73 pages • 2 hours read
Rick RiordanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The characters and societies of The Hammer of Thor focus on how our past and present shape who we are. Whether through how they think of themselves or through the forces that have made them, these people and groups are the product of their own journeys and self-reflection. Magnus’s character arc, Sam’s struggle with being part of two worlds, and the nature of Alfheim each offer different examples of the impact of heritage, identity, and culture.
Through Magnus’s journey, The Hammer of Thor explores the influence of heritage. Heritage is defined as something that is acquired or given by a predecessor (such as a parent). For Magnus, his Norse heritage has been passed down from the god Frey, whose powers give Magnus the ability to heal himself and others. This ability aligns with Magnus’s personality. Though he resides in Valhalla, he isn’t much of a warrior, but instead offers support to those who fight in battle. His healing abilities allow Magnus to extend his naturally helpful persona into a beneficial action, and as a result, part of his identity becomes this heritage—the healer. Just as he becomes comfortable in this role, he faces Alex not wanting to be healed because she fears the healing will allow Magnus to see into her mind. Magnus feels that Alex is rejecting how he has come to see himself, which forces him to rethink the meaning of his heritage and who he is. Alex’s reluctance helps Magnus discover there is more to him than simply healing, and by the end of the book, Magnus recognizes that his greater role in the battle against Loki involves additional aspects of himself.
In contrast to Magnus’s arc, Sam’s struggle to live in two worlds shows how her culture (mainly Islam) shapes her at the same time that it’s disrupted by the Norse world. Sam has always wanted to fly, and even though Norse myth seems to directly conflict with her Islamic beliefs, she became a Valkyrie because doing so offered her something she craved and that her Islamic culture couldn’t give. As she spent more time in both worlds, she found ways to make Islam and Norse myth complement each other without sacrificing the Islamic beliefs and culture that are a core part of her identity. When she’s faced with Amir discovering the Norse world, Sam’s religious beliefs are put to the test. It was one thing for her to make allowances for flight, but it’s another to watch someone she loves grapple with having his identity and beliefs challenged so drastically. Ultimately, Amir is the most important thing to Sam, in part due to the cultural tradition of arranged marriage, and though she will hate to do it, she decides at the end of the book that she will resign as a Valkyrie once Loki is defeated. Even though she learned to make her seemingly contradictory worlds coexist, her decision to resign represents how people must sometimes give up parts of who they are to become who they want to be.
Magnus and Sam show the impacts of identity, culture, and heritage on a personal level, whereas the community of Alfheim represents how culture becomes collective. The elves of Hearth’s hometown are elitist and self-important, believing themselves “proper” elves and above other elflike species and nature spirits. They organize their culture around elevating their own status while lowering that of anyone they view as different. In Chapter 22, Magnus contemplates Inge’s situation, realizing that being required to display her cow tail is meant to convey the message “show us who you are; now feel bad about it” (174). As a hulder, Inge is a second-class citizen; Alfheim culture assigns identities based on what the majority group wants, and those without the power to challenge these assignments must live how they are told, something that can lead either to identities being crushed or to an even stronger conviction to show one’s true self.
Identity, culture, and heritage are aspects of each person’s life, but external factors can influence how we think of ourselves and even how we express ourselves. In a perfect world, people would be able to leave places where their identities and beliefs aren’t welcome, but as in Alfheim, the real world doesn’t always include the option to relocate. While societies may try to restrict or even destroy cultures and expressions they deem unfit, it is up to individuals to choose their own values and to believe in themselves and who they are.
Magnus’s group of friends includes subgroups that may overlap and collaborate or split off depending on a given situation. Regardless, the dynamics within the group show that various groups can work together well and that friendship can take many forms.
Each person fulfills a specific role within the group. Generally speaking, Magnus heals, Sam does combat, Alex is sneaky and shape-shifts, Blitz is the critical thinker, and Hearth wields magic. Altogether, things go more smoothly when individuals stick to their strengths and remember how they can most help one another. In Chapter 23, when Hearth learns his mother died after he left, Magnus wants to help but realizes he can’t fight this battle for his friend. Like in a physical battle, Magnus understands that “the best I could do was be there to heal their injuries” (182). Magnus knows his strength is in healing, not fighting, and he accepts this, even if sometimes he wishes he was more attuned to battle.
While the group works well as one large unit, they also work together in smaller groups, their typical roles changing to adapt to missing people or for tasks that need doing. In the final battle in Loki’s chamber, Magnus, Alex, and Sam go without Blitz and Hearth, leaving them without Blitz’s problem-solving skills and Hearth’s rune magic. Despite this, the three of them keep their heads and adjust as they go. During the fight itself, Magnus is injured while battling Thrynga, meaning he must stop to heal himself while he watches the girls take hits. If Hearth were there, his runes may have been able to offer support while Magnus was out of commission, but without Hearth, the group keeps fighting, doing their best to give Magnus time. Similarly, when they’re without Magnus, Sam, and Alex, Blitz and Hearth form a strong team. They’ve been friends longer than they’ve known the others, and they’ve developed a system that works for them, showing that the more time a group works together, the easier patterns become. Blitz and Hearth also integrate easily into the larger group because they trust the others and have complementary skills, illustrating how groups work best when they want to work together and can find ways for everyone to help.
