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Peter Parker: Spider Man (1999) 17 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 May 2000 as part of Peter Parker: Spider Man, with Peter Parker 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. ⁠

What first stands out about Mutant X (1998) 19 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 May 2000 as part of Mutant X, with Professor X providing the clearest point of entry. Its premise connects Mutant X with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Mutant X (1998) 19 work

Iron Man (1998) 28 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 May 2000 as part of Iron Man, with Trevor Donahue 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 Iron Man (

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Hulk (1999) 15 understands that principle. The issue was published on 1 May 2000 as part of Hulk, with Hulk 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 Hulk (1999) 15 works through accum

There is something inviting about the way Generation X (1994) 63 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 May 2000 as part of Generation X, with X MEN providing the clearest point of entry. Its premise connects Generation X with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Generation X (1994) 63 works throu

Gambit (1999) 16 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 May 2000 as part of Gambit, with Remy LeBeau providing the clearest point of entry. Its premise connects Assassination Game with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Gambit (1999) 16 works through ac

Reading Fantastic Four (1998) 29 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 May 2000 as part of Fantastic Four, with Frightful Four providing the clearest point of entry. Its premise connects Fantastic Four with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Fantastic Fo

Deathlok (1999) 10 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 May 2000 as part of Deathlok, with Deathlok providing the clearest point of entry. Its premise connects Clown with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Deathlok (1999) 10 works th

Deadpool (1997) 40 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 May 2000 as part of Deadpool, with Deadpool 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. ⁠ Rather than crowding every page with

What first stands out about Daredevil (1998) 11 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 May 2000 as part of Daredevil, with Maya Lopez providing the clearest point of entry. Its premise connects Matt Murdock with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding every page with e

Captain Marvel (2000) 5 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 May 2000 as part of Captain Marvel, with Drax the Despot providing the clearest point of entry. Its premise connects Captain Marvel with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding every page

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Captain America (1998) 29 understands that principle. The issue was published on 1 May 2000 as part of Captain America, with Captain America providing the clearest point of entry. Its premise connects Savage Land with questions of loyalty and belonging. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding every page wit