Debate among internet comic heads has raised the question of what exactly is Lady Thor’s first appearance.
This was bound to happen. Now adays there seems to be multiple first appearances for characters. There’s a cameo, named, first full, first alias, second alias, variant cover, blah blah blah blah blah.
I would be lying if I didn’t miss the day of just the cameo and the full appearance. Or just THE FIRST APPEARANCE. But you can’t expect that with today’s comic industry that is trying to maximize every opportunitiy to get money from consumers. I also think the rise in back issue collecting was a direct factor in making Marvel release these multiple issues more so than to spread the reader around multiple series’.
The People Versus
The comic in question is the first appearance of Female Thor/ Lady Thor/Thor. Many have began to question whether certain issues deserve their exorbitant price hikes. The issues under spotlight are: What if…#10, Thor: God of Thunder (2012) #25A, Thor #1A (2014), Thor #8A (2014). Let’s examine each:
1.What If (1977 1st Series) #10
What many universally consider as the “First Appearance” of Jane Foster “as” Thor, the What If stories involves telling the opposite of cannon or an out of the oridinary team up. Until now, the What If book were seen as an after thought and now they’ve become a hot commodity.
Verdict: Debatable. Though technically it was the first time we see Jane Foster as Thor it is not in canon. What If’s are not considered part of the story. This gets points simpty because chronologically it is the first time the idea is presented.
2 . Thor God of Thunder (2012) #25A
In this issue the story of Thor becoming unworthy and losing the power to wield Mjolnir. There is a page spread that reveals a female Thor and according to Marvel wiki this is considered her “cameo”. Typically a cameo is a glismp of the character but here you see well it’s pretty much a full reveal.
Verdict: Universally it is accepted that this the first CAMEO appearance. Recognized by Marvel, Fandom wiki and CGG as well as the majority of collectors as the first cameo since she only appears in one image.
3. Thor #1A (2014)
This book saw the most significant jump in value after Marvel’s announcement. Basically went from a $4 comic to nearly $75 overnight. Many salty comic collectors who ignored the book because they had personal conflicts with the gender change are now voicing their displeasure at seeing the book get so much attention.
Verdict: Are they right? No. They are are not. They are stupid sad little men who are angry they ignored the book. It was idiotic to ignore this issue when it was released. Even if you didn’t like the change you were dumb not to just buy it. The book is the first time in Marvel canon that we see Female Thor which in itself is an amazing idea and at the time Thor: Dark World had just come out and it was common sense to imagine eventually having Portman adapt this story the moment the book was released. It’s not a What If , it’s not a cameo. It’s the character’s FIRST SOLO ISSUE AND FULL APPEARANCE, more than one panel. What If #10 does not count as a solo issue as it is not canon.
4. Thor #8A (2014)
Lastly Thor #8 is the character’s identity reveal issue. Here Jane Foster is officially named as the next Thor. As much as you want to point to What If #10, this comic is official canon.
Verdict: The comic is recognized by Marvel, Fandom wiki, and CGC. It’s official.
There is only one determining factor for which to buy a comic. It’s not Marvel, Fandom wiki, or the dozens of jerks on Facebook and Twitter. It isn’t even me. It is the market. The market indicates which comics are worth collecting. In the case of Female Thor, you have to collect the entire set of all her appearances. This includes Jane Foster’s first appearance (Journey into Mystery #84) which I purposely left off because it goes without saying and wasn’t the subject of this debate. In total there are 5 Jane Foster keys not including minor keys. That’s the only real way of making sure you make out on top. Buy all four of these modern appearances.
Cry and complain all you want about Thor #1, if the market is buying them then there is a market to sell them and sellers are well within their right to price them according to the demand and their own personal belief. Always remember people who complain about a particular issue rising in value are many things but typically in the seven years I’ve started recollecting, I’ve noticed they are individuals who don’t own the comic and are just angry they didn’t get it when they should have and now want to ruin the price jump so others aren’t able to take advantage of it.
My best advice is to ignore those who don’t encourage radical market fluctuations. Seeing the market go crazy for books is what keeps it alive. If the comics had no value except for the holy grails, comic collecting would be futile. We want every comic to be worth something. Keep in mind these book are all limited print. There is only so many in existence and as the years pass natural selection will make their numbers diminish. Modern collectors are lucky to have the foresight from what past generations have taught them.
More importantly these comics are done by artists. Both writer and illustrator are creators and have as much artistic value as any past master. There is no reason why these artists shouldn’t be displayed at the most prestigious galleries or museums. Dare I say a you’d rather go to ComicCon than Art Basel. I’m not discrediting the old masters for we would be nothing without them, I am simply making a case for new masters and that we support these new masters by valuing their art. When we look back we will realize that these times are a new Modern Renaissance where Comics, Film, and Television have fluidly created this stew of unlimited content. Books have always been the main place film reach out to but now comics, a visual and literary medium, is not only dictating what the picture is about but how it looks more than a description of it in a novel. Everyone interprets it differently visually when reading a novel but a comic dictates both the verbal and the visual.