Magnus’s entire group shows how friends can be defined differently depending on the situation, but also that friendship extends far beyond working together or fighting in combat. Specifically, Magnus’s friendship with Sam is very different from his friendship with Alex. After working alongside Sam through The Sword of Summer, Magnus has learned to trust her, despite a rocky start. Sam’s love for Amir means that romance never factors into her friendship with Magnus, and without the questions that romantic feelings can produce, Magnus and Sam quickly learn to work together and listen to one another. By the time Magnus meets Alex in The Hammer of Thor, his exposure to Sam has opened him to trusting children of Loki, something he initially questions because Alex seems closer to the god than Sam does. Alex’s natural distrust of people initially makes her wary of getting to know Magnus, and only after she decides to let him see into her mind to close the portal in the bowling alley does Alex realize she can trust Magnus. Once this trust is established, the group functions more like a unit, showing that trust is a key element of both teamwork and friendship.
The Hammer of Thor shows people both voluntarily and unwillingly working together, and the relationships that form from these differing situations suggest that friendship is made stronger by being there for people through the worst. Magnus initially met Blitz and Hearth when all three lived without homes in Boston, and their situations brought them together. Similarly, the stress of the Norse world and preventing Ragnarok forces Magnus to become close with Sam and Alex and leads to strong friendships developing quickly.
Though it might seem clear who the good and bad characters and groups are in The Hammer of Thor, the lines between good and evil often blur and become dependent on given situations. Through Loki’s punishment, Randolph’s deal with Loki, and Alex’s use of Loki’s symbol, The Hammer of Thor shows how “good” and “evil” aren’t always clean-cut labels.
Hundreds of years before the events of The Hammer of Thor, Loki murdered Odin’s son Balder. As punishment, the gods killed two of Loki’s children and used his children’s entrails to bind him in a cavern while venom dripped into his face. Loki is often considered evil, especially by the other gods, but when exploring his story, “evil” may not be the best label. Balder was believed to be invulnerable, but Loki, being a trickster and god of chaos, wanted to see if this was true. He killed Balder simply because he could—which seems evil, but it is more an act of reckless curiosity than one of malice, and there could be more to Loki’s motivations. Loki’s punishment also suggests that the other gods are not inherently good; punishing Loki by killing two of his children and using their entrails to bind him to suffer for eternity is harsh and arguably far worse than what Loki did. When Magnus sees Loki’s punishment in person for the first time, he reflects that no one deserved such a fate, even if setting Loki free would bring untold danger to the world. Seeing the punishment also makes Magnus reconsider whether the other gods are good or whether all the gods are neither good nor evil.
The gods aren’t the only beings who may be mislabeled. In The Sword of Summer, Magnus’s Uncle Randolph is mainly grief-stricken and determined to find his family in the realm of Helheim. In The Hammer of Thor, Randolph pursues this intention by making a deal with Loki, despite Loki’s fraught track record. Randolph isn’t evil, but he aligns with a god who has done many evil things. Randolph positions himself as Magnus’s enemy and is forced to stab Blitz and free Loki, things he doesn’t want to do. These actions might brand Randolph as evil, but he is only doing them because his previous reckless actions led to the deaths of his family. He is trying to compensate for what he did, but in doing so, he does evil things. This conflict—the frequent mismatch between intentions and consequences—further undermines the idea of morally pigeonholing individuals or using reductive labels.
Alex’s reappropriation of Loki’s symbol shows one way to claim power over the labels “good” and “evil.” In Norse myth, the intertwined serpents that represent Loki are a symbol of evil and chaos. In Chapter 37 when Magnus asks Alex why she uses Loki’s symbol in her art, she explains that the symbol wasn’t always associated with Loki. Initially, it was called the “Urnes snakes” after a place in Norway, and it represented change and flexibility. As people started associating the snakes with Loki, the snakes came to symbolize Loki’s evil and trickery. Alex uses the symbol because she likes it, and she refuses to defer to Loki’s signification because “he doesn’t get to own the symbol for change any more than he owns me” (297). Her words highlight that a thing’s moral categorization is often a construct. That thing may be separated from its original significance, but such separation requires intention and a strong desire to reclaim the thing.
Throughout The Hammer of Thor, someone or something may be good from one perspective but evil from another, and a person may change their mind about something as they gain more information. Riordan frequently shows that ideas of good and evil can be constructed depending on the individual narrative, rather than being either accurate or meaningful conclusions about a person or a concept.
By Rick Riordan