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Shanna the She Devil (1972) #4 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 June 1973 as part of Shanna the She Devil, with Mandrill 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. ⁠ Story momen

What first stands out about Sgt Fury (1963) #111 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 June 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. ⁠ Story momentum in Sgt Fury (19

Rawhide Kid (1955) #112 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 June 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. ⁠ Story momentum in Rawhid

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Marvel Team Up (1972) #10 understands that principle. The issue was published on 1 June 1973 as part of Marvel Team Up, with TOMORROW WAR providing the clearest point of entry. Its premise connects Iron Man with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Marvel Team Up (1972) #10 co

There is something inviting about the way Marvel Spotlight (1971) #10 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 June 1973 as part of Marvel Spotlight, with Linda Littletrees providing the clearest point of entry. Its premise connects Snake Dance with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Marvel Spotligh

Luke Cage, Hero for Hire (1972) #10 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 June 1973 as part of Luke Cage, Hero for Hire, with Luke Cage providing the clearest point of entry. Its premise connects Frank Jenks with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Luke Cage, Her

Reading Iron Man (1968) #59 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 June 1973 as part of Iron Man, with Simon Gilbert providing the clearest point of entry. Its premise connects Tony Stark with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Iron Man (1968) #59 c

Incredible Hulk (1962) #164 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 June 1973 as part of Incredible Hulk, with General Ross providing the clearest point of entry. Its premise connects Arctic Ocean with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in I

Hero for Hire (1972) #10 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 June 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. ⁠ The plot is strongest when

What first stands out about Fantastic Four (1961) #135 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 June 1973 as part of Fantastic Four, with Gregory Gideon providing the clearest point of entry. Its premise connects If the Human with questions of loyalty and belonging. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when

Defenders (1972) #6 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 June 1973 as part of Defenders, with Doctor Strange providing the clearest point of entry. Its premise connects Sorcerer Supreme with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Defenders (

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Conan the Barbarian (1970) #27 understands that principle. The issue was published on 1 June 1973 as part of Conan the Barbarian, with Conan the Barbarian 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. ⁠ The plo