The Rebirth Aquaman series is a funny beast. While I’ve generally tended to enjoy Abnett’s prose writing (particularly his Warhammer 40,000 and Horus Heresy novels), his comic work has been a bit more hit and miss. His work on Aquaman, for example, has been variable. His stories are solid, but the overall pacing of the series has often been more languid than it could (and perhaps should) be. The recent Corum Rath saga, which took well over a year to resolve, is a case in point. Issue 10, however, is an issue I like a great deal. This is from back when the series was bi-weekly, Aquaman was king of Atlantis and Mera was his bride-to-be. In short, this was when the positive promise of Rebirth was still a thing (Arthur and Mera’s marriage had featured in the special) and there was a nice upbeat feel to the series. That said, at this point, Arthur had just faced off against the Shaggy Man (no, really – that’s a thing. Look it up!) and Mera was being tested by the Silent Sisterhood who are a bit like the Bene Gesserit from the Dune novels but sound like they should be an order of mute, psychic power-nullifying warrior maidens from the 41st Millennium. Ahem. It’s this testing that forms the basis for the first half of the issue.
Michael Cray. A character I quite like trapped in a book I really haven’t. Or at least not as much as I wanted to. Up to now, Cray’s Skywatch-sanctioned missions to hunt down dark psychopathic versions of some of the DC universe’s best-loved heroes have been rushed, formulaic and consequently somewhat predictable. And dull. Will this issue – the conclusion to a two-parter featuring a genetically-altered, psychotically deluded Arthur Curry – break the mould?
There’s only one way to find out…
What happens when you cross The Wicker Man with Jaws and set the resulting hybrid in a world where DC’s best-loved heroes have become dark psychopathic versions of themselves? If, like me, you’ve never really thought to ask that question before… tough. Because you’re about to find out…
The new league’s first big adventure comes to an end in spectacular – and frustrating – fashion.
So far, this series has been something of a disappointment. Like a jigsaw made up of pieces that seem to come from slightly different puzzles, the opening story arc has been disjointed and awkward to read. The League, too, has been presented in a fragmented way, members acting mostly singly or in pairs and communicating with one another only intermittently. Then there’s the threat – or rather threats – with which the League has been dealing.
Firstly, there’s the Purge, a seemingly infinite number of flying, swarming bio-weapons disgorged from much larger ship-creatures that travel through a wormhole from their destroyed, shattered world to Earth. Green Lanterns Jessica Cruz and Simon Baz have traveled through the aforementioned wormhole to cut off the flow of bio-weaponry at the source while the Flash takes care of the Purge on the ground. So far, an adequate explanation of either what the Purge is or why it’s attacking the Earth has not been forthcoming. We have, however, had hints. Cyborg is connected to them via some sort of frequency he’s detected and… hacked? Subverted? Commandeered? We’re not really told. What we are told is that the Purge has been doing this sort of thing for some time and the Earth is “screwed” if the League don’t thwart their plan to turn human beings into things that aren’t human. This has been happening all over the galaxy, apparently, for, it is implied, a very long time.
Then, there’s the Kindred. The Kindred are four giant humanoid gestalt entities formed from the bodies of normal human beings. The jury is still out on whether those bodies have to be living at the time of their absorption. It’s entirely possible they don’t. These Kindred are getting together for a good old sing-song, a Fab Four if you like, although without, presumably, the side journey into eastern mysticism and mind-altering drugs. (Mind you, if you want mind-altering, you could do a lot worse than this issue, actually.) This singing will, perhaps, stop the Purge. The Kindred have already started singing apparently, but it’s difficult to tell, because although we get to hear what they’re saying to each other, we don’t get anything other than a visual representation of their song. Wonder Woman is currently inside one of the Kindred and the Kindred have also been responsible for siphoning off the heroes’ powers. Or at least some of them. There have been references to “stolen power” from the Kindred, which seem to tie in with some of the JL’s heroes, whose powers have been fluctuating during the story at inopportune times whenever they’ve come into contact with the Kindred. What happens when the Kindred finish their song is unclear; we suspect it might be good, but it’s hard to be sure. On the one hand, they will stop the Purge. On the other hand, they only really seem to care about doing so just before…
The four doomsday devices at the Earth’s core go off.
