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Raffi Musiker commands the U.S.S. Endeavour in Star Trek: Zero Point #1. We review the new AI mystery and Jose Jaro Goes Dark variant.
This Star Trek: Zero Point #1 comic review looks at the launch of IDW’s new Star Trek series from writer Charlie Jane Anders and artist Isaac Sánchez González. Raffi Musiker takes command of the U.S.S. Endeavour only to find that her first assignment involves a classified Starfleet project, mysterious technology recovered from the Epsilon Corridor, and an experimental artificial intelligence capable of predicting threats before they happen. Midtown Comics
This copy features the Cover D Jose Jaro IDW Goes Dark Variant, giving the new science-fiction series a dramatically darker, horror-inspired presentation.
The exact Cover D credits Jose Jaro for pencils, inks, and colors. Grand Comics Database
Jose Jaro’s IDW Goes Dark cover immediately separates this edition from the brighter science-fiction imagery normally associated with Star Trek. A terrified Starfleet officer recoils from a blood-covered, unidentified figure while harsh reds, purples, and shadows turn the normally clean Starfleet environment into something closer to a horror scene.
The artwork fits IDW’s Goes Dark theme particularly well because it takes the optimism and order associated with Starfleet and replaces it with uncertainty, violence, and fear.
Star Trek: Zero Point #1 begins with Raffi Musiker taking command of the U.S.S. Endeavour.
Her first assignment is anything but routine.
Starfleet gives Raffi a highly classified directive centered on a powerful experimental artificial intelligence constructed from mysterious technology recovered in the Epsilon Corridor. The system can supposedly predict threats before they occur. Midtown Comics
That sounds like an incredible advantage for Starfleet, but it also creates the central question of the series: how much authority should anyone give to a machine nobody completely understands?
Raffi is instructed to follow its guidance while systems fail, pressure builds, and missions become increasingly dangerous. Her responsibility is no longer simply to investigate strange phenomena. She has to decide whether the intelligence directing the Endeavour is actually protecting the Federation—or steering the crew toward something worse. Midtown Comics
The setup is particularly well suited to Star Trek because it turns a technological breakthrough into an ethical and command problem.
An artificial intelligence capable of predicting the future could prevent disasters and save millions of lives. It could also manipulate decisions, eliminate uncertainty, and place enormous power in the hands of whoever controls it.
The discovery of a starship graveyard on the moon only makes the mission more unsettling. Midtown Comics
Isaac Sánchez González handles the interior artwork for the series. Penguin Random House Comics Retail
A new Star Trek title has to accomplish several visual tasks at once. The ships, uniforms, technology, and Starfleet environments need to feel recognizable while the new crew and mission still need their own identity.
Zero Point’s classified technology provides an opportunity to introduce something that does not fit comfortably within normal Federation expectations.
That is especially important for a story in which the characters themselves do not fully understand the technology they are being ordered to trust.
For this edition, however, Jose Jaro’s cover gives the book a completely different first impression.
Instead of emphasizing starships or heroic exploration, Jaro focuses on fear.
The frightened Starfleet officer, blood-spattered imagery, and threatening foreground figure turn Zero Point into something that looks almost like a space-horror book.
That tension actually complements the story. Raffi may technically be beginning a Starfleet mission, but the cover suggests immediately that something about this assignment is badly wrong.
Raffi Musiker is an especially interesting character to place in command of a mission involving secrecy and questionable technology.
Raffi has never been someone who blindly accepts what institutions tell her.
Now she is responsible for an entire crew while Starfleet itself is asking her to trust an artificial intelligence whose capabilities and origins are not completely understood.
That changes the nature of her skepticism.
Questioning an order when you are working alone is one thing. Questioning the information guiding an entire starship is something else entirely.
Every decision now affects the officers serving under her.
The situation also creates an interesting conflict between instinct and data.
If the AI predicts a threat but Raffi’s judgment says something different, which one should a captain trust?
That question gives Zero Point a strong foundation for exploring Raffi as a commanding officer rather than simply returning her to another supporting role.
Star Trek: Zero Point #1 launches a new IDW Star Trek series and gives Raffi Musiker command of the U.S.S. Endeavour.
