Weblines: THE J. MICHAEL STRACZYSNKI RUN – Part VI.

Previously, on The Amazing Spider-Man:

In the issues that preceded the battle with Shathra in one of the Spider-temples in Ghana (issue #48-vol.2), Peter was shown having deep insights about his spider-nature, a door never before noticed until the coming of Ezekiel Sims. And though his agenda is still shrouded in secrecy, he aided Peter physically and psychologically before the final battle with the Spider’s natural enemy. All Peter had to do was to consciously unlock his Spider predatorial nature within himself. As the battle took place in his own (and Ezekiel’s) place of power, the spiders present in the temple acknowledged him as a next of kin; his Spider-essence is now part of his self, and that helped to bring the Wasp predator down.
Peter knows there is something more inside of him beyond the powers that grant him the abilities of a Spider. The path to self-discovery leads to the acknowledgment of our own nature.

For J. Michael Straczynski, it’s all about character. His writing method and approach is based on what these characters – if treated as real people – can do, and how they act and react. It is by knowing them to the bone and soul that any plot idea or even an extrapolation can make sense. Because they will respond accordingly. And that drives the story forward. He has a plan for Spider-Man. He simply put on the table the simplest of questions about the origin of Peter’s arachnid powers: why Peter Parker? Why a spider? What is this Spider?
JMS’s approach to the matter covers psychological, archetypal, and mythological aspects and he’s taking the reader by the hand for the ride. He wants the reader to delve deep into the mind of Peter Parker and the essence of the Spider-Man. The more he unveils new truths about his origin (just like any other person under psychological examination), transformations occur; the first is the acknowledgment aforementioned – the acceptance that there’s more to him than just his abilities. There’s a higher source of power within himself and he can consciously access it to his own will.
In that regard, despite having an agenda of his own not yet revealed to Peter and the reader, Ezekiel acts as a harbinger and advisor to Peter’s internal journey; he helps Peter to unlock and discover the Spider-nature within himself and what it represents in a larger scale. Like any other psychological process, the acceptance of new truths must be taken slowly; by simple suggestions to be slowly analyzed. It’s through Ezekiel that Straczynski, John Romita Jr., Scott Hanna, and Dan Kemp suggest different possibilities to the very origin of Spider-Man – within the realm of what is considered “real” in the Marvel Universe:

“I know you’re scientifically inclined and I know you don’t want to believe that your powers are in any way totemistic in nature or origin. I get that. But the paranormal of the unexplained is in every aspect of life. Church, physics, metaphysics, crop circles, Thunder Gods, Sorcerers Supreme, out of body experiences, extra-dimensional travel, the soul, art, music, Gaia, big green – sometimes grey – guys who should’ve died in gamma bomb bursts but just got real strong instead.
You can’t isolate yourself from the world, and say none of it has anything to so with you because that’s the way you want it. Maybe the Spider that bit you was intended for you and you alone, maybe it was sent, maybe it was operating in a larger context. That’s a connection going in to something more, something bigger. Maybe the Spider had nothing behind it at all, no meaning, no intent, no context, it just webbed its way into the wrong place at the wrong time. But that scientific event tapped into ideas and constructs and racial memories and powers that were here long before science showed up.”

