80 Comics to Read for Marvel's 80th Anniversary
Saturday, Aug. 31, is Marvel’s 80th anniversary. The company is marking the occasion in a number of ways, including promotional partnerships with retailers like Disney Store, Box Lunch and Amazon, as well as events at comic book stores, but there’s another way for fans to celebrate — by reading a lot of Marvel comic books.
Below is a list of 80 selections of runs from the company’s eight-decade history to read and enjoy, with genres from romance to superheroes, monster stories to Westerns. It’s a quick guide to Marvel’s publishing output, but not intended as a comprehensive history nor definitive “Best Of” list; instead, it’s simply 80 good reads from the back pages of one of the biggest comic book companies of all time.
Heat Vision breakdown
Expect to see plenty of names of characters and teams that you’ll recognize — and some that are a little bit more obscure, as well. After all, you don’t get to 80 years without going to some truly obscure places every now and then.
Each of the selections below is available digitally and on Marvel’s Marvel Unlimited subscription service.
Marvel Comics No. 1 (1939)
The comic that started it all — kind of. There are familiar faces to be found in this mammoth debut — the original Human Torch, the Sub-Mariner — but this is a very different, very pulpy version of the universe that fans have come to love.
Captain America Comics No. 1 (1941)
For everyone who thinks that superheroes used to be apolitical, here’s a comic that featured a man representing the U.S. literally punching a real world leader of a foreign country in the jaw. Chalk it up to co-creator Jack Kirby’s natural inclination against bullies.
Venus Nos. 1-8 (1948-1950)
After the initial wave of superheroes faded in popularity, the company that would ultimately become Marvel went in some unexpected directions — like this (very fun) comic about the goddess of love come to Earth to help people with their romantic woes.
Tales to Astonish! Nos. 1-6 (1959)
Even though competitors DC had found success reviving the superhero genre by the late 1950s, Marvel wasn’t quite ready to follow suit; instead, it concentrated on monster comics, and did a glorious job thanks to a steady stream of goofy plots with breathless titles — the first issue alone has “I Know the Secret of the Poltergeist!” and “We Found the Ninth Wonder of the World!” — and some amazing art from the likes of Kirby, Steve Ditko and Jack Davis.
Rawhide Kid Nos. 17-19 (1960)
It wasn’t just monsters, of course; Marvel also went into Westerns and this collaboration by Stan Lee and Kirby — created just ahead of their Fantastic Four debut — is a fizzy mix of the language of superhero comics and the tropes of the Wild West.
Fantastic Four No. 1 (1961)
This, finally, is really the comic that started it all, with Lee and Kirby taking on superheroes again decades after starting their careers in the genre, and using everything they’ve learned in between. The first issue is, to all intents and purposes, a monster comic, but what a great one.
The Incredible Hulk Nos. 1-5 (1962-1963)
Revisiting the original Hulk stories today is a trip; Lee and Kirby know they have a good idea somewhere in there, but can’t quite get at it, leaving the reader with a concept that’s evolving and changing its mind, and a character who looks great but doesn’t really know who or what he is.
Amazing Fantasy No. 15 (1963)
Like the first Fantastic Four comic, the very first Spider-Man story reads more like a monster comic than a superhero story, and that’s what gives it its edge. Well, that and Ditko’s charmingly unheroic, downbeat artwork.
The X-Men No. 1 (1963)
Considering what the X-Men would become, the original incarnation of the team never quite comes together; despite that, there’s so much potential to be found in this first issue, which introduces Professor X, Magneto and some really strange ideas about what magnets can actually do.
Sgt. Fury and His Howling Commandos Nos. 1-5 (1963-1964)
War is hell, but when the early Marvel bullpen got its hands on it, it was at least dynamic hell. Before Nick Fury was Marvel’s favorite super spy, he was a war hero in World War II, in a series that ditched realism for excitement and introduced other elements of Marvel lore, including HYDRA’s Baron Von Strucker.
The Avengers No. 4 (1964)
Lee and Kirby’s Marvel started re-introducing old characters with Fantastic Four No. 4, which revived the Sub-Mariner, but it was the revival of Captain America that really struck a nerve with the readers, bringing both patriotism and tragedy into the Marvel Universe with the hero suddenly being faced with the death of his sidekick, Bucky. (Half a century later, that would turn out to not be the case, but who knew back then?)
