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Punisher: War Zone (2012) 3 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 9 January 2013 as part of Punisher: War Zone, it places Punisher: War Zone 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. ⁠ At narrative level, Punisher: War Zone (2012) 3 understands that speed and m

What first stands out about Punisher: Nightmare (2013) 2 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 9 January 2013 as part of Punisher: Nightmare, it places Jake Niman 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, Punisher: Nightmare (2013) 2 understands that spee

Marvel Universe vs. The Avengers (2012) 4 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. Published on 9 January 2013 as part of Marvel Universe Vs. the Avengers, it places Emperor Doom 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. ⁠ At narrative level, Marvel Universe vs The Avengers (201

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Marvel Universe Avengers: Earth's Mightiest Heroes (2012) 10 understands that principle. Published on 9 January 2013 as part of Marvel Universe Avengers: Earth's Mightiest Heroes, it places Disney XD 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. ⁠ At narrative level, Marvel

There is something inviting about the way First X Men (2011) 5 establishes its world, its conflict and its emotional temperature with very little fuss. Published on 9 January 2013 as part of First X Men, it places Wolverine 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, First X Men (2011) 5 understands that speed and momentum are not the sa

Fantastic Four (2012) 3 is the kind of issue that makes an old publication date feel less important than the energy waiting on the first page. Published on 9 January 2013 as part of Fantastic Four, it places Reed 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, Fantastic Four (2012) 3 understands that speed and momentum are not the same thing. t

Reading Cable and X Force (2012) 3 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. Published on 9 January 2013 as part of Cable and X Force, it places Colossus 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, Cable and X Force (2012) 3 understands that speed and mome

Avengers Arena (2012) 3 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 9 January 2013 as part of Avengers Arena, it places Avengers Academy's Sentinel 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. ⁠ At narrative level, Avengers Arena (2012) 3 understands that speed an

Age of Apocalypse (2012) 11 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. Published on 9 January 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. ⁠ Age of Apocalypse (2012) 11 builds tension by making each apparent

What first stands out about Age of Apocalypse (2011) 11 is not its age or collectable status, but the directness with which it asks the reader to enter the story. Published on 9 January 2013 as part of Age of Apocalypse, it places X Terminated 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. ⁠ Age of Apocalypse (2011) 11 builds tension by making each apparent solu

Venom (2011) 29 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. Published on 2 January 2013 as part of Venom, it places Flash Thompson 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. ⁠ Venom (2011) 29 builds tension by making each apparent solution expose another complication. Katy Kier

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Ultimate Comics Spider Man (2011) 19 understands that principle. Published on 2 January 2013 as part of Ultimate Comics Spider Man, it places Spider Man 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. ⁠ Ultimate Comics Spider Man (2011) 19 builds tension by making each a