Cosmic Rays, Gamma radiation, Super-Soldier serum with Vita-Rays, genetic mutation, Asgardian gods, Infinite Gems, Inhumans, Eternals, Celestials, Spirits of vengeance, shape-shifting aliens, devourers of planets, and irradiated spiders.
The Marvel universe is filled with extraordinary elements and lifeforms that never cease to astonish its readers. But the core factor that makes it unique is the personality of each character who wields those elements and/or confronts them. It is not the web-slinging, the proportionate strength, and agility of a Spider who makes the Arachknight so amazing; it is Peter Parker who makes the adventures of Spider-Man so special because he suffers the consequences of having to wear the mask and do what is right. But at the same time, he’s free under it.
From a psychological standpoint, Peter Parker might be more of a complex character than Bruce Wayne, who is driven by a promise and whose personal life is almost irrelevant. Bruce Wayne doesn’t have to care about what happens to his life. All that matters is the Batman persona; his drive is to safeguard Gotham City until all evil is purged from it. It’s a proactive attitude, whereas Peter’s is more reactive: his purpose is to deal with his failure in the best way he can – by not letting that happen to others -, but it doesn’t mean he refrains himself to lead a normal life. Even though it’s a maladjusted one, due to the toll his alter-ego takes on it. He’s conscious of this choice. The consequences of power and responsibility. Peter Parker is unable to separate his identities because being a hero was a consequence of a poor choice thrust at him. It is this concept that makes his stories so compelling. It is a pattern that became a rule in order to seek the appeal from readers of superhero comics. For instance: in the current DC Comics’ continuity, Batman is married to Catwoman. Bruce Wayne reached an adult age in his mind, and his heart followed; he has become more open for human conditions and found Love. From behind the curtains, the purpose is to “humanize” Batman. Whereas for Spider-Man, more than any other superhero, he knows what true Love looks and feels like. In that matter, The Amazing Spider-Man monthly comic book is again ahead of the curve, subtly dictating how the portrayal of a married superhero life is like, and how a female character outgrew her role as a supporting character to become an integral part of the title.

Case in point:

Sometimes, stories of good vs. evil are not enough. Surely they can teach human values. The altruistic attitude from superheroes can light the path to define what is morally right and wrong, and even suggest how the path to self-discovery should be walked by those who seek deeper truths within and in the reality of this complex world.
Some stories can touch upon the subjects of Love, suffering, sacrifice, detachment, loss, redemption, strange encounters, humbleness, and death. These themes ring true to us because they’re part of our human condition, which is very complex in itself. That’s why the value of stories cannot be overstated enough; even if those themes are presented through superhero stories, they add an unsubstantial (though valuable) meaning in our lives, because few things/events which can be described as extraordinary happen in it. Half of those things/events can be qualified as really special. Given the nature of our reality and the uniqueness of our emotions, Love is the one element that defines most of those moments as special ones – that add true meaning to them. It’s no wonder that some works of fiction (literary, soap operas, comedies, and dramas feature films) end up with a wedding because it represents a celebration – a conquest of sorts. The divided parts overcome their challenges and find out they’re stronger together, deserving one another. Love has the power to cause transformation, evolution, unification, change. it is the kind of Love one can aspire to cultivate, especially when reading the stories of Mary Jane Watson and Peter Parker in the pages of The Amazing Spider-Man.

Stan Lee and Steve Ditko might have conceived one of the greatest supporting characters in comics, but it was Gerry Conway‘s decision to upgrade her status into someone who would, decades later, be part of the title as the hero himself. Such contribution cannot be overstated enough.
Since MJ’s refusal to leave Peter’s home to console him after the death of Gwen Stacy in ASM#122 (vol.1 July 1973), something new about her character was unveiled: the carefree party girl without a worry in her world showed the readers that she really cared about Peter – more than he (and the readers) ever knew until then. Her character revealed depth, and from it, much was yet to be explored; the layers that composed the backstory of her life were slowly built until her acceptance to Peter’s proposal in issue #292 (vol.1 September 1987) that culminated in their wedding in ASM Annual #21 (vol.1 September 1987) From that issue onwards, the character reached a new level of growth.

