Andrews' section of the issue presents Mary Jane in a new light and offers her as a more mature sort of hero within Peter's world – seemingly demanding that she stick around to better explore these circumstances. Reflecting on the past year of the series, the lows are all thoroughly earned and the character growth apparent in both Peter and Mary Jane is grounded in genuinely life-changing events. It's this tragic staging that sets the stage for Amazing Spider-Man #26 and the continuation of Peter crawling from the hole these events left him in. When it is time for mad prophets or Mary Jane to throw down, the fierce forms contrast clearly against what came before and make the (shockingly clever) discovery of her new powers all the more impressive. More refined linework provides a sense of gentleness to accompany the work of survival, impacts of trauma, and slow sense of recovery experienced by Mary Jane and the children she adopts.
Wells picks out a handful of conversations and key moments to emphasize as Mary Jane develops both a romantic and parental bond with her fellow survivors, but it's the passing of seasons and individual panels that provide this sequence with a real sense of import.Īndrews may be best known for the aggressive style used in action sequences near this section's end, but his presentation of small moments amongst a growing family are every bit as effective. Andrews and Wells concoct a montage sequence going from the exact moment Peter left to the very moment of his return that captures the weight of those years exceedingly well. It's revealed that Mary Jane spent approximately four years trapped in an alternate universe. The first half of the story comprises an issue unto itself with 20 pages drawn by Kaare Andrews in a reminder of how versatile and impactful the artist can be.
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