Credits

• Writer: Brian Michael Bendis
• Pencils: David Finch
• Inks: Danny Miki and Mark Morales
• Colors: Frank D'Armata
• Letters: Comicraft
• Editor: Axel Alonso

Quick Summary

Spider Woman contacts Iron Man to inform him that she and several of the other team members are going after one of the Raft escapees on Long Island. Iron Man flies to an abandoned warehouse, where he joins Mr. Fantastic, Dr. Strange, Black Bolt, Namor, and Dr. X, who collectively appear to represent a cabal of some kind. They question Iron Man about the formation of a new team of Avengers, which has been making the news, and Iron Man explains how the team came to be formed. They converse about the Raft breakout and refer to a former discussion in which forming hero teams in other major U.S. cities was the subject. Iron Man raises the topic of the Sentry.

Meanwhile, on Long Island, the Wrecker has appeared at the home of a young girl. He demands his costume back, which he states his brother sold while he was incarcerated. Inside, he finds not only his own costume on display, but those of many other super criminals, including Mysterio, the Scorpion, Kraven the Hunter, and the Beetle. He dons his costume, takes his crowbar, and prepares to leave when some of the Avengers arrive via quinjet. During their battle, the Wrecker does a fairly good job of trouncing Spider Man, Wolverine, and Cage. Spider Woman is left to confront him alone.

In the Nevada desert, Captain America and Iron Man meet Agent Hill and other SHIELD members. She leads them into a cave, where the Sentry is found sitting with his head buried in his knees. The Sentry warns that the Void is coming, briefly explaining who the Void is. When he says that the Void killed his wife, Iron Man ushers his wife forward. Then Iron Man introduces Paul Jenkins, a “comic book writer” who “created the Sentry…a comic book character.” Iron Man asks the Sentry who he really is.

Commentary

After the overlong, overcomplicated hustle and bustle of ‘Breakout,’ ‘The Sentry - Part 1’ is a welcome relief. There is nothing overtly misguided throughout, and the story’s simplicity is a pleasure. Nor is there any elemnt likely to rub longtime Mighty Avengers readers the wrong way, unless it’s the fact that Iron Man, as Bendis’s spokesman, doesn’t acknowledge that both Namor and Mr. Fantastic were once Avengers; nor do Reed and Namor offer the information.

The idea of the cabal is interesting, but almost nothing of it is learned in this issue. Those included seem ‘right,’ depending on what their purpose is, especially if Bendis wanted to limit the number to only six. However, Captain America’s absence is conspicuous, and the Black Panther, as longtime Avenger and King of Wakanda, seems a more apt choice that Blackbolt, who has had comparatively little dealing with mankind. However, it’s good to see Blackbolt present, and Dr. Strange, who played a significant role in ‘Chaos,’ certainly belongs at the table.

The Wrecker and his team (who do not appear) are among the most tired, overused criminals in the Marvel Universe. The Wrecker here is neither a meat-headed galoot nor the fearsome maniac who helped destroy the Avenger’s Mansion during its siege by Zemo’s Masters of Evil. While the portrayal is fairly good, it’s difficult to believe the Wrecker represents a real threat, as he should, on any level, despite the fast manner in which he disposes of three of the four Avengers who oppose him. It would be interesting to see the Wrecker, who is presented here as something of a giant, do some real harm next issue—and then make his escape. The criminal element of the MU needs some major overhauling, and this is as good a place and time to begin as any.

The brief ending involving the Sentry is interesting, and the introduction of Paul Jenkins fairly novel, if not original. The situation, depending on how it plays out in future issues, may give Bendis a wide berth to make of the character what he likes.

Some readers have suggested online that this may be Marvel’s way of reintroducing Thor, who met his demise a year ago; certainly there is a strong physical resemblance between the two. However, many would probably feel this to be a cop-out, though the Thor hardcore would probably applaud it.

Steve McNiven, stepping in David Finch, provides the art this issue, and does a fairly satisfying job; the panel in which the Wrecker looms over the lone Spider Woman is impressive. It’s also a relief to read an issue not glutted with the overly sensitive, overly earnest, overly stern faces Finch draws on almost all characters at all times and in all situations.

Overall, this is a good, fairly simple, straightforward issue, with little forced humor and no undue, awkward, or mishandled complications. In that sense, it harks back to several of the pre-Austen eras of The Mighty Avengers.