The first issue was released with multiple covers, including the standard Valeria Favoccia Cover A, a photo variant, Viktor Farro foil, the Jose Jaro IDW Goes Dark Cover D, and a Blank Sketch Cover E. Penguin Random House Comics Retail
The Jose Jaro version is an open-order $4.99 variant, not a ratio incentive, so collectors should not automatically treat it as scarce. Grand Comics Database
Its appeal comes primarily from the artwork and the Goes Dark theme.
This cover presents Star Trek in a visual style very different from the franchise’s normal promotional imagery. That gives it crossover appeal for collectors who follow horror-themed variants as well as traditional Star Trek collectors.
Jose Jaro’s complete cover credit—pencils, inks, and colors—also makes this a clearly identifiable artist variant rather than simply an alternate trade-dress edition. Grand Comics Database
Star Trek: Zero Point #1 starts with a premise that feels appropriately Star Trek while still giving the new series its own mystery.
Raffi Musiker receives command of the U.S.S. Endeavour and immediately finds herself responsible for missions dictated by an experimental artificial intelligence built from technology Starfleet does not completely understand.
That creates questions about command, trust, artificial intelligence, and the risks involved when technology begins making decisions faster than the people responsible for using it.
Charlie Jane Anders provides the science-fiction mystery while Isaac Sánchez González establishes the visual world of the new series.
For collectors, the Jose Jaro IDW Goes Dark Variant is particularly interesting because it takes the normally optimistic visual language of Star Trek and pushes it directly into horror.
Recommended for Star Trek readers, Raffi Musiker fans, Jose Jaro collectors, IDW Goes Dark collectors, and readers who enjoy science-fiction stories about artificial intelligence and questionable technology.
Star Trek: Zero Point #1 Jose Jaro IDW Goes Dark Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
A perfect community starts to collapse in You’ll Never Leave This Place Alive #1, featuring the Alex Eckman-Lawn Cover B cover set.
This You’ll Never Leave This Place Alive #1 comic review looks at IDW Dark’s new horror mystery from writers Collin Kelly and Jackson Lanzing.
Heather Vaughan handles the interior artwork. Alex Eckman-Lawn created the unusual Cover B cover-set presentation.
Phoebe “Phee” Joplin has spent her entire life inside a secluded community built by her parents and their friends.
She has always believed that world was safe.
Then graduation night changes everything.
This copy features the Cover B Alex Eckman-Lawn Cover Set Variant. Unlike a normal illustrated cover, this edition uses a special cover-set presentation with the white outer element and the illustrated cover beneath it.
IDW officially identifies this edition as the Variant B Eckman-Lawn Cover Set. Penguin Random House Comics Retail
The unusual construction immediately separates this edition from the standard Cover A and the other illustrated variants.
Instead of relying on a conventional single front image, the cover-set presentation gives the issue an almost unfinished or hidden quality. That fits a story built around appearances, secrecy, and discovering what exists underneath a carefully constructed surface.
You’ll Never Leave This Place Alive #1 begins with a simple idea.
Phee believes she grew up in the perfect place.
Her parents and their friends built a secluded community away from the problems of the outside world.
Five children grew up there together.
They received education, safety, structure, and protection from everything their parents considered dangerous.
Then one of them dies.
The death happens under circumstances that should not be possible.
That event changes everything for Phee.
The community stops feeling completely safe. Rules begin to look different. Adults she trusted suddenly raise questions.
Writers Collin Kelly and Jackson Lanzing build the horror around that growing doubt.
They do not reveal every secret immediately.
Instead, Phee begins pulling at the edges of the life she has always accepted.
The more she questions, the less secure the community becomes.
That approach works because the characters did not wander into a strange place.
They were raised there.
For Phee, discovering the truth means questioning her parents, her childhood, and nearly everything she understands about her own life.
Heather Vaughan handles the interior artwork.
The story needs the community to feel believable before it can become frightening.
That makes the early visual presentation important.
Homes, rooms, and familiar spaces need to look normal enough that Phee would never question them.
As her doubts grow, those same environments begin to feel more restrictive.
That change gives the artwork an important role in the horror.
The story does not need constant monsters or gore.
A hallway, a house, or a familiar face can become disturbing once Phee stops trusting what she sees.
The Alex Eckman-Lawn Cover Set adds another unusual visual element to this edition.
The white outer portion creates a very different first impression from a standard printed comic cover.
It feels almost intentionally incomplete.
That presentation works well with a story about hidden layers and the danger of looking beneath the surface.
Phoebe Joplin begins the story with a major disadvantage.
