All Articles

Daredevil (1964) #91 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 September 1972 as part of Daredevil, with Mister Fear 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. ⁠ The storytelling in Daredev

Sgt Fury (1963) #91 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 September 1971 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. ⁠ Sgt Fury (1963) #91 trea

Rawhide Kid (1955) #91 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 1971 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 most persuasive

Avengers (1963) #91 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 August 1971 as part of Avengers, with Ronan The Accuser providing the clearest point of entry. Its premise connects Kree Skrull with questions of courage and justice. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrative level, Avengers (1963) #9

There is something inviting about the way The Amazing Spider Man (1963) #91 establishes its world, its conflict and its emotional temperature with very little fuss. The issue was published on 1 December 1970 as part of The Amazing Spider Man, with George Stacy providing the clearest point of entry. Its premise connects the supporting cast with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ At narrat

Reading Fantastic Four (1961) #91 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 1969 as part of Fantastic Four, with the Fantastic providing the clearest point of entry. Its premise connects Ben Grimm with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The plot is strongest when Fantas

Two Gun Kid (1948) #91 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 January 1968 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. ⁠ Rather than crowdi

What first stands out about Tales of Suspense (1959) #91 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 July 1967 as part of Tales of Suspense, with Introducing the CRUSHER providing the clearest point of entry. Its premise connects Iron Man with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Tales of Su

What first stands out about Tales to Astonish (1959) #91 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 1967 as part of Tales to Astonish, with Hulk providing the clearest point of entry. Its premise connects Abomination with questions of identity and responsibility. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ The storytelling in Tales to

Journey Into Mystery (1952) #91 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 1963 as part of Journey Into Mystery, with Sandu the Mystic providing the clearest point of entry. Its premise connects Odinson with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Story momentum in Journey Into Myste

Reading Strange Tales (1951) #91 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 December 1961 as part of Strange Tales, with Strange Tales 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

Marvel Mystery Comics (1939) #91 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 April 1949 as part of Marvel Mystery Comics, with Betty Dean providing the clearest point of entry. Its premise connects Harry Seller with questions of truth and suspicion. That combination gives the opening a purpose beyond simply announcing another adventure. ⁠ Marvel Mystery Co