On that note, it’s also important to highlight Peter’s other maturity hallmarks and their relevance to the superhero comic book continuity, because no other title presented such a chronology that establishes a character’s internal growth like his:

• Amazing Fantasy #15 (vol.1): in which a teenager learns that every action (or lack thereof) has a consequence; basically, that life is suffering.
• ASM #28 (vol.1): Ditko & Lee groom Peter from high school to University; when was that shown before?
• ASM#33 (vol.1): Peter Parker fights impossible odds in order to not let his last remaining family member die due to an act of his own making; a weight is metaphorical, physical, and literally lifted out off his shoulders – he emancipates himself as a man.ASM#121 (vol.1): The death of Gwen Stacy; the very first true Love his life dies due to his actions as a superhero.
• ASM#38 (vol.2): “The Conversation” – Peter and May Parker sit down and talk about her discovery of her nephew’s second life; an issue already covered in this column.

Which other superhero character goes through so much in a chronological storytelling fashion? That’s the greatest contribution to the superhero comics lore given by Stan Lee and Steve Ditko.

When Peter and Mary Jane got married, Spider-Man’s hype in the comic book market was renewed; for a while, the depiction of their lives was multiplied across different titles, each with divergent storylines, but equally fun: The Amazing Spider-Man, Peter Parker The Spectacular Spider-Man, Web of Spider-Man, Friendly Neighborhood Spider-Man and the adjectiveless Spider-Man. Throughout the nineties, it seemed as Peter and MJ were cloned to be present in them – pun intended. Still, regardless of the amount and questionable quality of some stories, their marriage proved to be successful.

In the dawn of a new century (January 2000) the then Editor-in-Chief Bob Harras, with Howard Mackie and John Byrne (his partners in crime, reduced the Spider-titles to only two – both rebooted with new #1’s (volume 2): Amazing Spider-Man and Peter Parker Spider-Man (this one featuring John Romita and Scott Hanna in the visuals). At the end of the first year, a gimmick was launched: they decided to kill Mary Jane in a plane explosion while flying abroad for a photoshoot. Not a crash, but in an unexplained mid-air explosion after take-off in issue #13 (vol.2).
Much of the poor decisions from Harras as an E-i-C to the Spider-Man editorial group have already been discussed in this column; his mandate and management were reflected by the writing skills and plot development from Mackie: inconsistent mysteries leading to nowhere. The covers featured appealing sentences as if they were still being written for a very young readership stuck in the seventies. Not even John Byrne with his reputation to revamp characters and doing his best to emulate Ditko’s style (with an awful childish rendition of Peter) couldn’t save the character from the mess the title was undergoing. It depicted more of the same storytelling formula, used ad nauseam: the exacerbation of supporting characters to fill in the gaps – being those flaws from the script itself – forcing the reader to veer the focus from the main character. Spider-Man’s problems usually became Peter Parker’s problems; supporting characters’ problems either affected Peter’s life and the only way to solve them was for Spider-Man to get involved in to save the day; these supporting characters featured unexplained reasons and origins, shoved in each issue just for the sake of being there. The Amazing Spider-Man comic book didn’t seem ready to enter the 21st century; it hadn’t evolved but regressed into a pastiche of its former self. This run by Mackie and Byrne was the final nail in the coffin that represented how the formula staled.
Before her death, the plotline of the rebooted title consisted of Peter no longer being Spider-Man as per Mary Jane’s request, because she just could not handle the stress anymore. Peter (as an adult) had to go back working as a freelance photographer for the Daily Bugle while Mary Jane’s career as a supermodel was reaching new heights – pun intended; the inactivity couldn’t hold Peter’s web-spinning urge for long, so he wore the uniform again to MJ’s dismay, which put their marriage in the fridge. When Peter decides to have a real talk to MJ in order to save their wedding, she has to take a flight for an important modeling assignment; then the plane explodes. When she is revealed to be alive months later, the perpetrator was nothing more than a hyper-sensitive empath, a one-time D-class villain named “Stalker” (ASM#29 vol.2 – May 2001) who wanted to become Spider-man and decided to kidnap Mary Jane as the first step of his masterplan. Mackie and Byrne were not even responsible for the closure of this embarrassing story, leaving Paul Jenkins with Charlie Adlard to finish it (in Peter Parker: Spider-Man #29 Vol 2 – May 2001).

