Chasing Magnus through the Norse Lore.

The unwritten criticism of young adult offerings (and it's not a genre, it's a market) is that none ever seem to pass the bar of its progenitor J.K. Rowling -- all else that follows Harry Potter's been derivative. Nor have they been able to strike such a grand balance between character & world-building as Rowling.

That bar still remains unapproached by Rick Riordan's latest trilogy series launch, Magnus Chase and the Gods of Asgard: The Sword of Summer, though you'd think with the richness of Norse Lore to draw from it might surpass the young wizard, but Magnus makes for a fun read.

Much like Riordan's Percy Jackson series, our titular protagonist has a mystery daddy, is a streetwise kid, has an important prophecy at age 16 event to propel their plot, and much internal thought reactions of sophomoric adolescent "smartness" in their texts for the teen reader & young-at-heart to identify with.

And our newly chosen hero & his varied party of gifted friends must accomplish a quest by a deadline for a lost object. Since Homer, or Tolkien, however, we never tire of this story's formula.

In contemporary fantasies our modern interpolations on ancient legends are where the humour's supposed to come from. Would today's modern man appreciate Valhalla? Maybe if it were turned into a hotel is Riordan's answer. And the pop culture references are meant to give enough perspective for a young & modern audience to see Riordan's pushing forward of the long-hidden denizens of the Nine Norse Worlds, but push the results of this technique ten years on and it might read more dated than classic. 

Where Magnus really shines is when it provides other unthought of specifics & fill-ins, such as an actual descriptor of the taste of Mimir's well of knowledge, or elaborating on the current results of Freya's bartering with the dwarven Brisings, adding to the list of "paradox ingredients", or the unique physics of Jotunheim.

"The smell of the giants' body odor -- a combination of wet clay and sour meat ..." [p.388]

These new imaginings give the reader some nice mythological extras.

Another cool hard copy reader extra (because real books will always rule!) is that depending where you buy your copy, you actually get something extra: If off a pallet at CostCo, it's a bookmark. If from the shelf of Barnes & Noble, it's a small pamphlet guide to the Norse Gods. If from the bestseller rack at Target, it's a mini-poster of the Nine Worlds. And there's even a limited edition slipcased version if you order yours from Amazon UK.

Points in the plot borrow many episodes in Norse Lore but instead place Magnus & Co within them, so if you've read the original stories you'll be the inside reader:

"We met at that party at Bilskirner -- the one where you were playing tug-of-war with Loki?" 

"Oh ... ." [He] shook his horns. "Yes. That was embarrassing." [p.343]

... but not so surprised, and if you haven't read the stories the narrative will be new ... but weirdly seeming a bit forced. There's a familiar eagle dragging a character, some fishing for a large sea monster, a deception by giantesses, et cetera. Some of the comparative situations are funny, while others fall flat from trying too hard.

For Rick Riordan fans, Annabeth Chase from Percy Jackson cameos, turning out to be Magnus' cousin. This also implies a shared universe which might lead to a conflict between the pantheons ... ? Maybe even a duel between Percy & Magnus? (A Red Gold on Magnus! Sumarbrander totally breaks Riptide.)

[Sumarbrander!] 

While in the Lore the monsters are universal forces of entropy & destruction, in Riordan's worlds they are external manifestations of our fears & anxieties amplified, reflections of fault & weakness & regret, giving the characters' encounters with them a more crushingly personal aspect.

And in an interesting setting decision, Texan Rick Riordan celebrates his own Boston transplantation by imbuing Beantown with a close connection to Yggdrasil, the World Tree, thus making the northeastern city a crossroads to getting from Midgard, our world, to the other Nine Worlds.

In contrast to the Lore, sometimes the book puts itself at odds with the lessons in the original stories. Odin teaches that knowledge sometimes requires levels of personal & impersonal sacrifice, but Magnus questions this and frequently whines & opines differently as he proceeds on his quest.

We would adore it if Magnus Chase were to give kids & adults new to the epic accounts of the Norse Gods the same wonder & fascination that we got from D'Aulaires' Norse Gods & Giants (which really still stands as the best [even if Magnus currently outsells it on Amazon]) when we were growing up, and enough to direct them to later go read the Eddas where they came from. In all, Riordan, previously a teacher by trade, has written an entertaining embroidery of the lore that hopefully opens this door to Asgardian narratives.

Part two of the Magnus Chase trilogy, The Hammer of Thor, is scheduled for release October 4th, 2016. We can only hold out a reader's hope that this upcoming literary Mjölnir can finally smash Potter's wand.

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While a mostly happy bookstore fixture for over two decades, Guillermo Maytorena IV is currently willing to entertain your serious proposals for employment as a literary/cinema critic, goth journalist, castellan, airship pilot/crewperson, investigative mythologist, or assisting in a craft brewery. Should you be connected to any of the above or equally interesting endeavours, do contact him.

a second marvel-ous norse saga.

Co-opted from Norse lore by writer Stan Lee & artist Jack Kirby in 1962, their comic book Thor was designed as an adversary for The Hulk, but in selecting such a richly backgrounded character their story's potential far outgrew a mere contest-of-strength rivalry with the moody green simpleton in purple stretch pants. And here we are, hundreds of issues and half a century later, treated to the doom-filled thunder of Marvel's second pantheon-based cinematic blockbuster "Thor: The Dark World".

