Astral Codex Ten

Loki

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Loki

Article

Loki is a recurring person in the Astral Codex Ten archive, appearing 2 times across 2 issues between July 24, 2024 and August 16, 2024. The archive places it in contexts such as “the stories of Loki in Scandinavia”; “Apart from fights with his brother, Loki”; “they individually battle Thor’s brother Loki”. It most often appears alongside 20th Century Fox, Abigail Shrier, Abomination.

Metadata

  • Category: People
  • Mention count: 2
  • Issue count: 2
  • First seen: July 24, 2024
  • Last seen: August 16, 2024

Appears In

Source Context

Recovered passages from the original issue text. When the raw archive preserved outbound links inside the source passage, they are listed directly under the quote.

Links for July 2024
July 24, 2024 · Original source
19: Claim: the Indo-European eschatology myth has left traces throughout its daughter civilizations, including the stories of Loki in Scandinavia, Tarquinius Superbus in Rome, and Bres in Ireland (Lucius Brutus = Lugh??)
Inline links: the Indo-European eschatology myth
Your Book Review: Silver Age Marvel Comics
August 16, 2024 · Original source
Amazing Fantasy In Tales to Astonish #27 (December 1961), Stan Lee told the story of a scientist who invented a shrinking ray, accidentally shrunk himself, and had to escape from his own backyard (It’s Honey I Shrunk the Kids without the kids). He brought the character back in Tales to Astonish #35 (June 1962), now calling himself “Ant-Man” and adding a costume and helmet which allowed him to control ants. In his second appearance he is more superhero-like (he has a costume!) but he is still really just a scientist who “has no choice” but to use his new abilities to stop scheming communists. He doesn’t start fighting crime as anything like a superhero until issue #36 (September 1962). The first 82 issues of Journey Into Mystery read like Edgar Allen Poe short stories mixed with rampaging monsters. Then in Issue #83 (July 1962) Lee and Kirby created Donald Blake, a lame doctor who discovered a magic stick. When Blake hits the stick to the ground the stick turns into a hammer and he gains the appearance, strength and powers of Thor. Blake uses his new powers to fight an alien invasion, but doesn’t appear in “public” until the next issue, and it is only in issue #84 that Lee retcons the idea that Blake actually IS Thor, rather than just having Thor-like abilities. Apart from fights with his brother, Loki, Thor doesn’t fight his first super villain until issue #98 (The Cobra in November 1963). While all four of these “superhero comics” started out as non-superheroes, all sold very well. This gave Lee the confidence to add more and more superhero elements to the stories under the belief that Independent News would not make him cancel his best selling issues. His biggest gamble to test his theory was in July 1962. Amazing Adventures #1 launched in March 1961 (cover date June 1961). It struggled with sales from the beginning. At issue #10 (March 1962) it was rebranded as Amazing Adult Fantasy (“Adult” here refers to “sophisticated” not “pornographic”. Its slogan was “the magazine that respects your intelligence”), but that did not turn sales around. It was decided in advance that the title would be canceled with issue #15, so Lee had nothing to lose. He removed the “Adult” from the final issue and made it an obvious superhero story. The cover featured a superhero soaring through the city wearing tights. The story would be about an awkward teenager who developed superhuman strength and agility after getting bitten by a radioactive Spider. Spider-man was born. Amazing Adventures #1 - The real origin of the real Spider-Man The GOAT of Modern Mythology is Born The gamble worked. Independent News let Lee publish the story and it broke all of Atlas’s sales records. Spider-man was a smashing success. Unfortunately Amazing Fantasy was no more, so Peter Parker would have to wait until March 1963 for his own title and his second appearance. But the door had been opened for Atlas to get distribution for superhero stories – while still restricting the number of titles to eight per month. Lee looked at his other fantasy and science fiction anthologies and began converting them into superhero stories. In September 1962 Amazing Tales shifted from 100% Science Fiction to use half of each issue to tell spin-off tales of the Human Torch (the most popular of the Fantastic Four). In March 1963 Tales of Suspense abandoned its Twilight Zone-style stories and introduced Tony Stark, a playboy/billionaire/arm-dealer who was kidnaped in Vietnam and escaped by building battle