the lack of emotion, the overlong fight scenes -- might be partly attributable to Buscema. If so, that might also explain why the final few issues seem a little stronger, because the visuals, and the composition, are likewise more engaging, as if he was getting a creative second wind.

Which kind of brings us to Jane Foster -- written out as Thor's love interest years before, but then recently returned. And Wein clearly wants to avoid the pitfall of making Jane a damsel in distress, writing her getting involved in the conflicts, even seeming more of the comics' hero than Thor at times (suggesting strategies, even saving the day). Unfortunately, what he hasn't succeeded in doing is making Jane interesting. She may've been toughened up for the Women's Lib era, but she's still rather dull. And it's as if Wein realizes that, because once Thor is in Asgard, Jane transforms into his old love, Lady Sif (who previously had sacrificed her life force to save Jane). After a momentary surprise, and Thor musing that he's now no longer sure to whom his heart belongs, basically he and Sif are back in each others arms, Jane seeming largely forgotten. And again, one wonders how much the artist influences things. Because Buscema's depiction of Jane was kind of bland, she and Thor standing beside each other, evincing all the sexual chemistry of siblings. But once Sif is back in play, Buscema is happily drawing them draped in each others arms, faces pressed close together. You believe they are devoted lovers! So, again, was Buscema just drawing what Wein was writing...or was Wein following Buscema's lead as to who was the preferred love interest?

Ultimately, If Asgard Should Perish is an okay collection, with some enjoyable adventures. Yet, even the enjoyable ones are uneven. Why it was released in a Marvel Premiere Classic collection, I don't know. The material might be better suited to a cheaper, softcover edition...or simply waiting for the inevitable Essential Thor volume which would likewise reprint them consecutively, but in cheap black & white.

Cover price: $24.99 USA

Thor: Ragnarok 2011 (SC TPB) 128 pages

Written by Roy Thomas. Pencils by John Buscema. Inks by Tom Palmer and Chic Stone.
Colours: various. Letters: Joe Rosen.

Reprinting: Thor #272-278 (1978) - with covers

Rating: * * * * 1/2 (out of 5)

Number of readings: 2

Reviewed May, 2011

Thor constantly is torn between being a super hero series...and a fantasy series set in magical realms inspired by ancient myths. And because Norse legends often serve as a recurring source, similar plots tend to crop up again and again, including the inevitable "fight for Asgard/end of the Universe" epics, often referencing Ragnarok -- the ancient Norse myth of Armageddon! Yet though past stories called upon elements of the myths, they were pretty loosely inspired by them. So in 1978 writer Roy Thomas, a fan of mythology, history and one of coimicdoms most faithful adapters, decided it was high time time Thor dealt with the myth of Ragnarok -- literally.

This collection begins with an issue where Thor recounts a tale of his and step brother Loki's younger days. It's a tale also inspired by Norse myths, and is enjoyable...though, as myths often are, it's a bit dream-like. It's unconnected to the greater saga save it leads into an epilogue that (sort of) kick starts the six-part Ragnarok saga, as a newsman, Harris Hobbs, approaches Thor with the idea of filming a TV special in Asgard itself! Thor refuses, but through Loki's scheming, the camera crew ends up in Asgard anyway, to bear witness, and to inadvertently affect, the coming crisis.

Although the contrast between the gods/fantasy with the modern day newsmen might seem an odd match, even too self-reflective, it captures the dual nature of the Thor comics. Thomas has a particularly good feel for the two extremes of, on one hand, the Asgardians with their Shakespearean phrasings, and on the other, the contemporary -- almost hard boiled -- flippancy of the mortal characters, even when in conversation together (other writers tend too often to either make mortals sound like Asgardians, or Asgardians sound like contemporary mortals). The results are conversations which are both colourful, true to the various characters, and inherently -- and deliberately -- slightly humorous in the quirky contrasts

What unfolds is the prophesied events leading to Ragnarok -- with even the characters aware of what the events portend, but unable to alter them. By drawing upon the ancient legends, Thomas is able to follow a dramatic template that, after all, was good enough for the Norse centuries ago, and maybe makes for an atypical plotting style than the average comic. Yet the weakness is Thomas is just following an established legend, and by relying on the crutch of "prophesy" doesn't fully justify actions and motives in the context of the Marvel Comics version of these characters. For example, what partly kicks off the events is that Balder, flaunting his invulnerability, invites his fellow gods to try and kill him (something which even a character suggests is out of character, and must be Loki influencing his mind). Firstly, I'm not sure if Balder's invulnerability was ever a part of the Marvel version of the character before. Secondly, it's not explained -- exactly -- why mistletoe proves deadly to Balder!

