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There is something inviting about the way Road to Oz (2011) 6 establishes its world, its conflict and its emotional temperature with very little fuss. Published on 6 March 2013 as part of Road to Oz, it places Ozma of Oz 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. ⁠ The storytelling in Road to Oz (2011) 6 works through accumulation, adding one concern after another until

Red She Hulk (2012) 63 is the kind of issue that makes an old publication date feel less important than the energy waiting on the first page. Published on 6 March 2013 as part of Red She Hulk, it places AN ALL NEW 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. ⁠ The storytelling in Red She Hulk (2012) 63 works through accumulation, adding one concern after anoth

Reading Powers: Bureau (2012) 2 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. Published on 6 March 2013 as part of Powers: Bureau, it places Both Walker 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. ⁠ The storytelling in Powers: Bureau (2012) 2 works through accumulation, adding one

Iron Man (2012) 7 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 6 March 2013 as part of Iron Man, it places Iron Man 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. ⁠ The storytelling in Iron Man (2012) 7 works through accumulation, adding one concern after ano

Guardians of the Galaxy Infinite Comic (2013) 1 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 6 March 2013 as part of Guardians of the Galaxy Infinite Comic, it places Drax of Guardians 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 p

What first stands out about Daredevil: End of Days (2012) 6 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 6 March 2013 as part of Daredevil: End of Days, it places Ben Urich 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, Daredevil: End of Days (2012

Cable and X Force (2012) 5 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. Published on 6 March 2013 as part of Cable and X Force, it places X FORCE 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, Cable and X Force (2012) 5 lets the st

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Avengers (2012) 7 understands that principle. Published on 6 March 2013 as part of Avengers, it places WORLD BREAKER 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, Avengers (2012) 7 lets the stakes emerge through pressur

There is something inviting about the way All New X Men (2012) 8 establishes its world, its conflict and its emotional temperature with very little fuss. Published on 6 March 2013 as part of All New X Men, it places Earth's Mightiest Heroes 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, All New X Men (2012) 8 lets the

Age of Ultron (2013) 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 6 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. ⁠ Rather than crowding every page with explanation, Age of Ultron (2013) 1 lets the stakes emerge throu

Reading Age of Apocalypse (2012) 13 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. Published on 6 March 2013 as part of Age of Apocalypse, it places Age of Apocalypse 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 explanation, Age of Apocalypse (2

Age of Apocalypse (2011) 13 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 6 March 2013 as part of Age of Apocalypse, it places PROLOGUE TO X 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 explanation, Age of Apocalypse (2