Four? Yep. That’s where Superman comes in, pushing those big blank balls of nothing from the Earth’s outer core into the Earth’s inner core. These are the same doomsday devices that set off the quakes in the very first issue and set off a quake “off the Richter scale” last issue. We have no idea what’s happening in the rest of the world but the rhetoric is all about the escalation and the JL barely dealt with the last quake. If Superman doesn’t get to those doomsday machines quickly, then… Hang on a moment. Just how fast can Superman move through molten super-heated magma? No, I have no idea either, but it’d be nice to know, wouldn’t it?
Right. That’s three threats that are connected in ways which we understand only imperfectly. The Kindred want to prevent the Purge, but they are also aware of the “breaking of worlds”. Is this some sort of contingency plan to prevent the Purge taking over humanity? If so, who put it there? And why is the prospect of the Purge’s corruption of humanity so terrible that it would necessitate their installation in the first place?
And then there’s Aquaman and his singing crystals. This is where we come in this issue. Aquaman’s listening to the singing crystals and they’re telling him where he should bury them. The problem is Aquaman’s narration is big on certainty but there is just so little to go on. The crystals say he’s “family”. Erm… okay. If there’s some kind of mind-influencing going on then fair enough. If Aquaman’s so freaked out about the end of the world that he’s desperate enough to take a chance on telepathic crystals that no one has paid much attention to before, then again fair enough. But there is no sense from the narration or the art that either interpretation of his actions is appropriate here. He’s just taking a chance on the voices in his head. And that’s… astonishingly weak.
Anyway, Aquaman plants one of his (four – again!) crystals and then heads off to plant the others. As with Superman, the question of just how quickly Aquaman can traverse the planet springs to mind. We are forced to assume it’s not very long.
We then move back to the Kent Farm, where a shaken Cyborg reveals that… somehow… he’s not just in touch with the Purge but controlling it. Why? How? We don’t know. All we know is that Cyborg intercepted a mysterious signal last issue and somehow used it to take control of a bunch of alien creatures he’s only just encountered.
You’ll be hearing that word a lot this review.
Batman finally gets to do something, boom-tubing with Cyborg to where the Flash is being swarmed by more Purge critters as the four Kindred continue their song nearby. Wonder Woman, of course, is also present inside one of the Kindred. There is yet another page of ambiguous dialogue before she is ejected from inside the Kindred’s body with a promise that, when she works out who she is, then she “will understand”. While this is undoubtedly a reference to the events of Wonder Woman’s own series, the Kindred’s pronouncements are simply too elliptical to have any sort of dramatic weight. As readers, we need to understand things now – not at some unspecified point in the future. If all Wonder Woman is going to do is have a largely pointless conversation consisting of threats, vague but portentous declarations, and a promise that things will be explained later, then what was the point of putting her in there in the first place?
The following page features perhaps the single most representative panel of the entire issue. Four JL-ers – The Flash, Batman, Wonder Woman and Cyborg – standing around talking to each other, watching events unfold around them, doing nothing. The two TV reporters at the bottom of the page only make things worse. “Where are the Justice League?” Well, four of them are in a field somewhere watching the end of the world. Nice.
The following conversation between the heroes highlights the crushing silliness of the last few issues. It is worth reproducing in its full glory below.
Batman’s point is not coincidental. Why hasn’t the League tried to work out what the Kindred want? We’re five issues in and even now it’s not clear. Where does Wonder Woman get her really rather incredible – and not particularly well thought out – insight about the Kindred and their relationship to the League from? Most incredible of all, though, is the Flash’s sudden revelation that all he has to do to regain his speed is… take it back. Somehow. No ruby slippers to click together, no magic words to say – just a look of determination and a snatch of macho dialogue. Will to power in its purest form. Who needs silly things like plot devices and challenges for the hero?
What follows is nonsensical plot point after nonsensical plot point: the Flash takes his speed back, the most iconic female superhero in the world reduced to the role of cheerleader as he does so; Cyborg continues to exercise his unexplained ability to control the Purge and directs them at the Kindred; Aquaman swims; Superman pushes; Wonder Woman finally does something useful although with still no clear idea that it will be the right thing to do (“think” doesn’t cut it); Simon and Jessica siphon off the Purge from their ruined world, forming a construct tube to funnel them through the wormhole and onto the Kindred. That last bit is actually pretty cool, but, as has been the case throughout this series to date, the wow factor is diminished considerably when the reader isn’t entirely sure what’s going on or why what’s going on matters.
