Jason Aaron’s time writing Thor – from Thor: God of Thunder to Thor to The Mighty Thor to Thor (again) to War of the Realms to King Thor – produced the defining version of the character. No one, at least in my humble opinion, has ever done more with Thor nor understood the character, their world, and its theological fertility more than Jason Aaron. Jane Foster lifting Mjölnir to become Thor herself was the heart of Aaron’s run. But for that to happen, Thor Odinson had to find himself unable to lift the hammer. This idea – the idea of Thor being unworthy – ties together much of what Aaron did. Its seeds were sown in his very first arc, as Thor faced the brutality of Gorr the God Butcher. Its actualization would lead to Jane lifting Mjölnir and becoming the mightiest Thor and the greatest of all the gods. Its effects would culminate in Thor Odinson’s climactic battle with Malekith the Accursed during the War of the Realms and it would shape the sort of king Thor would become.
In preparation for my paper on Jason Aaron’s use of the Divine Feminine in The Mighty Thor at the ACA/PCA Conference on Popular Culture at the end of the month, I’ve finished reading his entire Thor: God Of Thunder series. Following Gorr the God Butcher, Aaron introduces another villain who is equally rich in menace and theological significance. Dario Agger, CEO of Roxxon Energy Corporation, will challenge first the Odinson and then Jane Foster when she becomes Thor. In continuing his exploration of what makes a worthy god Aaron uses Agger as the personification of two of our most sinful and dangerous traits – the idolatrous worship of wealth and wanton environmental destruction. These then are the forces a worthy god opposes. Continue reading
Jason Aaron began his run writing Thor: God Of Thunder by introducing the villainous Gorr the God Butcher. For millennia Gorr travelled the cosmos, killing all immortal beings he encountered in the most macabre fashions he could imagine. The story is obviously rich with theological implications, considering both the nature and purpose of our ideas of the divine as well as introducing the question that will form the core of Aaron’s run to date – what is a worthy god? In preparation for a paper I’ll be presenting on Jason Aaron’s use of the Divine Feminine in The Mighty Thor at the ACA/PCA Conference on Popular Culture next month, I’ve been reading all of Aaron’s work with Thor (both Odinson and Jane Foster). My research also led me to many articles interpreting Aaron’s work as a sort of atheistic manifesto, something I felt warranted further discussion. Continue reading