Amazing Spider-Man Nos. 31-33 (1965)
This trilogy of stories has it all: great chapter titles (“If This Be My Destiny!” “The Final Chapter!”), the ultimate in soap operatic melodrama as Aunt May falls sick, appearances by classic villains including Doctor Octopus, and a climactic scene in which Peter Parker has to be the best he can be in order to save the day. Everything about Spider-Man can be found in these three issues.
Fantastic Four Annual No. 3 (1965)
The marriage of Mr. Fantastic and the Invisible Girl was a big deal — superheroes tying the knot just wasn’t a thing before this — and this extra-length issue gives it the weight the event deserves. That it also features cameos from all manner of other Marvel characters (and creators) just underscored how exciting the whole thing was… and still is, really.
Strange Tales Nos. 130-146 (1965-1966)
The original Doctor Strange run in Strange Tales remains a comic serial unlike almost anything else, thanks to the surreal visuals and stylings of Ditko, an artist with a unique vision. This lengthy storyline, where Strange has to save… well, existence, through a series of events might be the peak of the whole thing.
Fantastic Four Nos. 48-50 (1966)
The Lee/Kirby Fantastic Four is still regarded as a high watermark for superhero comics, and these three issues — which introduce Galactus and the Silver Surfer — might be the best it ever got.
The Mighty Thor Nos. 148-153 (1968)
How epic did Lee and Kirby’s Thor get? Well, here’s a story in which Thor dies, ends up in Hell and has to fight his way back, in the process encountering characters who would later show up in the Marvel Studios movies, like Hela and the Destroyer. So, you know: pretty epic.
Strange Tales Nos. 167-168, Nick Fury, Agent of S.H.I.E.L.D. Nos. 1-5 (1968)
Jim Steranko wasn’t the creator to bring Nick Fury into the contemporary Marvel Universe, but in his beloved run of late ‘60s stories, he was the one who brought the character up-to-date, with visuals inspired by pop art, pop culture and psychedelia. These issues still seem ahead of their time.
The Mighty Avengers Nos. 89-97 (1971-1972)
The Marvel Universe started living up to the “universe” part with the Kree-Skrull War, an intergalactic conflict that the Avengers got involved in, reminding everyone from the heroes themselves to the readers that what was happening on Marvel’s Earth was really just a small part of what was going on out there…
Luke Cage, Hero for Hire Nos. 1-9 (1972-1973)
Luke wasn’t Marvel’s first black superhero — that’s the Black Panther — but he was the first one to appear in his own solo comic book, and the blaxploitation vibes from this series continue to be a joy almost half a century later. Especially when Doctor Doom drops in for the ninth issue.
Amazing Spider-Man Nos. 121-122 (1973)
Comic book readers were used to the never-ending soap opera of the Marvel Universe by the early 1970s, but that didn’t mean they were prepared for the one-two punch of these issues that killed off both Peter Parker’s longterm love interest and his biggest villain. It was a bold move by creators Gerry Conway and Gil Kane, and one that is still discussed today.
Captain America and the Falcon Nos. 169-182 (1974-1975)
Captain America continued to comment on real world politics in this lengthy story-arc that takes an analogy for the then-contemporary Watergate scandal and uses it as an event that pushes Steve Rogers to quit as Cap and try to find himself again. (It’s more fun and action-packed than it sounds.)
Doctor Strange Nos. 10-13 (1975)
Just as writer Steve Englehart was playing with Cap in the above storyline, he was also pushing Stephen Strange through his own trials, with a storyline that sees a personification of the abstract concept of eternity get tired with humanity and decide to end the world. That the solution involves overcoming a psychic despot who wears a Richard Nixon mask says a lot about where Englehart’s mind — and Marvel’s counterculture status — was at in 1975.
Warlock Nos. 9-15, Avengers Annual No. 7, Marvel Two-in-One Annual No. 2 (1975-1977)
Jim Starlin had already created Thanos by the time he took over the Warlock comic book series, but the villain fit so well into the cosmic, existential storyline about trauma and depression that no-one could see the joins — even when the climax happened in two previously unrelated comic book titles, and featured all manner of guest stars.
Captain America Nos. 193-200 (1976)
Kirby returned from a years-long hiatus from Marvel with a Captain America storyline that was ridiculous, over the top and breathtaking in its desire to entertain and excite. Kirby’s comics remain unmatched in their inventiveness and dynamism, even today, and returning to a character he’d co-created three decades earlier, that was clearer than ever. This was no exercise in nostalgia.