The fast intercutting between characters is meant to provide that sense of breathless desperation that would be entirely appropriate to the finale of a five-part world-threatening epic if the build-up to it hadn’t been so appallingly mismanaged. As it is, we’re left with Superman not having the strength to push the final ball-of-apocalyptic-nothingness into the Earth’s inner core (oh, no!) while Aquaman races to bury his final zodiac crystal in the “final corner of the Earth”, a ‘corner’ which is, appropriately enough, right where the Kindred are.
Aquaman saves the world (a good job, because Superman’s failed at this point – not that anyone else knows that yet) – and the Kindred think they get to finish their song. Batman, not being that much of a music lover apparently, has other ideas. To be (maybe too) fair, the final confrontation between the League and the Kindred is pretty dramatic. Batman’s point that the Kindred are made up of people and thus those people need to be saved is an entirely valid one. For the first time in the five issue run, it is made clear that the crystals are also dedicated to stopping the Kindred – providing a counter-song to what the Kindred are doing. That the reader still doesn’t have a clear idea of what the Kindred are trying to achieve renders the whole things less tense and involving than it should be, but Hitch and Daniel together do provide one of the best pages of storytelling I’ve seen in a long while.
Yep. This page is rather special…
A shame then that it’s followed up by a page in which Batman says the worst piece of dialogue in the issue (and that’s saying something) and a double page spread in which Superman unleashes and (somehow) directs the power of an omni-directional doomsday device that can apparently destroy an entire planet at the Kindred, freeing all the people within without killing a single one of them.
Well, you either buy that or you don’t. One of the problems with the entire story is the way the focus has shifted away from the JL protecting civilians in the first couple of issues to dealing with the Kindred and the Purge in the later ones. Rather belatedly, they remember those civilians. “There still may be casualties,” says Flash. May be? Do you think? But, you know what? The final page shows that the League don’t really care too much about that. The Flash flirts with Jessica, Superman and Batman have a conversation that just reinforces the sense that they really didn’t know what they’ve just been dealing with and we end on a nice shot of Lois and John wearing Superman’s cape about them waiting for him to return which, in a better-told story, might have some emotional resonance but here just feels completely superfluous.
So, what to make of all this? It’s clear that Hitch has a long game in play, but it’s equally clear that he hasn’t plotted it sufficiently well to tell a good story while holding enough information back to lead up to the big reveal. I get the impression that he’s aiming for a Hickman style run, but his command of contextual detail is sadly lacking and the story feels far too detached from the wider DCU to have the kind of impact of, say, Hickman’s Avengers run prior to Secret Wars. For an action comic, the League spend a lot of time standing around telling people what they don’t know. Action without context or with barely articulated purpose makes for poor storytelling which is, the impressive artwork notwithstanding, pretty much what we’ve got here.
The frustrating thing is that this could have been better. The notion that the Kindred can affect the entire universe is intriguing, but their background and purpose need to be much better defined than what we get here. Questions that aren’t even asked but desperately need to be addressed include: Who are the Kindred and what is their connection to the JL’s powers? Who put the extinction machines in the Earth’s core? How long have they been there? Why are they there? Are such machines in place in other planets in case the Kindred visit them? What is the Purge? What does it want? How does turning the population into something ‘not human’ disrupt the Kindred from doing… whatever it is they’re doing? What are the Zodiac Crystals? How do they work?
Perhaps more importantly, though, who thought it was a good idea to give DC’s flagship team to a relatively unproven writer with a grand vision but an insufficiently clear idea of how to bring it about?
In which Bryan Hitch starts his run proper on the Justice League and tells a story which is big on spectacle, but short on detail. Does that matter? Let’s find out.
I just might be in love with Tony Daniel’s artwork. Issue 1 of the Justice League opens with a glorious splash page of Wonder Woman diving downwards through the air while flak and missiles explode all around her. It is magnificent and I would quite like it to be a framed poster on my wall. Turn over the page and we’re treated to a double page spread of Diana landing, wielding her lightning bolt against a bunch of Russian soldiers and tanks. Once again, it is impressive stuff with bodies and hardware being tossed around like toys in a show of strength that rather belies her declaration that she is “on a mission of peace”.