Stan Lee once stated that every comic book could be anyone’s first comic book. That statement became an editorial norm for decades; which is also understandable because if comics are also aimed for kids, it would be at least logical to bring any first reader to speed about the last events of any title s/he would pick and make the product attractive for new readers, especially a Spider-Man comic. The idea expanded to a better strategy: trade paperbacks that collected issues; issues became sagas; sagas were being designed to become future TPB’s. Karen Berger‘s Vertigo imprint for DC Comics perfected the strategy: its comics were written for mature readers and there was no needed of characters lecturing to readers what happened in the previous issue because they were more loyal to the title and more attentive to the plotline events and the characters’ nature; they feature adults undergoing abnormal, harsh and extremely violent situations.
Nevertheless, they spoke, acted, and reacted like adults. The comic book readership was growing up and wanted something more than colorful-better-looking products on their shelves; they wanted better storytelling and characterization. DC knew (at the time) just how and what to deliver. The advent of British comic scribers such as Alan Moore, Neil Gaiman, Jamie Delano, Grant Morrison, Garth Ennis, and others replicated the influence that the Beatles and Rolling Stones had on Rock ‘n’ Roll. Could the same idea be applied to superheroes in the dawn of a new century?

What could define a mature-reading superhero comic book in the Marvel Universe? And what would that mean for Spider-Man?

But the answer came in the change of management within the offices of Marvel Comics: Joe Quesada took over as E-i-C and drafted Vertigo’s former editor Axel Alonso for the job. A fine example of what constituted the company’s new direction was how The Punisher had been catapulted back to the position of an A-list character, under Alonso’s editing and Garth Ennis with Steve Dillon (Vertigo’s Preacher) in the creative team for the Marvel Knights imprint. All the title offered was simple: no-holds-barred gun violence with no deep insight into Frank Castle’s tragedy with action-packed, fun, and funny stories. When Ennis upped the ante moving the character to the MAX Comics imprint, he and Darick Robertson (the creative team responsible for the most recent deconstruction of the superhero myth in The Boys), conceived the miniseries Born – they wasted no time whatsoever trying to define the reasons that made Castle to become the Punisher; instead, they developed a story that put the reader into the witness position as if standing next to Castle, often offering insights into his already damaged psyche. Frank was already the Punisher before he even knew it. Strong characterization with fearless storytelling. The Comics Code Authority had been thrown out of the window. Marvel was finally ready for the 21st century.

How would this new direction affect Spider-Man? He’s one of the most recognizable characters in the entertainment world; but because he’s part of it, that makes him a franchise, a product. He’s known by billions of people; millions of consumers purchase his merchandise and just thousands read his comics. All in all, despite his outreach as a symbol, few are aware of how Peter Parker became Spider-Man and that he is married to a supermodel with a great personality. Hence Marvel’s need to revert the scale and make the character’s comics a better and more appealing product to the masses.
Since the character’s creed still consisted of the premise that “he’s the hero who could be you!”, his core concept is to show the bad side of being a superhero and still follow a progression of Peter Parker’s life as a continuous soap opera – perhaps the most concise chronological tale a monthly superhero comic book could have -, then it is understandable that his private life could also be susceptible to the eventual suffering that any real person would: defeat, loss, abandonment, disappointment, betrayal, etc. The Amazing Spider-Man comic book is not a Batman comic book that seldom features unique chronological events that occasionally index a permanent mark in Bruce Wayne’s personal life due to his crime-fighting career. A fact that enables many comic book authors to tell their “Batman Tale” – a trend in the business.
Whereas for Spider-Man there’s the chronological aspect of his publishing history to be considered. It cannot be disregarded – including Peter and MJ’s marriage. Until the departure of Mackie, Byrne, and Harras from Marvel, the marriage represented a problem. When Straczynski, Romita Jr., Hanna, and (Dan) Kemp took over, it wasn’t. At least, for the endurance of his run.  When Alonso drafted JMS for the writing duties, the writer’s assessment of ASM went public: that Peter Parker had become a supporting character within his own book. The new century seemed brighter, but not before Howard Mackie leaving his Spider-writing duties with his swansong: due to the immense stress of being Spider-Man’s wife, Mary Jane walks away to pursue a career as an actress in Los Angeles, putting their marriage on hold; indefinitely (as published in The Amazing Spider-Man Annual 2001, – May 2001, drawn by Joe Bennet). From a “realistic” perspective, it makes sense: for MJ, she had reached her breaking point. It’s understandable. However, the way the story was delivered and the reasons behind it were not well-received. From the superhero comic book perspective, why would his marriage be regarded as a leash or barrier for greater stories? Because superheroes cannot be married?