She has no normal outside childhood to compare with her own.
The community is not somewhere she moved.
It is home.
The adults who built it are not strangers.
They are her family and the parents of her closest friends.
That makes every new suspicion harder to accept.
If Phee discovers that the community exists for reasons she never understood, then she must also accept that the people she trusted may have lied to her for years.
Her friendships matter just as much.
The five children grew up together inside a world almost nobody outside could understand.
One death threatens that entire bond.
The book mixes horror and mystery effectively.
The mystery asks what the community really is.
The horror comes from what Phee may discover.
At first, the danger appears to come from outside normal life.
Then the story reverses that idea.
The place designed to protect the children may actually be the source of the danger.
That gives the title extra weight.
You’ll Never Leave This Place Alive sounds less like a warning about the outside world and more like a warning about home itself.
The limited-series format should also help the mystery stay focused.
There is no need to stretch the central question across dozens of issues.
You’ll Never Leave This Place Alive #1 launches a new IDW Dark horror series.
The first issue includes several covers.
Heather Vaughan created Cover A. Alex Eckman-Lawn created the Cover B Cover Set. Morgan Beem created the IDW Goes Dark Cover C. IDW also released higher-ratio Joshua Hixson incentive editions. G-Mart Comics
The Alex Eckman-Lawn edition is not a ratio incentive.
Its attraction comes from the unusual cover-set format and the artist attached to it.
That makes it different from a normal alternate illustration.
Collectors who like unusual cover formats may find this version more interesting than a standard open-order variant.
The fact that it is also issue #1 of a new horror series adds another collecting angle.
You’ll Never Leave This Place Alive #1 starts with a strong psychological-horror idea.
Phee has spent her entire life believing that isolation kept her safe.
The first issue begins destroying that belief.
Collin Kelly and Jackson Lanzing build the mystery gradually. Heather Vaughan gives the story an uneasy visual atmosphere.
The Alex Eckman-Lawn Cover Set Variant adds something unusual to the physical comic itself.
Its layered presentation fits a story about appearances, hidden truths, and discovering what lies underneath.
Recommended for horror readers, mystery fans, IDW Dark collectors, Alex Eckman-Lawn collectors, and readers who enjoy stories about supposedly perfect communities hiding dangerous secrets.
You’ll Never Leave This Place Alive #1 Alex Eckman-Lawn Cover Set Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
A perfect community becomes a nightmare in You’ll Never Leave This Place Alive #1. We review the horror debut and Morgan Beem variant.
This You’ll Never Leave This Place Alive #1 comic review looks at the debut of IDW Dark’s new horror mystery. Collin Kelly and Jackson Lanzing write the series, with artwork by Heather Vaughan.
Phoebe “Phee” Joplin has spent her entire life inside an isolated community. Her parents and their friends created it to escape the dangers of ordinary society.
Phee and four other children grew up believing their home was safe. That belief begins to collapse on the night of their graduation.
This copy features the Cover C Morgan Beem IDW Goes Dark Variant. Beem’s disturbing artwork fits a story built around hidden violence, mistrust, and a supposedly safe place hiding something much darker.
Morgan Beem’s cover immediately creates an uncomfortable mood. Blood, close framing, and soft colors make the image feel personal and threatening at the same time.
That contrast fits the story perfectly. Something familiar and intimate can still hide something dangerous underneath.
The strongest part of You’ll Never Leave This Place Alive #1 is its central idea.
Phee grew up believing isolation meant protection.
Her parents removed their families from ordinary society and built a controlled community. They promised safety, education, stability, and freedom from outside dangers.
Then one of Phee’s friends dies.
The death should not have happened. It forces Phee to question everything around her.
Her home suddenly feels different. The adults seem less trustworthy. Rules that once felt protective begin to look more like restrictions.
Writers Collin Kelly and Jackson Lanzing let that doubt drive the story.
They do not explain every mystery immediately. Instead, they let Phee slowly realize that her entire life may rest on carefully constructed lies.
That makes the horror more effective.
Phee and her friends did not wander into a dangerous place.
They were born there.
For Phee, learning the truth may mean accepting that nearly everything she knows about her childhood was designed to control her.
Heather Vaughan’s artwork gives the book much of its unsettling atmosphere.
The story needs the community to feel normal at first. Otherwise, Phee would never have accepted it as home.