This, I think, is the first slight problem with the issue. In these pages and the ones that follow, Diana attacks the Russians in devastating fashion, but, aside from a general lecture about peace and the various things to which human beings devote themselves that prevents it (including “border disputes”), there is no clear context for her actions. Is this a reference to the current crisis in the Crimea and Ukraine or something else? We only see the Russians, not who they’re fighting or, for that matter, any civilians that might be caught in the crossfire. If Diana thinks that attacking random Russian battle groups is the way to bring peace to man’s world, she might want to take a few lessons in politics first. In a sense it doesn’t matter, but fiction tends to be more successful when it is grounded in a believable world. When a huge earthquake shakes the area (wherever it is), a Russian soldier accuses Wonder Woman of having “killed [them] all”, rather implying that, when she tossed a bunch of tanks up in the air a few pages earlier, somehow none of the tank crew were killed in the process. The story’s too busy moving to care about such issues, but the dialogue raises them anyway, leading to a slightly jarring reading experience.
The focus shifts to Beijing (oh, so now you’re going to tell us where we are, Mr Hitch) where the two Green Lanterns, Jessica and Simon are doing their best to keep the city from collapsing, shoring up buildings with green… stuff. Then it’s off to New York, where Cyborg stops a subway train from crashing into some cars that have fallen through earthquake-generated gaps in the tunnel roof to land on the tracks below. This is all pretty good, actually. We get a clear idea of how widespread the earthquake problem is and we get to see the League members in full-on hero mode, saving lives and, to some extent, property. One of the best sequences, though, is Flash’s intervention in San Francisco in which his speed is emphasised by the simple but very effective image of a falling bottle of water. This is all engaging enough – in a visual as well as emotional way. After all, if the idea of specially powered superbeings putting their lives on the line to save people doesn’t grab you by the heartstrings, why are you reading superhero comics to begin with?
But, we’re already halfway through the comic and we’re not really progressing that much, particularly when we move to Atlantis to see Aquaman trying to deal with the earthquake (seaquake?) that’s taking place there. It’s only when we shift back to the two GLs who are now trying their best to save Hong Kong from a huge tidal wave, that things begin to get more interesting. Some of the civilians seem possessed by a strange power (complete with glowing red eyes) and, chanting something about “stolen light” and “our light” they somehow siphon off the Green Lanterns’ emerald energy. We see Jessica and Simon falling towards the sea and then we’re back with Wonder Woman and things get… weirder.
Again, the idea of things being “stolen” comes into play as the Russian soldiers (most of whom are, I’m going to assume, dead) lurch forward, eyes glowing, talking about “stolen power”. The same is true of Flash in San Diego; this time it’s stolen speed.
Then things get weirder still, when it turns out that a giant alien bio-mechanical missile has landed in Gotham City and begins to release hundreds of smaller creatures that seem intent on attacking the populace. While Batman is typically efficient, the story doesn’t hang around too long, as we move back to Atlantis where, once again, people are being possessed and talking about “stolen words” this time. What does any of it mean?
At this point, we don’t know and, in a sense, we don’t need to know. This is the first issue, after all. When we move back to Eastern Europe (finally!) and find Wonder Woman trying to tackle a horde of (possibly) undead soldiers who are moving through the air like a shoal of fatigues-wearing fish, we find out (because the aforementioned soldiers are helpfully telling us) that something called ‘The Awakening’ has started and that something called ‘The Kindred’ is coming. There’s also a reference to Diana’s ongoing search for her true origins as one of them calls her a “pretender god”. All intriguing stuff, but, while Daniel’s artwork portrays Diana beautifully, her speech essentially consists of the kind of posturing that, without some clear context, sounds quite hollow. “The Kindred? Well hear me now, Kindred. I have friends. And we’re coming for you.” Apart from the fact that that’s the second time in a few short pages that we’ve heard a member of the JL refer to the other members as “friends” (awww), the dialogue is mostly remarkable for its macho stupidity. While it’s understandable for Diana to react to the Kindred (whatever they are) as if they’re hostile, there’s still so much mystery here that it seems foolish for her to leap to conclusions like this. As a way to end the issue it works well enough, I suppose, but it leaves more questions than it answers and also leaves a slightly unsettling feeling in this reader’s mind at any rate. There are some pretty big assumptions being made here, and, as we all know, if you assume you just make an ‘ass’ out of ‘u’ and ‘me’. (Yeah, one of the worst sales managers I’ve ever encountered taught me that a long time ago. Never mind, eh?)