Stan Lee actually paved the way for a married Spider-Man; at the time he was scripting the hero’s newspaper strip (a continuity not related to his comics), the event was such a success that the idea ended up being transposed to his comics’ chronological continuity. Mary Jane proved to be the one woman who could give the loner hapless superhero some sort of bliss, an alternative source of happiness. Given his personal background and share of defeats in life that emulates real life, then he deserves a woman like Mary Jane.
Did Batman lose his parents at a young age? Peter Parker had barely met them and lost the closest thing he ever had as a father due to an irresponsible act of his own doing, having to cope with it without being a billionaire orphan with a butler. It’s no wonder his best friend for a long time was also a kid from the circus who also lost his parents. After decades of publication Bruce Wayne has finally grown up under his mask; after getting tired of collecting surrogate sons and training them to be just like him, he’s got married to a woman whose métier/occupation used to be the very target of his chosen mission: crime. An idea (hopefully not a gimmick) to make Bruce Wayne’s billionaire life somehow more relatable to readers.
DC editorial – being Dan Didio, Jim Lee, and Bob Harras (as Senior VP E-i-C) – has come to terms that their characters desperately needed a firmer chronological structure in their stories, so their status as demigods had to diminish. If the current mandate is to humanize these heroes, the solution is a grounded depiction of what makes them more relatable to the people who read their comics – a lesson already established by the life and times of Peter Parker and his feats as a superhero.

But how to make a superhero comic book more attractive to readers? Besides the simplification of plotlines to weave a chronology, the characters must speak and act according to their own personality traits and psychological profiles, instead of being forced to regurgitate recaps from the previous issues and respond to situations thrust onto them just for the sake of visual spectacle and the alleged need of seeing the hero in action. Let us not forget, though, that is also one of the main reasons to read a superhero comic book. However, in The Amazing Spider-Man, Peter Parker’s personal issues with his loved ones can only be solved by a conversation; he can fight and punch his way out to save them, but not the interpersonal conflicts. Not all comic book writers and artists are able to find the (perfect) balance between action and drama, but JMS with Romita Jr. and Scott Hanna sure are.

Stephen King once said that, from a writer’s perspective, if characters are treated like any other people, they evolve naturally.

In every issue of the What If…? series in which depicted different versions of a guilt-free Peter Parker (and an unconstrained Spider-Man), he was shown as a flawed character who couldn’t keep up with his own drive: he would become a resentful – even vengeful – super-hero, willing to lash back his selfishness into the world. It’s a great exercise of imagination to observe how Peter can easily give in to his frustrations and inner instincts through his powers without the responsibility factor. Since his first appearance in Amazing Fantasy #15 and all the ASM issues that followed, the readers have the opportunity to watch a boy growing into a man in ways much faster anyone could handle. In his own reality, life forces Peter to choose to be a man of high moral standards, but not without consequences.
The tragedy of his relationship with Gwen Stacy illustrates that: she was a phantasy relegated to the teenager who was learning how to be a man. No matter how much he struggled with the idea, he could not share his secret with her; because each time she saw Spider-Man, mayhem, and tragedy were constants. Peter was not there to offer her solace. All Gwen did was to demonstrate repulse towards the hero. For someone who fought like a man, but felt and behaved like a teenager, there was just not enough maturity in him to deal with such struggle. Without the Peter Parker persona, Spider-Man is unleashed; without Spider-Man’s mask, Peter is not all the man he can be – and the What If…? stories show how those possibilities ended up tragically. By default, despite being one of the most popular superheroes in his own universe (and ours), he also became the most insular. It’s a hard life to lead, but he manages it.

