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Sub Mariner (1968) #67 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. The issue was published on 1 November 1973 as part of Sub Mariner, with Sub Mariner providing the clearest point of entry. Its premise connects REED RICHARDS with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrative level, Sub Mariner (19

What first stands out about Sgt Fury (1963) #116 is not its age or collectable status, but the directness with which it asks the reader to enter the story. The issue was published on 1 November 1973 as part of Sgt. Fury, with Sgt. Fury providing the clearest point of entry. Its premise connects the supporting cast with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrative level, Sgt Fu

Rawhide Kid (1955) #117 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. The issue was published on 1 November 1973 as part of Rawhide Kid, with Rawhide Kid providing the clearest point of entry. Its premise connects the supporting cast with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrative level,

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Marvel Team Up (1972) #15 understands that principle. The issue was published on 1 November 1973 as part of Marvel Team Up, with Ghost Rider providing the clearest point of entry. Its premise connects Spider Man with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrative level, Marvel Tea

There is something inviting about the way Marvel Super Heroes (1967) #40 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 November 1973 as part of Marvel Super Heroes, with Marvel Super Heroes providing the clearest point of entry. Its premise connects the supporting cast with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narra

Luke Cage, Hero for Hire (1972) #15 is the kind of issue that makes an old publication date feel less important than the energy waiting on the first page. The issue was published on 1 November 1973 as part of Luke Cage, Hero for Hire, with Missus Jenks providing the clearest point of entry. Its premise connects Claire Temple with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrative level, Luk

Reading Kull the Destroyer (1973) #11 as part of Marvel's wider catalogue reveals an issue with a clear personality and a surprisingly immediate sense of purpose. The issue was published on 1 November 1973 as part of Kull the Destroyer, with Kull the Destroyer providing the clearest point of entry. Its premise connects the supporting cast with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ A

Jungle Action (1972) #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. The issue was published on 1 November 1973 as part of Jungle Action, with PANTHER'S RAGE PART providing the clearest point of entry. Its premise connects Captain America with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrativ

Iron Man (1968) #64 provides an enjoyable reminder that Marvel history is built from individual issues with their own rhythms, risks and small surprises. The issue was published on 1 November 1973 as part of Iron Man, with Iron Man providing the clearest point of entry. Its premise connects Rokk with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Iron Man (1968) #64 builds tension by making each appare

What first stands out about Incredible Hulk (1962) #169 is not its age or collectable status, but the directness with which it asks the reader to enter the story. The issue was published on 1 November 1973 as part of Incredible Hulk, with the Harpy providing the clearest point of entry. Its premise connects If Betty Ross with questions of affection and trust. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Incredible Hulk (1962) #169

Hero for Hire (1972) #15 arrives with the confidence of a comic that knows spectacle matters most when the people inside it have something meaningful to lose. The issue was published on 1 November 1973 as part of Hero for Hire, with Hero for Hire providing the clearest point of entry. Its premise connects the supporting cast with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Hero for Hire (1972) #1

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Frankenstein (1973) #7 understands that principle. The issue was published on 1 November 1973 as part of Frankenstein, with Black Forest providing the clearest point of entry. Its premise connects Count Dracula with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Frankenstein (1973) #7 builds tension by mak