The Eternals Nos. 1-3 (1976)
Kirby also created many all-new concepts for Marvel in his mid-70s return to the company, including this take on the creation myth, in which the gods were aliens returning to Earth to judge humanity, and the devil was literally a mutant who was here to terrorize the rest of us. It’s as out there as it sounds, and it’s amazing.
The Defenders Nos. 31-35 (1976)
Kirby wasn’t the only one creating comics that walked the fine line between goofy and genius; writer Steve Gerber came up with this multi-part storyline for Marvel’s second-string superhero team that involved a hero getting his brain swapped with a deer, a group of mad scientists and the hidden horrors of self-help groups — and somehow, it all works.
Howard the Duck No. 16 (1977)
One of Gerber’s most famous issues during his tenure with Marvel was “Zen and the Art of Comic Book Writing,” in which Gerber — in the midst of moving across the country and unable to complete the story he’d started the issue previously — instead wrote an essay in which he discusses deadlines, moving and his experiences in the comics biz, all illustrated by a group of different artists. It’s unlike anything Marvel had published to that point — which was kind of the operating theory of Howard the Duck as a series to that point.
Black Panther Nos. 1-12 (1977-1978)
The Afro-Futurism that had been present in the Black Panther’s original appearances was brought to the fore in his first solo series — although he had, previously, headlined in the unfortunately named Jungle Action — which pits T’Challa against aliens, Yetis and new psychic powers, because… of course.
The Invincible Iron Man Nos. 120-129 (1979)
Marvel’s heroes had always had human failings, but this storyline made it clear that Tony Stark’s Achilles heel wasn’t his weak heart, but his alcoholism, setting up years of story potential in the process.
Power Man and Iron Fist Nos. 58-65 (1979-1980)
One of the greatest friendships in Marvel — everyone knows its true — enjoys one of the greatest runs in Marvel’s history, and there’s something charming about how funny and laid-back Luke Cage and Danny Rand’s early adventures together are.
Marvel Two-in-One No. 86 (1982)
The humanism at the heart of Marvel’s best work has rarely been more clear than in this issue, where the Fantastic Four’s Ben Grimm sits down for a drink with villain the Sandman, and in the process, shows him that a better life is waiting for him.
Uncanny X-Men Nos. 171-175 (1983)
Clearly, redemption arcs were big in Marvel in the early ‘80s, as these five issues bring former villain Rogue into the X-Men and lets her prove that she’s not a villain anymore after all. (These days, she’s so much part of the franchise, it almost seems wrong to imagine her as the outsider.)
Amazing Spider-Man Nos. 238-239, 244-245, 249-251 (1983-1984)
By the early 1980s, Marvel had enough of a history to start recycling ideas even as it tried to come up with new ones, leading to the Hobgoblin, a re-creation of the Green Goblin a decade after his death — but also a new character in his own right, complete with his own mysteries surrounding his true identity.
The Mighty Thor Nos. 337-340 (1984)
To describe Walt Simonson’s Thor run as beloved is an understatement; for many fans, he’s one the finest creators to work on the character. His opening storyline is a great indicator of what’s to come, with bold artwork and even bolder story choices — including giving Thor’s hammer to an alien space horse, because why not.
The New Mutants Nos. 18-21 (1984)
The X-Men spinoff finally silenced critics with the arrival of artist Bill Sienkiewicz, whose impressionistic work transformed the series about teenage students of Professor Xavier into something far less safe and predictable.
Power Pack Nos. 1-5 (1984)
The next generation of Marvel heroes was something on a lot of minds in the mid-'80s; alongside New Mutants, there was also Power Pack, in which Louise Simonson and June Brigman introduced the Powers family: Four children who end up as a super team after a run in with some aliens. It’s not just got a killer high concept, the execution was faultless.
Marvel Super Heroes: Secret Wars Nos. 1-12 (1984-1985)
Spinning out of a tie-in toy line, the most popular heroes and villains of Marvel’s comic book line were kidnapped by an alien god to fight against each other in this over-the-top storyline. Come for the hype, stay for Mike Zeck’s muscular, dynamic artwork.
Squadron Supreme Nos. 1-12 (1984-1985)
Before Watchmen, there was this series that wondered what would happen if the concept of superheroes was taken to its logical, if science-fiction-inspired conclusion. The result includes a brainwashed populace and a superhero community that can’t quite come together without a common enemy to fight.
The Incredible Hulk No. 312 (1985)
In one issue, creators Bill Mantlo and Mike Mignola redefined the Hulk — and Bruce Banner, more importantly — by revealing that Banner’s father was an abusive parent and husband, and placing childhood trauma central to the existence of the Hulk. It was an overlooked issue at the time, but one that has proven to be central to so many stories going forward.
