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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

Sgt Fury (1963) #104 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 November 1972 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 most persuasive pass

Reading Rawhide Kid (1955) #104 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 1972 as part of Rawhide Kid, with Rawhide Kid 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. ⁠ Story momentum in Rawh

Avengers (1963) #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 1 October 1972 as part of Avengers, with Larry Trask providing the clearest point of entry. Its premise connects Sentinels with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Avengers (1963) #104 work

Two Gun Kid (1948) #104 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 May 1972 as part of Two Gun Kid, with Two Gun Kid 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. ⁠ Two Gun Kid (1948) #104 treats the cent

The Amazing Spider Man (1963) #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 1 January 1972 as part of The Amazing Spider Man, with Spider Man providing the clearest point of entry. Its premise connects Ka Zar with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The most pers

A strong comic issue should offer a reason to care before the machinery of the plot takes over, and Fantastic Four (1961) #104 understands that principle. The issue was published on 1 November 1970 as part of Fantastic Four, with Fantastic Four providing the clearest point of entry. Its premise connects Sub Mariner with questions of duty and courage. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Fantastic

There is something inviting about the way Captain America (1968) #104 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 August 1968 as part of Captain America, with Captain America providing the clearest point of entry. Its premise connects Life Model Decoys with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum

Incredible Hulk (1962) #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 1 June 1968 as part of Incredible Hulk, with Bruce Banner providing the clearest point of entry. Its premise connects USA with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Incredible Hulk (1962) #104 tre

Journey Into Mystery (1952) #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 1 May 1964 as part of Journey Into Mystery, with Storm Giant providing the clearest point of entry. Its premise connects Thor with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Jou

Strange Tales (1951) #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 1 January 1963 as part of Strange Tales, with Johnny Storm providing the clearest point of entry. Its premise connects Paste Pot Pete with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Rather than crowding