Vaughan makes familiar spaces feel increasingly uncomfortable as Phee begins asking questions.
The horror does not depend on constant monsters or gore. Instead, expressions, rooms, relationships, and small details create tension.
That slower visual approach works well with the mystery.
As Phee becomes suspicious of her surroundings, the reader begins looking at those same surroundings differently.
For this edition, Morgan Beem’s IDW Goes Dark cover pushes the horror even further.
The image does not explain the plot. It creates a feeling.
Blood and intimacy dominate the composition. The soft watercolor-like appearance makes the violence feel even more disturbing.
It works as a strong introduction to the tone of the series.
Phoebe Joplin faces a difficult problem because she has no normal outside life to compare against her own.
The community is not somewhere she moved.
It is the only home she knows.
The adults who built it are also the people who raised her.
That makes Phee’s growing distrust much more complicated.
If the community hides a terrible secret, then Phee must question her parents, her childhood, and the people she trusted most.
Her friendships also matter.
Phee and the other children share an upbringing that outsiders could never fully understand. The death at the center of the first issue threatens that bond.
As the mystery grows, they may also begin questioning one another.
The horror and mystery work together well.
The mystery asks a simple question:
Why does this community really exist?
The horror comes from the possibility that Phee may not like the answer.
The title itself adds to that fear.
You’ll Never Leave This Place Alive suggests that escape may carry a terrible cost.
The series also has a limited three-issue format. That should help the story stay focused instead of stretching the mystery too far.
A short run gives the creative team room to build tension while still moving toward answers quickly.
You’ll Never Leave This Place Alive #1 launches a new IDW Dark horror miniseries.
The first issue also features several alternate covers.
This copy uses the Morgan Beem Cover C IDW Goes Dark Variant.
It is an open-order variant rather than a ratio incentive. Collectors should not assume it is rare simply because it is a variant.
The main attraction is the artwork.
Morgan Beem’s cover fits the horror theme extremely well. It also gives collectors a visually different option from the standard cover.
The first issue format adds another collecting angle. Readers who enjoy horror comics often like trying new series from the beginning.
For collectors of IDW Dark, Morgan Beem, or modern horror comics, this version has a strong visual identity.
You’ll Never Leave This Place Alive #1 starts with a strong horror premise.
Phee has always believed the outside world was dangerous. Her parents taught her that the community kept everyone safe.
The first issue begins tearing that belief apart.
Collin Kelly and Jackson Lanzing build the mystery without revealing everything too quickly. Heather Vaughan gives the story an uneasy visual style that supports the growing distrust.
Morgan Beem’s IDW Goes Dark Variant fits the material especially well.
The cover feels disturbing before the reader even opens the book. That makes it feel like part of the horror experience rather than simply another alternate cover.
Recommended for horror readers, mystery fans, IDW Dark collectors, Morgan Beem collectors, and readers who enjoy stories where a safe place slowly becomes terrifying.
You’ll Never Leave This Place Alive #1 Morgan Beem IDW Goes Dark Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
Liliana Vess hunts Griselbrand on Innistrad in Magic: The Gathering Untold Stories Liliana #1, featuring an Abigail Larson variant cover.
This Magic: The Gathering Untold Stories Liliana #1 comic review looks at Dark Horse’s new four-part story about Liliana Vess.
Torunn Grønbekk writes the series. Nataliia Rerekina handles the interior artwork, with colors by Lauren Affe.
Liliana gained incredible power through bargains with four demons. Those bargains also cost her pieces of her freedom.
Now she wants them back.
This copy features the Cover C Abigail Larson Variant. Larson presents Liliana surrounded by deep purple tones and flowing magical energy. The artwork immediately captures the dark fantasy style associated with the character.
Dark Horse confirms the creative team, $4.99 price, 32-page length, and four-issue format. PRH Comics
Abigail Larson’s cover leans directly into Liliana’s dark fantasy identity. Purple dominates the image, while spectral energy moves around her throne.
Liliana looks completely in control, but the darker background hints at the dangerous bargains that continue to shape her life.
Liliana Vess possesses enormous power.
That power came with a price.
She bargained her soul to four powerful demons: Kothophed, Razaketh, Belzenlok, and Griselbrand.
Liliana eventually decided that freedom mattered more than the power those bargains gave her. She began hunting the demons tied to her contracts.
This story follows that struggle.