When Mary Jane revealed her knowledge of Peter’s secret identity (ASM#259, vol.1), after the initial shock, it was Peter’s turn to find some solace to his struggle as a loner masked superhero. From that point onwards, Peter’s adulthood became easier. The psychological and emotional load could be shared, so both sides of his persona found a confidant – a friend. She counterbalances the weight of his loneliness and guilt; she is the stepping stone to Peter’s maturity as a man. She decided to stay in (Peter’s apartment) when Gwen was gone. When they got married, she became more than that – the better half of both Peter and Spider-Man. This proves that, even in the fantasy realm of comics, superhumans being needs an intimate relationship to enhance their psyche and evolve in their lives.
That’s why the readership who grew up with a married Spider-Man relate themselves so much to the character. As the hero, he represents high moral standards to do what is right; as a married man, the responsibility drive was no longer paved by guilt but energized by the Love from his woman. In Kraven’s Last Hunt, Peter dug his way out of a grave using his Love for MJ to fuel his willingness to overcome a nearly-impossible odd. Ben Parker guided the teenager’s mind to the coming of age, whereas Mary Jane’s Love guided his heart. Spider-Man’s status didn’t change – it evolved. Hence her status as an integral part of the title’s chronology.

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BAD CONNECTIONS/DOOMED AFFAIRS – ASM#49-50 (vol.2):

Back in the sixties, when Ditko started to do the plotting for the ASM title, the artist received harsh backlash from the fans in the letters section – as cited by Blake Bell in Strange and Stranger: The World of Steve Ditko. The claim was that Spider-Man didn’t have enough “screen time” as Peter Parker.
Since then, the superhero comic book readership evolved alongside the trend of how masked heroes should be portrayed in their personal lives. Under JMS’ writing, the ASM title evolved as well; Peter’s personal life is all that matters. After a whole decade filled with clone controversy and endless hyper-villainy sub-plotting, it’s a relief to read a two-part story that not only begins with a new psychological self-realization for Peter to reflect upon but ends with him and Mary Jane finding one another to talk. In issue #49, not even once Peter is shown donning the Spider-Mask.
After surviving through an ordeal that helped to uncover a new part from his own self, he decides once again to reach Mary Jane in Los Angeles, who is unaware of Peter’s recent whereabouts and also decides to see Peter in New York. They reach their destinations, though without accomplishment; a sad and funny coincidence. When they’re shown in each other’s apartments, the story reaches an intimate level, told with proper pace and visuals, resulting in a deep examination of their relationship, as they look through one another’s belongings and private spaces. Peter and Mary Jane are shown being apart, but in perfect synchronization with each other. It’s also a pay-off to the reader, who bears witness to their intimate thoughts (showed in captions) and how similar they become to the point that they merge. These two might know one another better than they know themselves; somehow, when they went parting ways the inner growth they shared ceased; and they miss it.
Neither villain sub-plotting, nor kinetic superhero action. Just two people trying to find each other, failing at it, giving up, and for a brief moment, trying to move forward.