armor. There was no mistaking this was a superhero origin story. It was the first Marvel Comic of the era to say “Super Hero” right there on the cover: If it says Superhero on the tin, it must be a superhero inside the tin In July 1963 Lee used the back half of Strange Tales to introduce Dr Strange. It seems likely that Dr Strange’s story was originally just a stand-alone fantasy like the others that were in the back pages of the title. Strange didn’t even appear on the cover of the issue. But just as the scientist Hank Pym was later turned into the superhero Ant Man, Dr Strange was eventually converted from a dark wizard into a super-wizard. Throughout 1962 all of the Marvel stories titles were stand-alone. When the Hulk appeared in the Fantastic Four it was because Johnny was reading the Hulk comic book. There was no hint that they all existed within the same universe. That changed in December 1962. The Hulk comic was struggling to attract readers, so Lee decided to cross-promote him in the Fantastic Four as a real hero (villain? anti-hero?) who the Thing could do battle with. Fantastic Four #12 (December 1962) was the first step to building a shared universe. The issue sold well, but it was not enough to save the Hulk, whose title was canceled a few months later in March 1963 (Incredible Hulk #6). But the idea of cross promotion stayed with Lee. When Spider-man launched his own title in March 1963, Lee pulled no punches. Amazing Spider-man #1 included two stories, but the cover story had Spider-man applying for membership with the Fantastic Four. The two most popular heroes were together and interacting. It was a huge debut and broke more records (allegedly. Actual records from this era are very spotty. Most sales numbers and “records” are based on memories and anecdotes told by those involved years later. But it was clear the issue sold a lot of copies). By early 1963 it was established that the Fantastic Four, the Hulk and Spider-man all existed together within the same shared universe. But what about Ant Man,Thor and Iron Man? Aside #5: The Hulk comic in Fantastic Four #5 pretty clearly establishes that the Hulk was a fictional character in the Fantastic Four world, but there are other clues that Lee was not thinking about his characters as existing and crossing over in the early days. Both Bruce Banner (the Hulk) and Mr Fantastic fight off global alien invasions in their early issues. In both cases the stories make clear that only Bruce/Reed is smart enough to save the world. No mention is made of the OTHER scientist who saved the world from the alien invasion a few months earlier. Bringing different superheroes from their own titles together was not an idea created by Atlas/Marvel and Lee. That was likely All Star Comics #3 (December 1940) when writer Gardner Fox brought together all the major DC heroes who were not staring in their own independent titles, including Green Lantern, the Flash and Doctor Fate, to create the Justice Society of America (JSA). Batman and Superman cameoed in All Star Comics #7, but generally they were considered too popular to dilute their appearances in ensemble titles. That changed in March 1960 when DC re-launched the idea of a superteam with the Justice League of America and included all of their most popular heroes as the leads – Superman, Batman and Wonder Woman. It was immediately a top seller. The launch of JLA is likely what caused the owner of Atlas to ask Lee to create a ”superhero team comic”. Lee did not have a stable of heroes to bring together, so he had to create something entirely new – The Fantastic Four. But now that Lee DID have a collection of his own heroes AND he had the greenlight to create straightforward superhero comics, he decided to build himself his own JLA. In September 1963 Atlas published two new titles: The Avengers and the X-men. The X-men were a brand new team of all new heroes, but the Avengers were a close parallel to the Justice League. Lee took his existing collection of heroes (except the Fantastic Four and Spider-man) and created an excuse for a team-up. In the issue they individually battle Thor’s brother Loki before coming together to defeat him as a team. They decide that given they all have different powers, they should work together to be unstoppable. The entire formation of the team takes only four panels and is a little corny, but it does its job: While the Avengers were a clear copy of the Justice League, Stan Lee put his own spin on it. While the JLA superheroes all had roughly the same personality and no real inter-team conflict, Lee made his heroes very distinct – almost caricatures – and there was PLENTY of inter-team conflict. The Hulk