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Peter Parker, the Spectacular Spider Man (1976) 261 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 September 1998 as part of Peter Parker, the Spectacular Spider Man, with Peter Parker, the Spectacular Spider Man providing the clearest point of entry. Its premise connects the supporting cast with questions of identity and responsibility. That combination gives t

What first stands out about Marvel Universe (1998) 4 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 September 1998 as part of Marvel Universe, with Jack Kirby providing the clearest point of entry. Its premise connects Doc Druid with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Marvel Universe (19

Iron Man: The Iron Age (1998) 2 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 September 1998 as part of Iron Man: The Iron Age, with Happy Hogan 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 mom

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Iron Man (1998) 8 understands that principle. The issue was published on 1 September 1998 as part of Iron Man, with Iron Man 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 (1998) 8 comes from

There is something inviting about the way Iron Fist (1998) 3 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 September 1998 as part of Iron Fist, with IN THE FOLD providing the clearest point of entry. Its premise connects Danny Rand with questions of loyalty and belonging. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Iron Fist (1998) 3 comes f

Incredible Hulk (1962) 468 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 September 1998 as part of Incredible Hulk, with Bruce Banner providing the clearest point of entry. Its premise connects Hulk with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Incredible Hulk (1962)

Reading Heroes for Hire (1997) 15 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 September 1998 as part of Heroes for Hire, with THE SIEGE providing the clearest point of entry. Its premise connects WUNDAGORE PART with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Heroes for Hire

Fantastic Four (1998) 9 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 September 1998 as part of Fantastic Four, with Kraven the Hunter providing the clearest point of entry. Its premise connects Spider Man with questions of loyalty and belonging. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Fant

Excalibur (1988) 124 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 September 1998 as part of Excalibur, with Excalibur 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 plot is strongest when

What first stands out about Daredevil (1964) 379 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 September 1998 as part of Daredevil, with FLYING BLIND PART providing the clearest point of entry. Its premise connects Matt Murdock with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Daredevi

Captain America (1998) 9 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 September 1998 as part of Captain America, with Captain Ameerica's Triangular providing the clearest point of entry. Its premise connects Lunatic Legion with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ T

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Cable (1993) 58 understands that principle. The issue was published on 1 September 1998 as part of Cable, with Acolytes providing the clearest point of entry. Its premise connects Nathan with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Cable (1993) 58 allows one d