Yet, in a sense, that's where the TV camera crew provides a useful plot addition. Because even as Thor and his fellows are playing out an established ancient scenario, having these characters who are not part of the legends flittering about allows for original sub-plotting that does, nonetheless, tie into the greater saga, as a cameraman becomes smitten with Thor's girl, Sif, and so becomes a pawn in Loki's scheming. So even if you knew the myths...there are still a few twists and turns and character threads to keep you guessing.

In addition to drawing meticulously on ancient legends, Thomas was also very much at the forefront of the continuity movement in comics, always happy to draw upon past issues. So there are spots here where characters will refer back to events and characters from Thor comics published years earlier! Fortunately, they're mainly minor references.

The art is provided by old master John Buscema. His composition and storytelling is fine, the scenes playing out clearly and dramatically, but the actual pencil work can seem a bit rough and hasty. Though whether that's a fault of Buscema (maybe growing tired after a hundred some issues of drawing the series, or being overworked with other projects) or a weakness of Palmer's inks, I'm not sure. Palmer is a well regarded embellisher, and can do some nice work, often adding shape and dimension to a penciller's lines. But he also sometimes seems a bit reminiscent of an inker like Klaus Janson, in that he sometimes seems to use a thick brush that maybe isn't always that sensitive to the penciller's line work. The final chapter is inked by Chic Stone, who I often have some ambivalence for. Still, despite my quibbling, the result is certainly good art -- dynamic and well suited to telling the tale.

Thomas is a writer well matched to the Thor milieu, but is so in love with the form, the content of his tale -- the retelling of ancient legends for a comic book audience -- he maybe sacrifices the emotions of the characters. What I liked about some of Stan Lee's era of Thor stories (and, admittedly, few since have matched him) was the emotion, the passion, of Thor and his crew, their love and loyalty for each other. Yet here, Balder lies near death, and the characters are mainly concerned (understandably, of course) for how it signals the coming of Ragnarok -- yet there's little sense of Thor grieving on a personal level for the loss of one of his best friends. Likewise, his scenes with Sif lack passion. The Warriors Three are part of the story, but even though Volstagg makes comments about his legendary valour, it's only a long time reader who would understand the intended humour of those scenes, because as depicted here, Volstagg is given little comedy shtick to indulge in. Still, there are a few chuckles that way.

Ironically, the greatest emotion is milked from the TV newscrew and their reaction to what's going on!

Nonetheless this is an enjoyable arc, and with the 17 page issues cramming more in than most modern 24 page comics, it makes for a dense, meaty read! It's a better-than-average telling of the sort of "fight for Asgard" tales that the Thor series has churned out on a seeming semi-annual basis for decades!

Indeed, after a first reading, I gave this very good 4 out 5 star rating. But after a second reading...I'm boosting that a bit. After all, I'm the one who says my reviews are usually based around the idea of how well do these TPBs read as just something to be enjoyed for themselves, dragged off the shelf for a few nights distaction? And in that sense, Roy Thomas and company have concocted an enjoyable epic that holds you from beginning to end, that manages to be faithful to the character's mythological roots yet marrying it with the comic book eclecticism, mixing elements of the "real" world (ie: the news crew), with the sci-fi (Asgard looking as much like an alien civilization as a land of myth).

This story takes place just shortly before the Celestials/Eternals/Ring of the Nibelung epic that would consume a huge run of Thor issues and is itself collected in the two volume TPB Thor: The Eternals Saga (reviewed higher up on this page). Indeed, at one point, oblique references are made to events in Thor Annual #7 -- an issue not included in this collection, but was included in the first of the Eternals Saga TPBs. And this collection ends, after the Ragnarok matter has been settled, with Thor having a tiff with Odin and flying off warning of danger from The Celestials -- who otherwise were unreferenced here. My point being that, though Ragnarok is perfectly readable on its own (those minor references aside) for those curious about those comments, subsequent issues are also available as TPB collections.

Cover price: $14.99 USA

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