As a spectacle, Justice League issue 1 delivers. Tony Daniel’s artwork is impressively kinetic and his character work is phenomenal. As a story, the issue is a little more difficult to assess. While the feeling of worldwide catastrophe is successfully conveyed, by having the JL essentially deal with issues on their own, the story goes round in circles a little as Hitch tries to give each hero his or her time in the spotlight. Consequently, we’re actually not that far along by the time we get to the end of the issue. Numerous concepts have been introduced – the Kindred, the invading bug-missile, the earthquakes – but there’s no clear indication of how they’re connected to each other. Perhaps things will get better in future issues. This one, though, is a spectacular introduction to the series, which, despite some high concept stuff, falls short of being genuinely engaging.
Roll on, issue 2.
Bryan Hitch carries on his affair with the Justice League. Is it true love? Will it last? Or will it end messily? Who knows? But here’s how we start phase two…
Justice League: Rebirth is mostly about Superman. The opening four pages are narrated by him and, to be honest, those opening four pages are pretty impressive. If it’s one thing that Hitch does well (and, to be fair, he does a lot more than just one thing well), it’s… epic. As the Rebirth Superman (who is actually the pre-Flashpoint Superman after the New 52 Superman died) declaims his monologue, Hitch gives us scenes of an alien creature invading a city and of people running around in panic before Batman, Aquaman, Wonder Woman, Cyborg and the Flash show up to repel the invading monsters, which look a bit like giant flying leeches. Honestly, it is pretty damn good. Hitch has always done epic visuals astonishingly well and his work here, though not quite matching his stuff on The Authority or The Ultimates, nevertheless does the trick of taking our breath away. It’s a fairly obvious point to make, but these pages have an undeniably filmic quality and it is very easy to imagine them forming the storyboard for the opening of a Justice League film that is probably going to end up being directed by Michael Bay.
As the JL members try to deal with the situation, the widescreen action is intercut with slower character interaction – either Superman and Lois talking through the issue of whether he should help out the JL or a flashback scene on the Watchtower in which the JL members try to get their heads round ‘their’ Superman’s death. And that is pretty good, actually. This structure is fairly straightforward but the contrast works well and there’s a genuine sense of increasing threat, as the giant crab/shrimp thing sends out its drones to enslave unsuspecting civilians and gather them into itself.
There’s a quick scene featuring the two Green Lanterns that foreshadows events in the new series proper and then we follow the JL into the belly (or, more accurately, brain) of the beast. Again, this is done fairly well. Some of the dialogue is a little banal, but every so often Hitch provides a zinger. (Batman’s “We’re going to find its brain, and negotiate the terms of its surrender.” is a great example.) Tension is increased as Aquaman is subjected to a telepathic assault that handily fills him in on what the creature wants and what it’s called (a Reaper, apparently), and then the creature responds to the team’s intrusion with a wave of smaller drone-squids. Although Flash’s “Action scene, people!” is annoying, this section as a whole is pretty exciting. The GLs arrive but it’s clear their presence isn’t going to be enough to turn the tide. This is, obviously, a job for…
I must confess that Superman’s arrival did cause my heart to leap and a big grin to spread across my face. We knew it was coming, but Hitch draws the man of steel perfectly here, smashing through the creature’s body and blasting away with his heat vision. Hurrah for Superman! There’s a nice pic that seems to consciously ape that moment that ends the Avengers: Age of Ultron trailer, in which all the characters are in action in the same shot, facing the same way, working in unison. What the hell. It works.
So, too, does the page on which the JL, having broken the Reaper’s hold on the populace, warn the creature that the Earth is protected in a manner that strongly echoes the Doctor’s speech at the end of the Doctor Who episode ‘The Eleventh Hour’, the story that introduced Matt Smith as the Doctor. Not that I object to that, particularly. It is pretty cool.
The final page is a splash page as predictable as it is dramatic and the issue leaves the reader (well, this one at any rate) with a building sense of excitement for the rest of the series.
As a primer to the new series, Justice League Rebirth does its job pretty well. The plot is coherent and exciting; the character stuff mostly works, too. It reinforces the notion of the JL as global protectors and it also introduces the idea of the team working against external planetary-level threats reasonably well. All good.
The problems? The main problem is that, its portentous final words (helpfully relayed by Aquaman) notwithstanding, the main threat of the issue is not really fully explained. We’re still not entirely sure just what the Reaper wanted with the Earth’s population, and there’s a missed opportunity here to make the threat more specific and, potentially, more terrifying. I’m not going to quibble too much about that, though. It was great seeing the characters work together and it was especially great seeing Superman (re)join the League. The dialogue could arguably have been a bit snappier, but I’m prepared to give it a pass on this occasion and declare this issue a (slightly qualified) success. So far, this stage of the Hitch-JL love affair is off to a steady and intermittently exciting start.
