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Deadpool (2012) 16 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 11 September 2013 as part of Deadpool, it places THE GOOD at the centre of a conflict shaped by truth and suspicion. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Deadpool (2012) 16 builds tension by making each apparent solution expose another complication. THE

What first stands out about Captain America (2012) 11 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 11 September 2013 as part of Captain America, it places LOOSE NUKE PART 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. ⁠ Captain America (2012) 11 builds tension by making each apparent solu

AVENGERS/IRON MAN: FIRST SIGN (Trade Paperback) arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. Published on 11 September 2013 as part of AVENGERS/IRON MAN: FIRST SIGN, it places AVENGERS/IRON MAN: FIRST SIGN 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. ⁠ AVENGERS/IRON MAN: FIRST SIG

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Avengers Arena (2012) 15 understands that principle. Published on 11 September 2013 as part of Avengers Arena, it places BOSS LEVEL at the centre of a conflict shaped by affection and trust. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Avengers Arena (2012) 15 builds tension by making each apparent solution expose another com

There is something inviting about the way Avengers (2012) 19 establishes its world, its conflict and its emotional temperature with very little fuss. Published on 11 September 2013 as part of Avengers, it places INFINITY TIE IN 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. ⁠ Avengers (2012) 19 builds tension by making each apparent solution expose another complication. AV

Astonishing X Men (2004) 67 is the kind of issue that makes an old publication date feel less important than the energy waiting on the first page. Published on 11 September 2013 as part of Astonishing X Men, it places Gambit 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. ⁠ Astonishing X Men (2004) 67 builds tension by making each apparent solution expose another co

Reading X Men: Battle of the Atom (2013) 1 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. Published on 4 September 2013 as part of X Men: Battle of the Atom, it places New X 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. ⁠ X Men: Battle of the Atom (2013) 1 builds tension by making each apparent

X Men Legacy (2012) 16 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 4 September 2013 as part of X Men Legacy, it places Blindfold 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. ⁠ X Men Legacy (2012) 16 builds tension by making each apparent solution expose another

X Factor (2005) 262 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 4 September 2013 as part of X Factor, it places X Factor 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. ⁠ Story momentum in X Factor (2005) 262 comes from the gap between what X Factor wants and wh

What first stands out about Venom (2011) 40 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 4 September 2013 as part of Venom, it places Daimon Hellstrom 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. ⁠ Story momentum in Venom (2011) 40 comes from the gap between what Daimon Hellstrom wants and what

The Superior Foes of Spider Man (2013) 3 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. Published on 4 September 2013 as part of The Superior Foes of Spider Man, it places Nick Spencer 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. ⁠ Story momentum in The Superior Foes of Spider Man (

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and The Star Wars (2013) 1 understands that principle. Published on 4 September 2013 as part of The Star Wars, it places Star Wars 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. ⁠ Story momentum in The Star Wars (2013) 1 comes from the gap between what Star Wars wants and what t