But fate had other plans. While they were flying back to their homes in NY and LA, a thunderstorm changed everything – probably Thor in a mood – forcing their planes to land in Denver. When they meet at a passenger’s gate area, a Spider is present – a reminder of how Peter’s essence is changing and evolving; a subtle sign that his Spider-Sense could be evolving as well, not only adverting him from imminent danger but steering him towards his objective.
Throughout the second part in issue #50 (vol.2), as they start their conversation, an unexpected guest who also had his flight plan compromised due to the storm enters the gate: Dr. Doom. Whenever one of the biggest villains of Marvel Universe is present, danger follows. This time, with a twist – Doom is the victim of a planned attack.
(NOTE: The last time Doom and Spider-Man engaged in Battle was in issue #15 (vol.2); he flew to Latveria trying to find MJ because that’s where her photoshoot would take place.) Until then, nothing new, because that’s what normally hero in superhero comics, but Straczynski adds an element based on real facts of our reality when it comes down to terrorism: the strike is initiated by a suicide bomber so focused on his mission that he has no care to the bystanders in the premises. After the explosion, Peter finds Steve Rogers working undercover as a scout guard to Doom’s trip to a conference. More rebels clad in advanced armors continue to strike the area, but find resistance against Captain America and Spider-Man. In between strikes, MJ and Peter talk. Though the scenario seems ridiculous to have a conversation, they do it anyway – for both of their sakes.

And again JMS delivers concise dialogue that proves once again the extended range of his skills as a writer. He turned the disastrous Harras/Mackie decision to separate the couple into an opportunity to reexamine their thoughts and emotions while apart. Peter entered a new path of self-discovery regarding the origin of his powers whereas Mary Jane also rediscovered herself as an actress. Though being fictional characters, they behave like real people; whether in the realm of superhero comic books, cinema, books, or television, it’s a hard instance to pull off. When it comes down to Love relationships, it’s even harder – because no real relationship is deemed to be perfect, as opposed to the fantasy portrayals that countless stories in different mediums show. In real life, there are break-ups, disappointments. But if Love is real, there can also be understanding and acceptance. Second chances are possible. This is where JMS excels once more in his run in the title: he hasn’t been writing only a new chapter of Peter Parker’s life – but also Mary Jane’s. It’s all been build-up for this moment. He knows what their relationship means, and just how important MJ is for Peter. Her value as a character surpasses Lois Lane, Selina Kyle, Betty Ross, Iris West, and others: because she is not a mistress, not the damsel in distress – but Spider-Man’s very heart. To the point she can even recognize the Spider totem/essence within him:

It’s easy to gauge the strength of a hero by his villains and – they help to define his ethos. For Spider-Man, Mary Jane Watson has the unique ability to define and recognize the man behind the mask of a Spider. It is through her eyes that the reader can also see just how paramount he is as a hero. He fights for what is right and for his happiness. And there’s no one like her who can help him in this journey, as he devotes himself to her in the same way.

JMS’s dialogues do not only sound real; they are filled with character recognition. One is able to read the words and hear their voices. They talk for themselves, naturally, without excess. It is the essence of the characters that steers the plot forward, never ceasing to feel fresh and consistent.

Add high caliber visual talents to the formula and the final result is a scene/splash page that still stands the test of time as one of the most important milestones in these characters’ lives – an incredible display of talent and technique combined.

Is this a story for mature readers? What defines a comic book of such kind? Explicit visual violence and language? Sex, death, drugs? There are comics in the market designed for every audience.
This one, at this phase, depicts mature characters being true and reasonable to their feelings in order to conquer something that can only be achieved by being together – using their honesty. Devotion. Truth. In times where cynism casts a shadow inside and outside of comic books, different formats of storytelling and mostly in reality itself, a tale about two people destined to be together – bonded by true Love can be even inspirational for (young) readers who can also look up to stories such as this one and be encouraged to follow the same path. Love gives meaning to everything. Once shared, it becomes real. Comic books are good because we, as readers, enjoy the infinite possibilities presented in the format. We Love Spider-Man comics because Spider-Man is the most real of superheroes. The Love Peter has for MJ is real.

J. Michael Straczynski with John Romita Jr., Scott Hanna, and Dan Kemp proved that once again.

Mary Jane and Peter are back together. And all they needed was a little help from destiny.

 

And Doctor Doom.