The Sentry has been many things on his comic career: hoax, imaginary tale, forgotten hero, global threat. In this new volume, Lemire and Jacinto attempt to explore the layered psyche of Robert Reynolds, discussing how addiction and obsession can lead to very dark paths. But is this read worth the reader’s time? In short, yes, at least on the short-term.
Written by Jeff LemireCover by Bryan Hitch
Illustrated by Kim Jacinto
Colored by Rain Beredo
Lettered by VC’s Travis LanhamTHE GOLDEN GUARDIAN IS BACK! FRESH FROM THE PAGES OF DOCTOR STRANGE… …but is that really such a good thing? The greatest hero that the Marvel Universe ever forgot has returned! The Sentry – shining sentinel with the power of a thousand exploding suns – is back from the dead, but his troubled mind is far from finding peace. By day, he trudges through a mundane life as Bob Reynolds; at night, the Sentry soars across a gleaming, perfect skyline. But how much of the Sentry’s dual existence is real? And what of his dark other self, the Void? Jeff Lemire (MOON KNIGHT, Black Hammer) returns to Marvel and unites with Kim Jacinto (AVENGERS: NO SURRENDER) for this mind-bending series that will shake the Sentry, and the Marvel Universe, to its foundations.
Set after the events of the recently-wrapped Donny Cates run on “Doctor Strange,” this new volume of “The Sentry” brings something unique to the table: treatment. Instead of incarcerating, banishing, or outright destroying Bob Reynolds and his two alter egos — Sentry and Void — Jeff Lemire structures the script around a new status quo. Acknowledging that such a powerful and volatile being cannot fully function in society, the writer asks the question: what if his energies and habits could be contained in a new pocket reality, one inhabited only by Bob himself, with elaborate constructs around him? Returning to this world every 24 hours and living on the normal world for most of it does have its toll though, which shall remain unspoiled on this review.
It certainly makes for an interesting premise, that dual reality and the bleeding effect one would have over the other, but where it fails to reach a peak in storytelling is around the art. Don’t misunderstand: Jacinto’s drawings on “The Sentry” are beautiful, with fully realized landscapes, character expressions, and even the dirtier and grittier aspects of a major city. The shortcoming is that the separation between the two worlds is far too subtle to be noticed, if at all. This might be one of those rare occasions where having two artists on the book with diametrically different styles would actually benefit the final package. The world where the Sentry visits and performs his super-heroic deeds reads a lot like the original Fawcett’s “Captain Marvel,” complete with sidekicks and super-pets. And yet, it is portrayed like a real-life Manhattan, too realistic for its own good.
On a similar note, Beredo’s colors are also very strong but lean too much on modern styles, which is jarring to be seen on “Sentry’s World.” His color palette is earthly and subdued, adding to the abandoned and downtrodden atmosphere the script calls for on Bob’s ran down apartment or the less-than-pristine diner he works at. It could be brighter and more energetic on the pocket reality, where nothing is what it seems.
Lemire is no stranger to banished heroes; his work on “Black Hammer” is one of superhero comics’ best new worlds as of late. That ability to portray the incredible in a very real light is powerful in “The Sentry,” making the reader feel for Bob Reynolds and to despair alongside him when the issue ending reveals itself.
It is also in the dialogues, both internal and among other characters, that the writer’s skills are clearly demonstrated. Bob and his supporting cast feel real, in pain, suffering. Their goals unrealised, their potential wasted. And yet, for a book that is so grounded on the aspects of desolation and mental unbalance, it does not feel overly heavy or depressing: there are silver linings to be found, there is hope that Bob might overcome his challenges and conditions. Unlike other “superhero deconstructions,” “The Sentry” feels more like a “re-construction” starting with a hero at his lowest, but paving the way to a recovery.
And this is where readers might be left wondering: is there really enough material for an ongoing series, or is this introductory issue to “The Sentry” more suited for a limited narrative? Judging it by its own stand-alone merits, this is a very strong issue (despite the missed opportunities on art), but thinking long-term, it does seem like a relative narrow mission statement to be dragged ad-nauseum. To give the creative and publishing team credit where it is due, the issue opens with a “part 1 of 5,” so it remains to be seen what will be this book’s status quo following that.
Final Verdict: 7.0 – “The Sentry” #1 makes some very interesting questions and offers an approach to a hard-to-digest hero that is truly compelling and complex. While the art could take broader creative liberties on the pocket reality, it is well designed and realised on the more urban and real-world components of the story. Certainly a series to check back and see how it develops.
