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The Mighty Thor's editor Mark Gruenwald was desperate to rescue the title from slumping sales and possibly cancellation. He hired Walter Simonson as the new writer and artist, and granted him full creative authority on the title. Simonson had worked on The Mighty Thor three years earlier as penciller, and had since amassed an impressive portfolio, including work on Metal Men, Detective Comics, and his famous collaboration with Archie Goodwin on Manhunter (which ran as a backup feature in Detective Comics). His only previous writing experience though had been on Marvel Comics's television tie-in Battlestar Galactica.

At that time, I had no interest in Thor, but I did have a few Roy Thomas issues from the late 1970s drawn by Keith Pollard. However, all that changed in late November, 1983. I bought a copy of The Mighty Thor #337 simply because of its unforgettable cover. I had never seen a cover like this. An alien version of Thor was smashing through the Thor logo. 

Well, in issue #337, Simonson's relative inexperience certainly didn't show. His first issue on Thor was perhaps the most memorable start to a story run by any writer/artist. Simonson's distinctive art style caught your attention. He exceeded at charging a page with energy, bringing it to life with a strong cinematic fashion that sparked the reader's imagination as they fill in what lies between the panels. The action often sprawled beyond the panels, emphasizing a bold, larger-than-life feel to it. Thor was drawn physically more impressive, more noble.

Issue #337 also featured another change, but this change was a bit more subtle. John Workman became the new regular letterer and his style added a Norse feel to the title. This new lettering style worked well with Simonson's special effects. Explosive fonts broke through panel borders leaving a clear ring in your imagination. THRAKKT! BARROOOOM! KRANNG!

One of Simonson's strongest facets as a creator was the seamless integration of the story and art. He plotted, scripted, penciled, and inked the stories which would normally require the collaborative effort of several people. In just a two issues, Simonson established a new direction, a new cover logo, and a new style for The Mighty Thor, and, in less than 2 years, Simonson would single-handedley restored Thor's majesty and grandeur and of course secured Thor financially.

The first three pages of issue #337 set up a subplot that will eventually become a major story line. In this opening sequence, a mysterious figure of cosmic proportions began the forging of a foreboding weapon. Simonson immediately captured the tension of the moment and over the story line of the next year, he carefully paced this subplot, moving it ahead, building this rising tension. 

Simonson adeptly handled multiple plot threads and really used them well to set a good pace for the story. He also did a great job with cliffhanger endings: I remember repeated trips to the local convenience store desperately seeking the next issue. 

Simonson's strength clearly lies in his characterization. He returned The Mighty Thor to its roots and revitalized Thor's Asgardian supporting cast, like the Balder, Sif, Loki, the Warriors Three, and Heimdall. Simonson's Asgardian gods aren't carefree beings. He puts them through a lot of emotional and physical trauma and they change as dynamic characters should.

Issue #339 was a fine example of Simonson's talented characterization: Thor, the disgraced and humbled warrior; Beta Ray Bill, the cyborg warrior, torn between his concern for his people, who are threatened by a mysterious evil, and his friendship forged in battle with Thor; Sif, the compassionate warrior woman who reached out to the alien Bill; Odin, the all-wise and all-seeing, who was impressed by Bill's courage and acts to help him.

This initial story arc, issue #337-340, saw the removal of Thor's alter ego Dr. Blake and the establishment of a new secret identity as Siguard Jarlson. Fans were upset at how easily Simonson discarded Blake. They complained that it robbed Thor of his humanity, but Simonson turned it around and did a great job in forcing Thor to interact with humanity.

Simonson wraps up his first story line, later referred to as "The Ballad of Beta Ray Bill" and moves on to his most ambitious story line, featuring the return of Asgard's mortal enemy, Surtur the Fire Demon. The Surtur Saga ran from issue #344 until #354 and stands firmly as both Simonson's best work and one of The Mighty Thor's best story lines.

Simonson also cleanly "retconed" (retroactively adjusting continuity) some of Thor's history to give us a clean, simpler big picture as well as reinforce his retro-Viking visuals. Simonson's version of Asgard replaced the futuristic sci-fi architecture established by Stan Lee and Jack Kirby. This version was based on historical Viking architecture and he lavishly illustrated the wooden homes and majestic hall complete with their tall elegant roofs trimmed in gold and decorated with dragon heads.

The Mighty Thor #344, "Whatever Happened to Balder the Brave?", Balder (Thor's half brother) must deliver a letter to Loki the God of Mischief in hopes of forming an alliance. However, in issue #274, Loki had Balder killed in an attempt to bring about Ragnarok, the Twilight of the Gods. While in Hel, Balder witnessed the fate of those he had slain and upon his return to the land of the living he took an oath against violence.

Knowing of Balder's oath, Loki forces him to abandon his oath to deliver Odin's plans for an alliance. Adding to the irony, Loki has already decided to join the enemy. Simonson's panel arrangement breaks the action into a fluid motion matching it with emotion and tension.