Daredevil Nos. 227-233 (1986)
During his first time with the character, Frank Miller turned Daredevil into one of Marvel’s must-read heroes. When he returned, teaming with artist David Mazzuchelli, the result was something that cut to the heart of Matt Murdock, and became arguably his defining story to this day.
Dakota North Nos. 1-5 (1986-1987)
An oddity in the Marvel canon, Dakota North is a former model turned private eye whose clients work in the fashion industry, in a five-part series that bucks convention and reads like someone turned the movie Charade into a comic that was somehow even snarkier and more stylish.
The Mighty Avengers Nos. 273-277 (1986-1987)
What happens when all of the supervillains of the Marvel Universe decide that they’ve had enough of the heroes winning every time, and form an army to take them down once and for all? This storyline, which puts gods in the hospital and even Captain America and Thor on the back foot.
West Coast Avengers Nos. 17-24 (1987)
One of the more complicated and Easter egg-filled comic storylines ever published by Marvel, the “Lost in Space-Time” arc splits up the West Coast Avengers — literally a team of Avengers headquartered on the west coast — across multiple time periods in Marvel history, which also includes meeting multiple characters from Marvel’s history and showing up in the background of a number of published stories from Marvel’s history. Basically, picture a Marvel version of Bill and Ted’s Excellent Adventure and you’re more than half there.
The Invincible Iron Man Nos. 225-232 (1987-1988)
The solution to the problem of Marvel having too many characters with Iron Man-esque armor proved to be surprisingly simple: Have Tony Stark decide that he’s going to take care of it himself with an international vendetta against anyone who’s used his technology without permission. Spoilers: It leads to the first full-on brawl between Tony and Steve Rogers, years before Captain America: Civil War.
Fantastic Four Nos. 327-333 (1989)
A true oddity in Marvel’s back catalog: When the writer of Fantastic Four got fired, he decided to wrap up his run with multiple issues written under a pseudonym in which his suggested plots for the book appear as dreams by the characters, leading to a final scene where he himself appears and says that it’ll take someone more talented than him to write a way out of the problems everyone has found themselves in. Alan Smithee credits look like hackwork in comparison.
Damage Control Nos. 1-4 (1989)
The sitcom concept behind this series answers a simple question no one had thought of: What if there was a company responsible for cleaning up after all the superhero battles in the Marvel Universe? That this hasn’t been announced as a Disney+ series yet boggles the mind.
Wolverine Nos. 1-8 (1989)
Given the chance to put fan-favorite X-Men character Wolverine in his own solo comic, writer Chris Claremont did the unexpected: put him, undercover, in what amounted to a comic book reboot of Casablanca. Confounding to fans at the time, it stands the test of time impressively well.
The Incredible Hulk Nos. 372-377 (1990-1991)
Building off work from earlier creators, Peter David and Dale Keown decided to come up with a solution for Bruce Banner’s transformative condition, and in the process created an all-new kind of Hulk almost three decades before Avengers: Endgame introduced the so-called “Smart Hulk.”
The Infinity Gauntlet Nos. 1-6 (1991)
Talking of the cinematic Avengers, Jim Starlin, George Perez and Ron Lim provided the basis for the Uber-arching Thanos plot with this series in which the purple-skinned bad guy got everything he wanted, and then realized that wasn’t such a great idea after all…
The New Warriors Nos. 11-13, 15-17 (1991)
As time marches — admittedly slowly — forward in the Marvel Universe, new groups of younger characters are perpetually needed; the 1990s incarnation was, paradoxically, a throwback to DC’s 1980s New Teen Titans, but the six issues here showed that an old-school approach with new (or, at least, relatively obscure) characters could bear exciting superhero fruit nonetheless.
Marvels Nos. 1-4 (1994)
The early days of the Marvel Universe are revisited in this fully painted love letter to the work of Lee, Kirby, Ditko and the other leading lights of the company’s origins, which also has the benefit of emphasizing the human cost of being a bystander to superheroic events.
