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There is something inviting about the way Beauty and the Beast (1985) 3 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 April 1985 as part of Beauty and the Beast, with Despite Beast providing the clearest point of entry. Its premise connects Dazzler with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest

Beauty and the Beast (1984) 3 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 April 1985 as part of Beauty and the Beast, with Beauty and the Beast 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 st

Reading Avengers (1963) 254 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 April 1985 as part of Avengers, with Avengers providing the clearest point of entry. Its premise connects Avenger with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Avengers (1963) 254 allows

Thor (1966) 353 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 10 March 1985 as part of Thor, with of Loki providing the clearest point of entry. Its premise connects the God with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Thor (1966) 353 allows one deci

Thing (1983) 21 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 March 1985 as part of Thing, with Baxter Building providing the clearest point of entry. Its premise connects Grimm the Sorcerer with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Thing (1983)

What first stands out about Secret Wars (1984) 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 10 March 1985 as part of Secret Wars, with AND DUST TO providing the clearest point of entry. Its premise connects SECRET WARS with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Secret Wars (1984) 11

Peter Parker, the Spectacular Spider Man (1976) 100 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 10 March 1985 as part of Peter Parker, the Spectacular Spider Man, with New York providing the clearest point of entry. Its premise connects Spider Man with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another a

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Marvel Fanfare (1982) 19 understands that principle. The issue was published on 10 March 1985 as part of Marvel Fanfare, with Dagger providing the clearest point of entry. Its premise connects Cloak with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Marvel Fanfare (1982) 1

There is something inviting about the way Dazzler (1981) 36 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 10 March 1985 as part of Dazzler, with Dazzler 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 Dazzler (1981) 36 w

Alpha Flight (1983) 20 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 10 March 1985 as part of Alpha Flight, with Alpha Flight providing the clearest point of entry. Its premise connects Gilded Lily with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Alpha Flight (1983) 20 w

Reading Uncanny X Men (1981) 191 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 March 1985 as part of Uncanny X Men, with X Men providing the clearest point of entry. Its premise connects Kulan Gath with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Uncanny X Men (1

Uncanny X Men (1963) 191 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 March 1985 as part of Uncanny X Men, with Uncanny X Men 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 storytellin