All Articles

Morbius: The Living Vampire (2013) 3 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 27 March 2013 as part of Morbius: The Living Vampire, it places Morbius: The Living Vampire at the centre of a conflict shaped by fear and power. The opening explains enough to welcome a new reader while keeping the emotional pressure clear. ⁠ Rather than crowding every page with explanation, Mo

What first stands out about Marvel Universe Ultimate Spider Man (2012) 12 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 27 March 2013 as part of Marvel Universe Ultimate Spider Man, it places Disney XD 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. ⁠ Rather than crowding every page with ex

Journey Into Mystery (2011) 650 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. Published on 27 March 2013 as part of Journey Into Mystery, it places BERSERKERS GONE 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. ⁠ Rather than crowding every page with explanation, Journey Into Mystery (20

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Guardians of the Galaxy (2013) 1 understands that principle. Published on 27 March 2013 as part of Guardians of the Galaxy, it places Star Lord 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. ⁠ Rather than crowding every page with explanation, Guardians of the Galaxy

There is something inviting about the way Gambit (2012) 10 establishes its world, its conflict and its emotional temperature with very little fuss. Published on 27 March 2013 as part of Gambit, it places Gambit 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. ⁠ Rather than crowding every page with explanation, Gambit (2012) 10 lets the stakes emerge through pressure and r

Fury Max (2011) 10 is the kind of issue that makes an old publication date feel less important than the energy waiting on the first page. Published on 27 March 2013 as part of Fury Max, it places Nick Fury 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. ⁠ Rather than crowding every page with explanation, Fury Max (2011) 10 lets the stakes emerge through pressure and resp

Reading FF (2012) 5 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. Published on 27 March 2013 as part of FF, it places Medusa 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. ⁠ Rather than crowding every page with explanation, FF (2012) 5 lets the stakes emerge through pressure and response. the

Fantastic Four (2012) 5 | Published 27 March 2013 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 27 March 2013 as part of Fantastic Four, it places Fantastic Four 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. ⁠ Rather than crowding every page with explanation, Fa

Deadpool Killustrated (2013) 3 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 27 March 2013 as part of Deadpool Killustrated, it places THREE BULLETS 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 Killustrated (2013) 3 treats the central conflict as a c

What first stands out about Astonishing X Men (2004) 60 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 27 March 2013 as part of Astonishing X Men, it places X TERMINATION EVENT 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. ⁠ Astonishing X Men (2004) 60 treats the central conflict as a chain of c

Age of Ultron (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 27 March 2013 as part of Age of Ultron, it places Brian Michael Bendis 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. ⁠ Age of Ultron (2013) 3 treats the central conflict as a chain of consequences, which

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and A+X (2012) 6 understands that principle. Published on 27 March 2013 as part of A+X, it places Kieron Gillen 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. ⁠ A+X (2012) 6 treats the central conflict as a chain of consequences, which gives even familiar turns a useful sense