All Articles

Iron Man (1968) #66 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 February 1974 as part of Iron Man, with Iron Man 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. ⁠ At narrative level, Iron Man (1968) #66 understand

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

Daredevil (1964) #66 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 July 1970 as part of Daredevil, with Brother Brimstone providing the clearest point of entry. Its premise connects Karen Page with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Daredevil (1964) #66 comes from the g

What first stands out about Uncanny X Men (1981) #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 10 March 1970 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. ⁠ At narrative lev

Uncanny X Men (1963) #66 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 1970 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. ⁠ At narrative leve

There is something inviting about the way Avengers (1963) #66 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 July 1969 as part of Avengers, with Iron Man providing the clearest point of entry. Its premise connects Myron MacLain with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Avengers (1963) #66 comes from th

Sgt Fury (1963) #66 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 1969 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. ⁠ Rather than crowding every page w

Reading The Amazing Spider Man (1963) #66 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 November 1968 as part of The Amazing Spider Man, with Spider Man providing the clearest point of entry. Its premise connects Master of Illusions with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ T

Rawhide Kid (1955) #66 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 1968 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. ⁠ The storytelling in

Fantastic Four (1961) #66 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 1967 as part of Fantastic Four, with Alicia Masters providing the clearest point of entry. Its premise connects Beehive with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Fantastic Four (1961) #

Reading Tales of Suspense (1959) #66 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 10 June 1965 as part of Tales of Suspense, with Tales of Suspense 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 mos

Tales to Astonish (1959) #66 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 April 1965 as part of Tales to Astonish, with Tales to Astonish 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