Aquaman has never been a hero whose solo adventures have particularly appealed to me. His appearances in various incarnations of the Justice League have been variable. At times, his character’s been bland; at others, he’s been spiky, almost adversarial, although, even when he was sporting a hook, long hair and a beard, he still wasn’t as effortlessly arrogant as Marvel’s Namor. Despite having some cool moments in, for example, Grant Morrison’s JLA run, he was never someone whose personal story I was invested in. The New 52, with its controversial re-boot, provides a useful opportunity to delve deeper into the character, though, and the name of Geoff Johns as writer of this first issue is enough to… ahem… whet my appetite. But, enough of the rubbish water puns. Let’s see if the issue’s worth the effort.
Well, yes, it is. For one thing, the art’s pencilled by Ivan Reis whose work I’ve enjoyed in various iterations of the Green Lantern series. What’s even better, though, is Johns’ script, which systematically takes all the misconceptions a casual reader like me might have about the character and addresses them head on, even, in the process, making me feel a little guilty for having them in the first place.
The story is bookended by the introduction of a race of deep sea monsters who I assume are going to be the main bad guys of this first story arc. The monsters look suitably scary (think fluke man from that X-Files episode) and their introduction is suitably dramatic – and brief. The majority of the issue is a metatextual manifesto, an elegantly and economically told examination of the character and a mild rebuke to readers who haven’t given him a chance before. Such is Johns’ power as a writer that he managed to make me feel more for Aquaman in this single issue than I have in over thirty years (on and off) of encountering him in other titles.
We start with Aquaman foiling a bank heist (and in some style too!) which leads to assumption number 1.
Aquaman’s only interested in marine issues.
Erm… no. Evidently not. The message here is clear. Aquaman’s a bona fide superhero and he does what all the other superheroes do: stop crime, punish wrongdoers, help people – whether they’re in the water or not. Ivan Reis’ artwork not only does a great job of getting across just how strong Aquaman is here, but also how very uncomfortable he is dealing with ordinary people (in this case the cops who’ve been chasing the aforementioned robbers). But, then, can we blame him when they do stupid things like ask him whether he now needs a glass of water? (Because Aquaman just loves water, right?)
We then get a rather uncomfortable protracted scene in a sea shore diner. The waitress is shocked when Aquaman orders fish and chips. (Assumption number 2: Aquaman loves all fish to the extent that he won’t eat them. Apparently not true. Assumption number 3: Aquaman ‘talks’ to fish. Also not true – fish brains are “too primitive to hold a conversation”. Dolphins, however, are a different matter.) There’s a nicely written brittle awkwardness to the conversations between Aquaman and the waitress and Aquaman and the blogger who starts an impromptu interview with him while he’s waiting for his order to arrive. Johns writes Aquaman as polite but guarded. He’s well aware of his status as “nobody’s favourite superhero”. Johns’ interspersing of the memories that act as a counterpoint to his often curt answers builds up a considerable amount of sympathy for a character traditionally seen as cold and distant.
It’s after the restaurant conversation that we see Arthur Curry with his guard down in a quite beautifully written and drawn meeting with his wife Mera. Starting with him remembering his childhood with his father, the melancholy mood (powerfully evoked by the artwork including a muted colour palette from Rod Reis) is lifted by Mera’s dramatic appearance and an elegantly scripted (and drawn) conversation ensues, in which, perhaps surprisingly given his earlier encounters with the surface world, he announces his decision to leave Atlantis and settle down on the surface.
The issue ends with a three-page sequence that draws on a number of established horror tropes to good effect. Aquaman may have decided to shun the underwater world of Atlantis but the sea isn’t finished with him just yet.
All in all, this is close to the perfect debut issue. Johns’ pacing (which I’ve complained about elsewhere in relation to Justice League) is here faultless: the prologue is intriguing and ominous; the introduction of Aquaman is dynamic and exciting; the restaurant scene is subtly and cleverly done (the treasure coins seen in one of Aquaman’s memories provide payment – and tip – for the waitress), giving us a clear sense of Aquaman’s character; the meeting with Mera is touching and gives us some important overall plot information; and then we’re back to ominous (and downright disturbing) horror action at the end. It’s a satisfying and unexpectedly touching read and a powerful riposte to anyone who has dismissed or belittled the character before. (Like me, then!) Highly recommended.