X-Men: Alpha, X-Calibre Nos. 1-4, Gambit and the X-Ternals Nos. 1-4, Generation Next Nos. 1-4, Astonishing X-Men Nos. 1-4, Amazing X-Men Nos. 1-4, Weapon X Nos. 1-4, Factor X Nos. 1-4, X-Man Nos. 1-4 and X-Men: Omega (1995-1996)
The massive “Age of Apocalypse” storyline ran through a number of different series, but that merely underscores the ambition of a narrative that literally rewrote the entire world for a four month period and re-examined some of the X-Men tropes from a new angle. What would have happened to the X-Men without Charles Xavier…? The answer, it seemed, was genuinely apocalyptic.
Thunderbolts Nos. 1-12 (1997-1998)
To explain what makes Thunderbolts land so well would be to spoil the opening of the story, so instead, I’ll mention that it’s another story that touches on redemption, as well as offering up an updated take on the classic Marvel formula of soap operatics and dynamic action being the perfect ingredients for superhero success.
Avengers Nos. 19-22 (1999)
The seeds of Avengers: Age of Ultron can be found in this storyline that realizes that the key to raising the stakes on previous Ultron stories was to put Ultron in charge of an Eastern European country that he’s conquered — oh, and to bring more killer robots into the mix.
New X-Men Nos. 114-116 (2001)
Grant Morrison and Frank Quitely’s makeover for the X-Men franchise involved ditching the superhero hero trappings, doing away with the idea that mutant kind was an evolutionary off-shoot and instead firmly stating that they were the evolutionary future, and reinventing the series as a science-fiction soap opera where humanity are kind of the bad guys. Needless to say, it was wonderful.
Runaways Nos. 1-6 (2003)
Even though the characters and concepts behind Runaways were brand new, the series was an instant hit because the core idea is entirely universal: Everyone thought, at least once, when they were a teenager that their parents were bad guys. But what if they actually were?
She-Hulk Nos. 1-12 (2004)
Reviving the character as the star of her own title after more than a decade, this series hit upon the perfect formula to let her stand apart from her more famous cousin: Let her return to being a lawyer, as had been her career way back when, and make the green super-strong elements tangential to the series’ concept. The fans loved it.
Iron Man Nos. 1-6 (2005-2006)
Groundbreaking at the time because of technology that is, these days, almost archaic — the perils of writing Iron Man — Warren Ellis and Adi Granov’s “Extremis” storyline has instead entered a second life of just being a solid reinvention of a beloved character.
Doctor Strange: The Oath Nos. 1-5 (2006-2007)
Doctor Strange has proven to be a difficult character for fans to connect to throughout the years, but this miniseries broke the bad-luck streak, humanizing the hero by placing him under attack by an unknown assassin and searching for a cure for his best friend’s cancer. Making Strange feel more like a person again: Who knew that would work?
The Incredible Hulk Nos. 92-105 (2006-2007)
The yearlong “Planet Hulk” storyline took Bruce Banner out of his unusual environment and placed him — well, in an Edgar Rice Burroughs narrative, basically. That’s not intended as a criticism, as watching the Hulk go from new arrival on an alien planet to the ruler of that planet proved to be one of the most compelling stories in the character’s history.
Annihilation Nos. 1-6 (2006-2007)
Reviving all manner of abandoned concepts and characters and placing them into one gigantic alien invasion story, Annihilation didn’t just revitalize some moribund intellectual property, it also gifted Marvel a new Guardians of the Galaxy that would go on to appear on the big screen.
Marvel Adventures: The Avengers Nos. 9, 12 (2007)
Aimed at younger readers, the Marvel Adventures line nonetheless produced some of the stronger Marvel comics of the early 21st century. Of particular note are these two issues, both comedies that push at some of the more ridiculous edges of Marvel mythology in a way that feels additive and fun, as opposed to merely snark for its own sake.
Captain America Nos. 25-42 (2007-2008)
In theory, the death of Captain America shouldn’t have had the impact that it did; comic fans are cynical enough to know it wouldn’t stick. Score one for Ed Brubaker, Steve Epting et al for creating a story that made everything feel permanent and “real” — and for keeping Steve Rogers dead long enough to let Bucky Barnes step up as the new Cap.
The Invincible Iron Man Nos. 8-24 (2009-2010)
In the wake of the first Iron Man movie, Marvel put the comic book Tony Stark on a redemption arc of his own that had a particularly intense idea at the heart of it: In order to escape his past, Tony Stark needs to wipe his brain and then reinstall it. But… what if things went wrong?
Punisher: War Zone Nos. 1-5 (2012)
It was a story decades in coming, but eventually, Frank Castle went too far, and the superheroes of the Marvel Universe had to take him down. Turns out, though, that the Avengers versus a guy with guns and a bad attitude wasn’t as straightforward as it seemed.
