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Marvel Premiere (1972) #11 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 October 1973 as part of Marvel Premiere, with Stephen Strange providing the clearest point of entry. Its premise connects Shuma Gorath with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when

What first stands out about Ghost Rider (1973) #2 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 October 1973 as part of Ghost Rider, with Witch Woman providing the clearest point of entry. Its premise connects Johnny Blaze with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Ghost Rider (1

Daredevil (1964) #104 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 October 1973 as part of Daredevil, with Kraven the Hunter providing the clearest point of entry. Its premise connects Black Widow with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Werewolf By Night (1972) #10 understands that principle. The issue was published on 1 October 1973 as part of Werewolf by Night, with Los Angeles providing the clearest point of entry. Its premise connects Legion of Fear with questions of loyalty and belonging. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when

There is something inviting about the way Warlock (1972) #8 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 October 1973 as part of Warlock, with President Rex Carpenter providing the clearest point of entry. Its premise connects Followers of Warlock with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Warlo

Vampire Tales (1973) #2 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 October 1973 as part of Vampire Tales, with Devil providing the clearest point of entry. Its premise connects Crucible with questions of fear and power. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Vampire Tales (1973) #2 allows one de

Reading Tomb of Dracula (1972) #13 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 October 1973 as part of Tomb of Dracula, with Dracula providing the clearest point of entry. Its premise connects Blade with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Tomb o

Thor (1966) #216 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 October 1973 as part of Thor, with Balder 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 Thor (1966

The Amazing Spider Man (1963) #125 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 October 1973 as part of The Amazing Spider Man, with Man Wolf providing the clearest point of entry. Its premise connects NYC with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling i

What first stands out about Sub Mariner (1968) #66 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 October 1973 as part of Sub Mariner, with Human Killer Whale providing the clearest point of entry. Its premise connects Virago with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Sub Mar

Strange Tales (1951) #170 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 October 1973 as part of Strange Tales, with Jericho Drumm providing the clearest point of entry. Its premise connects Brother Voodoo with questions of loyalty and belonging. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Strang

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Sgt Fury (1963) #115 understands that principle. The issue was published on 1 October 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. ⁠ The storytelling in Sgt Fury (1963