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A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Spider Girl (2010) 4 understands that principle. Published on 16 February 2011 as part of Spider Girl, it places Ana Kravinoff at the centre of a conflict shaped by loyalty and belonging. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ At narrative level, Spider Girl (2010) 4 understands that speed and momentum are not the same

There is something inviting about the way Silver Surfer (2011) 1 establishes its world, its conflict and its emotional temperature with very little fuss. Published on 16 February 2011 as part of Silver Surfer, it places Silver Surfer at the centre of a conflict shaped by identity and responsibility. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ At narrative level, Silver Surfer (2011) 1 understands that speed and momentum ar

Silver Surfer (2010) 1 is the kind of issue that makes an old publication date feel less important than the energy waiting on the first page. Published on 16 February 2011 as part of Silver Surfer, it places Silver Surfer at the centre of a conflict shaped by discovery and technology. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ At narrative level, Silver Surfer (2010) 1 understands that speed and momentum are not the same

Reading S.H.I.E.L.D. (2010) 6 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. Published on 16 February 2011 as part of S.H.I.E.L.D., it places Da Vinci at the centre of a conflict shaped by identity and responsibility. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ At narrative level, SHIELD (2010) 6 understands that speed and momentum are not the sa

Marvel Girl (2010) 1 opens the door to a distinct corner of Marvel history rather than feeling like a catalogue entry that should be admired from a distance. Published on 16 February 2011 as part of Marvel Girl, it places Jean Grey at the centre of a conflict shaped by loyalty and belonging. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ At narrative level, Marvel Girl (2010) 1 understands that speed and momentum are not the

Loki (2010) 3 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 16 February 2011 as part of Loki, it places Does Loki at the centre of a conflict shaped by courage and justice. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Loki (2010) 3 builds tension by making each apparent solution expose another complication. Rated T changes t

What first stands out about Iron Man: Rapture (2010) 4 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 16 February 2011 as part of Iron Man: Rapture, it places Stark Industries at the centre of a conflict shaped by duty and courage. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Iron Man: Rapture (2010) 4 builds tension by making each apparent solution ex

Hulk (2008) 30 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. Published on 16 February 2011 as part of Hulk, it places Compound Hulk at the centre of a conflict shaped by identity and responsibility. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Hulk (2008) 30 builds tension by making each apparent solution expose another complication. the

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Hawkeye: Blindspot (2011) 1 understands that principle. Published on 16 February 2011 as part of Hawkeye: Blindspot, it places Avenging Archer at the centre of a conflict shaped by duty and courage. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Hawkeye: Blindspot (2011) 1 builds tension by making each apparent solution expose

There is something inviting about the way Formic Wars: Burning Earth (2011) 1 establishes its world, its conflict and its emotional temperature with very little fuss. Published on 16 February 2011 as part of Formic Wars: Burning Earth, it places Formic Wars: Burning Earth at the centre of a conflict shaped by duty and courage. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Formic Wars: Burning Earth (2011) 1 builds tension by

Deadpool: Merc with a Mouth Vol. 1 Head Trip (Trade Paperback) is the kind of issue that makes an old publication date feel less important than the energy waiting on the first page. Published on 16 February 2011 as part of Deadpool: Merc with a Mouth Vol. 1 Head Trip, it places Deadpool: Merc with a Mouth Vol. 1 Head Trip at the centre of a conflict shaped by identity and responsibility. The opening explains enough to welcome a new reader while keeping the emotional pressure

Reading Deadpool Max (2010) 5 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. Published on 16 February 2011 as part of Deadpool Max, it places VIOLENCE at the centre of a conflict shaped by identity and responsibility. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Deadpool Max (2010) 5 builds tension by making each apparent solution expose another c