Hawkeye Nos. 1-22 (2012-2015)
Taking Hawkeye out of the Avengers, out of costume, and portraying him as borderline inept at life might not sound like the recipe for success, but this critically acclaimed series proved everyone else wrong as it created a new benchmark for what modern-day Marvel could do.
Superior Spider-Man Nos. 1-31 (2013-2014)
It’s one thing to kill off Peter Parker and replace his mind with that of Doctor Octopus for a cliffhanger ending — the real trick is doing something worthwhile with it afterwards. Turns out, even a fake Spider-Man can learn that lesson about great power and great responsibility after all.
Captain Marvel Nos. 1-6 (2014)
Pulling Carol Danvers out of her perpetual flux of superhero identities and giving her the name of the man who had given her powers might have been a controversial move when it first happened, but the work of Kelly Sue DeConnick and a number of artists — here, David Lopez — proved essential to give Marvel a Captain Marvel it deserved.
Ms. Marvel Nos. 1-5 (2014)
With Danvers upgraded to Captain, it fell upon a new character to take up her old superhero name, and Kamala Khan filled the bill and then some. Optimistic, determined and fearless when the chips are down, she’s an updated Peter Parker, and an embodiment of everything good about Marvel’s heroes.
Daredevil Nos. 1-18 (2014-2015)
After years of continually more grim and darker stories stemming from the Frank Miller era, Mark Waid’s arrival to Daredevil felt like a breath of fresh air. Combined with the art of Chris Samnee, the two created something that felt timeless and honest within the structure of adventure fiction.
Thor Nos. 1-8 (2014-2015)
When the original Thor realized that he wasn’t as worthy of carrying Mjolnir as he believed, the hammer just went out and found someone else to be Thor, instead. As refreshing as that change may be, what really makes this short-lived series sing is the fact that the new Thor’s secret identity was kept secret all the way to the end, adding an extra layer of mystery to events.
The Unbeatable Squirrel Girl Nos. 1-4 (2015)
Rarely has any comic felt as genuinely good as Squirrel Girl; upbeat, kind and funny in such a manner that it feels effortless, it’s a model for superhero comics that more should look to emulate.
The Vision Nos. 1-12 (2015-2016)
Deconstructing the robotic Avenger’s dreams of emulating humanity at the same time as it deconstructs the myth of American suburbia, The Vision is what happens when American Beauty crashes into the Marvel Universe.
The Astonishing Ant-Man Nos. 1-13 (2015-2016)
Scott Lang has a lengthy history in Marvel’s comic book mythology, but it arguably took until this series for the comics to nail the character — someone who genuinely wants to be good and tries his best, but sometimes just… falls short. (Does that count as a size joke?)
Black Panther Nos. 1-12 (2016-2017)
The signing of Ta-Nehisi Coates as writer for this series was a big deal when it was announced, but the fact that he delivered such a strong story for Brian Stelfreeze and Chris Sprouse to illustrate is what makes this something worth revisiting again and again.
Hawkeye Nos. 1-16 (2016-2018)
As the earlier series demonstrated, Clint Barton isn’t the best Hawkeye, which made it only logical that the 2016 revival of the series would concentrate on Kate Bishop, the woman who has all of Clint’s best traits — and just a few of his crummy ones, too — as she set up as a private eye in Southern California.
Black Bolt Nos. 1-12 (2017-2018)
That it took taking the king of the Inhumans away from his family — and placing him in an intergalactic prison that negates his powers — to finally deliver the character piece that he’s deserved for more than half a century was a surprise, but a welcome one.
Amazing Spider-Man No. 801 (2018)
What does it mean to be Spider-Man? As this issue argues, it’s not about the powers, it’s not about the big villains or spinning a hundred webs. It’s about the small stuff. A poignant reminder of why Peter Parker’s alter ego continues to be Marvel’s heart and soul.
X-Men Red Nos. 1-11 (2018)
The all-too-short-lived series is, for all intents and purposes, a restatement of the classic values of the X-Men franchise, and a reminder of what it means to stand up against fear and hatred, especially in this particular time in history.
The Immortal Hulk Nos. 1-13 (2018-2019)
One of Marvel’s current highlights, and perhaps the strongest sustained Hulk run in the character’s history, Al Ewing and Joe Bennett transform the series into a horror story and look underneath the hood of what makes the Hulk tick. It’s not always pretty, but it’s utterly compelling.
by Rick Porter
by Kimberly Nordyke