Her search brings her to Innistrad, where she believes she can find Griselbrand. The plane already suffers from corruption, chaos, and violence.
Liliana therefore walks into danger before she even reaches her true target.
The story also gives Dark Horse a chance to explore part of Liliana’s history rather than simply retell events Magic players already know. The publisher specifically presents this as an untold story from her past. PRH Comics
That makes the book accessible in two ways.
Longtime Magic players get another piece of Liliana’s history.
Newer readers get a straightforward dark fantasy story about a necromancer trying to escape the consequences of her own choices.
Nataliia Rerekina handles the interior artwork.
Liliana’s story needs a strong sense of atmosphere. Innistrad is not a bright heroic fantasy setting.
It is a place filled with corruption, monsters, death, and supernatural danger.
That environment suits Liliana.
She works with death rather than running from it. Her magic can make horrific places feel almost natural to her.
The artwork therefore has to balance two ideas. Innistrad must feel threatening, but Liliana must still appear capable of surviving there.
For this edition, Abigail Larson’s cover pushes the gothic atmosphere even further.
Liliana sits almost like dark royalty. Purple magical shapes move throughout the composition.
The image is elegant rather than chaotic.
That suits Liliana because her danger often comes from confidence and control rather than brute force.
Liliana remains one of Magic: The Gathering’s most recognizable Planeswalkers.
Her power has always come with consequences.
The demonic bargains at the center of this story are a perfect example.
Liliana wanted greater power. She got it.
She also discovered that power does not mean much when someone else owns part of your future.
That gives the story a strong personal motivation.
Liliana does not hunt Griselbrand because someone ordered her to do it. She wants control over her own life.
That motivation makes her easy to understand even for readers who do not know every part of Magic lore.
She made terrible deals.
Now she intends to break them.
Innistrad is an excellent setting for this story.
The plane already mixes fantasy with gothic horror.
Vampires, demons, undead creatures, and other supernatural threats are normal parts of its world.
Liliana fits comfortably inside that environment.
Her necromancy does not feel out of place there. In many situations, she may be one of the least frightening things around.
That gives the series room to embrace horror without changing who Liliana is.
It also creates a good contrast.
Liliana arrives looking for one specific demon, but Innistrad contains plenty of other threats that can interfere with her plans.
Magic: The Gathering: Untold Stories – Liliana #1 begins a new four-issue Dark Horse miniseries.
Dark Horse released three regular covers for the first issue.
Nataliia Rerekina created Cover A. Sibylline Meynet created Cover B. Abigail Larson created Cover C. comicsbodega.com
All three carry the same original $4.99 cover price.
That means the Abigail Larson edition is an open-order variant rather than a ratio incentive.
Collectors should not assume scarcity based only on the variant designation.
The appeal comes from several other factors.
It is issue #1. It stars Liliana Vess. It begins a short four-part story. It also features artwork from a named cover artist with a style that fits the character particularly well.
Magic: The Gathering also brings a collector audience beyond traditional comic readers.
That makes the series interesting for both comic collectors and Magic fans who normally focus on cards or game-related merchandise.
Magic: The Gathering: Untold Stories – Liliana #1 starts with a strong character and a simple goal.
Liliana wants her freedom.
Getting it means confronting the demons who hold pieces of her soul.
Torunn Grønbekk uses that premise to explore Liliana’s past while sending her into the gothic horror world of Innistrad.
Nataliia Rerekina supplies the interior artwork, while Abigail Larson gives this edition a strong dark-fantasy cover.
The Abigail Larson Cover C Variant is especially attractive for collectors who already associate Liliana with purple magic, necromancy, and gothic imagery.
Recommended for Magic: The Gathering fans, Liliana Vess collectors, Abigail Larson collectors, dark fantasy readers, and anyone interested in exploring Magic lore through comics.
Magic: The Gathering: Untold Stories – Liliana #1 Abigail Larson Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.
Spider-Man battles Ravage after issue #1000 in Amazing Spider-Man #1001. We look at Joe Kelly’s story and the Mark Bagley variant cover.
This Amazing Spider-Man #1001 comic review looks at the first chapter following Marvel’s landmark 1000th issue of Amazing Spider-Man. Writer Joe Kelly and artist Pepe Larraz immediately move Peter Parker into the aftermath of that milestone as Spider-Man faces Ravage and discovers that Aunt May is caught directly in the middle of the conflict.