in particular abandoned the team in the second issue and was the primary antagonist by Avengers #3. Avengers #3 (January 1964) is itself the final step in connecting all of the Marvel heroes together. The Hulk has gone missing and the rest of the team wants to find him. Iron Man uses an “Image Projector” to ask other superheroes around the world if they had seen the Hulk. He visits the Fantastic Four, Spider-man and the X-men. In that same month in Tales of Suspense, Iron Man meets Angel (one of the X-men). The cat was out of the bag. Lee had a new trick to boost sales of all of his titles and he put it to work throughout the year. The first full crossover of the Fantastic Four and the Avengers happens in May (Fantastic Four #26). Daredevil premiered in March 1964 (with Spider-man on the cover, but not in the pages), and crosses over in Amazing Spider-man #16 (September 1964). Dr Strange first appears on the cover of another title in Fantastic Four #27 (June 1964). The Avengers battle the X-men (before teaming up) in X-men #9 (Dec 1964) Atlas was no longer just a collection of comic books about various topics, or even a collection of different flavors of superhero. It was a single shared universe: The Marvel Universe. It wasn’t planned out in advance, instead it happened in stages due more to commercial rather than artistic needs. Basically Stan Lee created the most successful modern mythology because he needed the money. III. Are Silver Age Marvel Comics any good? Well, apart from Amazing Spider-man, which holds up surprisingly well, I would not recommend reading any of them. Even Spider-Man is much weaker than the Ultimate Spider-Man reboot version of the story published 2000-2011. If you wanted to read Spider-Man from the beginning you would likely enjoy that later series a lot more than the original. The other titles vary in quality from “okay” (the Fantastic Four) to “absolute garbage” (Ant Man stories in Tales to Astonish). Which begs the questions, if these comics were so bad, how did they succeed as well as they did? Clearly the comics were “good for their time”. Millions of people bought and read them, and they clearly passed the “test of time”. So does that mean that we are better today at making art than we were back then? Or is art neither better or worse, just “of its time” and people back then would think the Ultimate Spider-man stories from 2000 were unreadable? I will argue the following: The stories were “good for their time”. VERY good for their time. They were much much better than the comic book stories that preceded them, and much better than other contemporary comic book adventures (like those being published by DC)
Inline links: retcons, https://substackcdn.com/image/fetch/$s_!x_WT!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Ff8f3d235-1ec9-404a-9479-9f1c90afbc8e_371x569.png, https://substackcdn.com/image/fetch/$s_!Z2T2!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F5fec8b0a-3d3f-45dc-b5dc-6ca8f4a6b683_439x668.png, https://substackcdn.com/image/fetch/$s_!KZ4y!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F373413ff-ac21-4fd2-a9b8-0b621dc5ad66_325x469.png, https://substackcdn.com/image/fetch/$s_!PSlu!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F3a6bd78e-adf3-4baf-85fc-00119fd1e009_278x427.png, https://substackcdn.com/image/fetch/$s_!0Dq4!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F542d887f-0a3f-428c-9425-8ccb86e30d66_296x447.png, https://substackcdn.com/image/fetch/$s_!Scg-!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F69173ca0-9f5d-48e3-884a-7747b661f9ed_294x451.png, https://substackcdn.com/image/fetch/$s_!JwSH!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F89ab07df-deb7-4c5d-b418-17f6c0d2a40b_600x566.png
By early 1963 it was established that the Fantastic Four, the Hulk and Spider-man all existed together within the same shared universe. But what about Ant Man,Thor and Iron Man? Aside #5: The Hulk comic in Fantastic Four #5 pretty clearly establishes that the Hulk was a fictional character in the Fantastic Four world, but there are other clues that Lee was not thinking about his characters as existing and crossing over in the early days. Both Bruce Banner (the Hulk) and Mr Fantastic fight off global alien invasions in their early issues. In both cases the stories make clear that only Bruce/Reed is smart enough to save the world. No mention is made of the OTHER scientist who saved the world from the alien invasion a few months earlier. Bringing different superheroes from their own titles together was not an idea created by Atlas/Marvel and Lee. That was likely All Star Comics #3 (December 1940) when writer Gardner Fox brought together all the major