With the withdrawal of Shakespearian first director Kenneth Branagh due to Disney's less-generous shooting timetable, the sequel's helmed by Alan Taylor (episodes of "Game of Thrones"/"Mad Men"/"The Sopranos"), but the main difference being instead of having hammerless Thor humbled among the down home people of enchanting small town New Mexico, we find ourselves on a eye-goggling tour of the multiverse with the fate of not just frost giant populated Jotunheim to consider, but all the Nine Worlds at stake from a long-thought dead re-awakened ancient enemy.

Best performance in the film goes to ... Iceland! Iceland's starkness & desolate beauty easily depicts another world (most recently done in "Prometheus"). From a Thor-centric standpoint, it's appropo to use the nation with the most Thor prefixed place names, and who therefore historically honoured Thor the most. Volcanic rock, ashen landscape, outcroppings sculpted from tectonic violence, dancing aurora borealis, and midnight sun, all work to distance the viewer from the idea of a soundstage or digital environment with Iceland's abundantly exotic amazingness.

Best cameo goes to ... London! (Sorry, loveable Stan Lee.) It's great to see Marvel leave Manhattan as its metropolis of choice and upscale to some well-known London location placement. St. Paul's Cathedral, The London Eye, Greenwich Naval College, Thames River, Charing Cross Station, The Gherkin, and more. Having heroes & villains duke it out to damage some of those precious sites gave "T:TDW" a risk & flinch factor that hits literature's most beloved home, and that's also effectively played for laughs without breaking the tension.

The multiversal itinerary continues with glimpses of some of the other Nine Worlds: a beginning action sequence in Vanaheim, a flashback to Svartalfheim, a later stop through Jotunheim, and alot more of the home of the gods, Asgard, the Realm Eternal. And it's all these settings that lend the film a grandeur & scope worthy of Jack Kirby's world-building legacy.

[Jane Foster, you big Midgardian tourist!]

With any smart sequel the good things are carried forward: knit-bundled intern Darcy Lewis' perfectly timed quips (oh-so-hawt Kat Dennings), awkwardly cute astrophysicist Jane Foster (originally a nurse), the gratuitous Chris Hemsworth beefcake moment, parascientific explications of mythology, trickster Loki trickin', oh-no-we-shouldn't-do-it Asgardian decisionmaking, Idris Elba (BBC's "Luther") as stalwart Heimdall, Odin's sweet massive golden throne Hlidskjalf, all reappear to give us the touchstones we've waited two years to see again.

The first film was rooted in a father-son-son story, because having your dad running the universe as ruler of the gods while you bide your time over millennia for his job is bound to make heirs competitive, but after the first flush of obvious anger is spent, the complexity borrowed from the original Eddaic characters comes into play in this second chapter. The story continues to explore fallout from the Thor/Loki brotherly dynamic explosion in "The Avengers" (an overly bombastic offering which should be edited down to the Thor/Loki bits [and the shawarma eating easter egg because who ever really bought such a poorly mismatched group as The Avengers getting stuck together]), and expands upon an idea that resembles "The Animatrix" (2003) short "Beyond".

Other changes include the role of dashing Fandral being recast from Josh Dallas to Zachary Levi due to Dallas' obligations to "Once Upon a Time", energy & modern-style projectile weapons getting put up against the Asgardians' melee ones, an odd underused cameo from character actress Alice Krige (The Borg Queen from "ST: First Contact") as healing goddess Eir, and also underused Tony Curran (Marcus Corvinus of "Underworld: Evolution") as Odin's father Bor.

By contrast Rene Russo as Frigga gets a much longer turn as more than a foil for Anthony Hopkins' Odin and delivers a divine performance.

"T:TDW" presents some of the most striking design work, most notably an illuminated book whose designs animate on the pages themselves (with "The Secret of Kells" style but cooler since it's on a live action prop, or bearing resemblance to the limited but potent storytelling technique in a Marvel motion comic, such as "Thor & Loki: Blood Brothers" [which is in itself a really, really awesome Loki setpiece story]).

[Or like The Diamond Age's "A Young Lady's Illustrated Primer"!]

And there's the floating Jelling knotwork chandeliers which rotate & glow in Asgard that were totally golden, beautiful, and made you wish you could decorate with them.

Hearkening back to some 1960s film intros & outros, there were gorgeously painted end credits, meant to remind us that all of this visual richness originally came from a tradition of 1960s illustration.

Best of all "T:TDW" continues to fill in Marvel's mythological blanks in the Asgardian storyline, while still leaving some open for a definite trilogy in the making. Hail to the Hammer for "Thor 3"!

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While a mostly happy bookstore fixture for over two decades, Guillermo Maytorena IV is currently willing to entertain your serious proposals for employment as a literary/cinema critic, goth journalist, castellan, airship pilot/crewperson, investigative mythologist, or assisting in a craft brewery. Should you be connected to any of the above or equally interesting endeavours, do contact him via LinkedIn or G+.