This copy features the Cover C Mark Bagley Variant, bringing one of the most recognizable modern Spider-Man artists back to the character for a dynamic battle cover.
Mark Bagley’s variant throws Spider-Man directly into combat with Ravage, using the kind of fluid movement and exaggerated action that has defined much of Bagley’s Spider-Man work.
Spider-Man twists through the foreground while Ravage attacks from above with multiple weapons, creating a fast-moving composition that immediately establishes the physical threat facing Peter after the events of issue #1000.
The Amazing Spider-Man #1001 has the difficult job of following one of the biggest numerical milestones in Marvel history.
Rather than treating the issue as a quiet reset after #1000, writer Joe Kelly immediately pushes Peter Parker into another crisis.
Spider-Man is forced to battle Ravage, the frightening new enemy introduced around the milestone issue, but the conflict becomes considerably more personal when Aunt May is placed in danger.
That creates stakes beyond whether Spider-Man can simply defeat another villain.
Peter’s relationship with Aunt May has always been one of the emotional foundations of Amazing Spider-Man. Any threat to her immediately changes the nature of the fight, especially when Peter is already dealing with the consequences of what happened in issue #1000.
The result is an issue designed to show that reaching #1000 was not an ending. It was the beginning of the next problem.
Pepe Larraz handles the interior artwork, continuing Marvel’s emphasis on large-scale, energetic superhero action.
Spider-Man benefits enormously from an artist who can communicate speed and movement. His fights are rarely simple exchanges of punches; Peter swings, twists, dodges, falls, and improvises while constantly changing position.
A villain like Ravage gives Larraz an opportunity to contrast Spider-Man’s agility with a much more physically intimidating opponent.
For this particular copy, however, Mark Bagley’s variant cover is the major visual attraction.
Bagley has one of the longest and most recognizable histories with Spider-Man of any modern artist. His work on Amazing Spider-Man and Ultimate Spider-Man helped define Peter Parker for generations of readers.
That history makes a Bagley cover on the issue immediately following #1000 especially appropriate.
Peter Parker begins issue #1001 dealing with more than another costumed enemy.
The danger surrounding Aunt May brings Peter back to one of his oldest fears: that the people closest to him will suffer because he is Spider-Man.
That fear has shaped Peter since the beginning of his career.
No matter how experienced Spider-Man becomes or how powerful the opponent, Peter never completely escapes the responsibility he feels toward his family and friends.
Ravage therefore represents more than a physical threat. If Aunt May is caught in the middle, Peter is forced to confront the possibility that his life as Spider-Man has once again placed someone he loves in danger.
That personal connection helps prevent the aftermath of issue #1000 from becoming simply another oversized superhero battle.
The Amazing Spider-Man #1001 is naturally tied to one of the biggest milestones in the title’s history.
Issue #1000 attracted an enormous creative lineup and celebrated more than six decades of Spider-Man stories. Issue #1001 is where the regular narrative has to continue after that celebration. Midtown Comics
The Mark Bagley Variant adds another collectible angle.
Bagley is strongly associated with Spider-Man and remains particularly popular with readers who followed either his Amazing Spider-Man work or his record-setting Ultimate Spider-Man run.
This is an open-order variant rather than a limited incentive cover, so scarcity should not automatically be assumed.
Its appeal instead comes from the combination of a historically significant issue number, a new Spider-Man villain, and artwork from an artist with a major connection to the character.
For collectors who prefer artist-focused variants, the Bagley cover is an especially natural choice for an Amazing Spider-Man issue.
The Amazing Spider-Man #1001 proves that Marvel did not intend issue #1000 to function as a stopping point.
Joe Kelly immediately continues the conflict with Ravage while making the situation more personal by placing Aunt May in danger.
Pepe Larraz provides the interior action, while Mark Bagley’s variant gives longtime Spider-Man readers a cover from one of the artists most closely associated with Peter Parker’s modern history.
For collectors, the Mark Bagley Variant offers a strong combination of character history and milestone significance without requiring the premium attached to a ratio incentive edition.
Recommended for Amazing Spider-Man readers, Peter Parker fans, Mark Bagley collectors, and anyone continuing directly from the landmark issue #1000.
The Amazing Spider-Man #1001 Mark Bagley Variant is available from Razmataz Comics & Hobbies at razmatazcomics.com while supplies last.