Though I'm still not taken with the series, I have to admit that Veitch really caught my attention with the opening sequence in this book. It's worthy of a spine-tingling, big-budget Hollywood horror flick, and it helps to grant some credibility to a villain concept that's rather crude and simple in tone. Still, despite that chilling opener and some strong artwork from Guichet, the verbose script and ever fluid premise of the new supernatural status quo of the title character means Aquaman is still all wet in my book.
Aquaman's anger and penchant for violence has brought a taint to the Secret Sea, thanks to his connection to that spiritual realm embodied in his new hand. The Lady of the Lake is ailing, and it's because the negative vibe coming off the one-time King of the Sea has awakened an ancient evil, a being that seeks to consume the Secret Sea, and in the process, the souls of the entire planet. Meanwhile, Aquaman's mistake has also apparently doomed the elderly lighthouse keeper whom he saved only a short time ago.
Guichet boasts what I'd call a harsh style here, and it suits the dark yet organic nature of the characters and the premise. The sharp level of detail in his work really enhances the chilling and tense atmosphere of the opening scene. I also enjoyed how Eyring offers up bright colors that pop when contrasted against the darker, more corrupt elements in the story. One can see the conflict between nature and decay in the colors.
Purely from a truth-in-advertising point of view, this book is crying out for a change in title. Sure, a blond, undersea hero is the star of the series, but this really isn't Aquaman we're reading about here. No, the protagonist here is Exposition Boy. Veitch's exploration of a new world of magic and spiritual water imagery seems to require an inordinate amount of explanation with each new issue. While I appreciate that he's working to maintain a level of accessibility, there's an information overload to be found in every issue. New rules and new powers are introduced every month, and after five issues, one would think the premise would have been fully established by now.
Despite the corniness of a villain called the Thirst in a book about an underwater hero, I have to admit that Veitch penned a thoroughly creepy introductory scene for the new antagonist. The Thirst's apparent spirit of camaraderie is unsettling enough, but to see it followed by his draining influence made for a powerful scene.
