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Tower of Shadows (1969) #3 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 10 January 1970 as part of Tower of Shadows, with Tower of Shadows 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 sto

What first stands out about Thor (1966) #172 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 January 1970 as part of Thor, with Jane Foster providing the clearest point of entry. Its premise connects Donald Blake with questions of affection and trust. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Thor (1966) #172 works throug

The Amazing Spider Man (1963) #80 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 January 1970 as part of The Amazing Spider Man, with Gwen providing the clearest point of entry. Its premise connects Chameleon with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Sub Mariner (1968) #21 understands that principle. The issue was published on 1 January 1970 as part of Sub Mariner, with Namor 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 storytelling in Sub Mariner (1

There is something inviting about the way Silver Surfer (1968) #12 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 January 1970 as part of Silver Surfer, with Silver Surfer providing the clearest point of entry. Its premise connects the supporting cast with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Silver Surfe

Sgt Fury (1963) #74 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 January 1970 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. ⁠ The storytelling in Sgt Fury (1963) #74 work

Reading Marvel Super Heroes (1967) #24 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 January 1970 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. ⁠ The sto

Iron Man (1968) #21 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 January 1970 as part of Iron Man, with Tony Stark providing the clearest point of entry. Its premise connects Iron Man with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Iron Man (1968) #21 works

Incredible Hulk (1962) #123 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 January 1970 as part of Incredible Hulk, with Bruce Banner providing the clearest point of entry. Its premise connects Roy Thomas with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding

What first stands out about Fantastic Four (1961) #94 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 January 1970 as part of Fantastic Four, with Frightful Four providing the clearest point of entry. Its premise connects Agatha Harkness' with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding every p

Daredevil (1964) #60 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 January 1970 as part of Daredevil, with Crime Wave providing the clearest point of entry. Its premise connects DD with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding every page with explanation, Da

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Captain America (1968) #121 understands that principle. The issue was published on 1 January 1970 as part of Captain America, with Silas X providing the clearest point of entry. Its premise connects Captain America with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding every page with e