Thor [2020] #32 - Marvel Comics

THOR No. 32, May 2023

Proudly proclaiming “Thor verses Doctor Doom” in its frustratingly false ‘solicit synopsis’, this twenty-page-periodical’s plot probably disappointed the vast majority of its audience when just such a confrontation fails to materialise. Indeed, rather than portray the two Marvel comic book universe titans “in a battle of wits, morals and, of course… might”, Torunn Gronbekk’s narrative for “Blood Of The Fathers” instead has them travelling down significantly separate pathways; “No one observing the Earth from the outside would ever mistake the human race as intelligent.”

Furthermore, a large portion of this publication dwells upon the disconcerting resurrection of Corvus Glaive by a teenage Laussa Odinsdottir some sixteen years in the future, using “the tiniest speck of his DNA” found upon the super-villain’s trademark hand-weapon. Admittedly, this rather grisly storyline is somewhat intriguing when it’s revealed that Thanos’ revitalised loyal warrior now lacks a soul, and resultantly becomes nothing more than a semi-quivering phantom of his former self who meekly submits to being chained in a corner. But such a resuscitation is lamentably a far cry from the no-holds barred struggle Nic Klein’s energetic cover illustration suggests is contained within this publication.

Perhaps therefore this comic’s sole-saving grace lies with its titular character’s dynamic struggle against Nidhogg, as the enormous cybernetic dragon unsuccessfully attempts to devour the Thunder God as it departs Hel. This incredibly striking drama definitely captures the audience’s complete attention with its flurry of furious frames depicting a grim-faced Odinson, and proves particularly powerful once the malevolent Eater of the Dead turns to attack his would-be hunter, having decided that the blonde-haired Asgardian is actually prey.

Ultimately however, Issue Thirty-Two of “Thor” debatably fails as a result of Juan Gedeon’s layouts, which whilst overall being proficiently pencilled enough, arguably often appear rather amateurish in their simplicity - most notably those sequences depicting Hela as a prisoner of Victor Von Doom in his Latverian laboratory. In addition, whether due to a deadline dilemma or not, the Argentinian artist repeatedly fails to provide his panels with much in the way of any background, relying instead upon either a flurry of hatchings to suggest simple shadows or Matt Wilson to supply a suitable colour progression.

Writer: Torunn Gronbekk, Artist: Juan Gedeon, and Colorist: Matt Wilson