DC heroes who were not staring in their own independent titles, including Green Lantern, the Flash and Doctor Fate, to create the Justice Society of America (JSA). Batman and Superman cameoed in All Star Comics #7, but generally they were considered too popular to dilute their appearances in ensemble titles. That changed in March 1960 when DC re-launched the idea of a superteam with the Justice League of America and included all of their most popular heroes as the leads – Superman, Batman and Wonder Woman. It was immediately a top seller. The launch of JLA is likely what caused the owner of Atlas to ask Lee to create a ”superhero team comic”. Lee did not have a stable of heroes to bring together, so he had to create something entirely new – The Fantastic Four. But now that Lee DID have a collection of his own heroes AND he had the greenlight to create straightforward superhero comics, he decided to build himself his own JLA. In September 1963 Atlas published two new titles: The Avengers and the X-men. The X-men were a brand new team of all new heroes, but the Avengers were a close parallel to the Justice League. Lee took his existing collection of heroes (except the Fantastic Four and Spider-man) and created an excuse for a team-up. In the issue they individually battle Thor’s brother Loki before coming together to defeat him as a team. They decide that given they all have different powers, they should work together to be unstoppable. The entire formation of the team takes only four panels and is a little corny, but it does its job: While the Avengers were a clear copy of the Justice League, Stan Lee put his own spin on it. While the JLA superheroes all had roughly the same personality and no real inter-team conflict, Lee made his heroes very distinct – almost caricatures – and there was PLENTY of inter-team conflict. The Hulk in particular abandoned the team in the second issue and was the primary antagonist by Avengers #3. Avengers #3 (January 1964) is itself the final step in connecting all of the Marvel heroes together. The Hulk has gone missing and the rest of the team wants to find him. Iron Man uses an “Image Projector” to ask other superheroes around the world if they had seen the Hulk. He visits the Fantastic Four, Spider-man and the X-men. In that same month in Tales of Suspense, Iron Man meets Angel (one of the X-men). The cat was out of the bag. Lee had a new trick to boost sales of all of his titles and he put it to work throughout the year. The first full crossover of the Fantastic Four and the Avengers happens in May (Fantastic Four #26). Daredevil premiered in March 1964 (with Spider-man on the cover, but not in the pages), and crosses over in Amazing Spider-man #16 (September 1964). Dr Strange first appears on the cover of another title in Fantastic Four #27 (June 1964). The Avengers battle the X-men (before teaming up) in X-men #9 (Dec 1964) Atlas was no longer just a collection of comic books about various topics, or even a collection of different flavors of superhero. It was a single shared universe: The Marvel Universe. It wasn’t planned out in advance, instead it happened in stages due more to commercial rather than artistic needs. Basically Stan Lee created the most successful modern mythology because he needed the money. III. Are Silver Age Marvel Comics any good? Well, apart from Amazing Spider-man, which holds up surprisingly well, I would not recommend reading any of them. Even Spider-Man is much weaker than the Ultimate Spider-Man reboot version of the story published 2000-2011. If you wanted to read Spider-Man from the beginning you would likely enjoy that later series a lot more than the original. The other titles vary in quality from “okay” (the Fantastic Four) to “absolute garbage” (Ant Man stories in Tales to Astonish). Which begs the questions, if these comics were so bad, how did they succeed as well as they did? Clearly the comics were “good for their time”. Millions of people bought and read them, and they clearly passed the “test of time”. So does that mean that we are better today at making art than we were back then? Or is art neither better or worse, just “of its time” and people back then would think the Ultimate Spider-man stories from 2000 were unreadable? I will argue the following: The stories were “good for their time”. VERY good for their time. They were much much better than the comic book stories that preceded them, and much better than other contemporary comic book adventures (like those being published by DC)
Inline links: https://substackcdn.com/image/fetch/$s_!JwSH!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F89ab07df-deb7-4c5d-b418-17f6c0d2a40b_600x566.png
Loki