This has been a great series. It took a few issues to get going but Abnett has made it his own and he has been ably assisted by the art team, with Scott Eaton turning in some of his best work, supported by Anderson and Pelletier. They’ve made for a tremendous team and we’ve have 24 issues of an Aquaman run that holds up against Johns new 52 run and should go down as a classic.
Abnett is a very popular writer, and he’s found the perfect vehicle here. He’s a man of a million ideas, most of which are very straight forward, as is his style of writing, and it just all comes together in this really solid example of good superhero comics.
Issue 25 is a bit special. As much as I’ve enjoyed all of the art (and colours, Aquaman is a bright and vibrant book), Stephan Sejic makes this issue stand out that little bit more and I think it works here in that it gives the extra sized issue it’s own wee podium, and that’s the way it should be with these milestone issues - rather than just churning out the extra pages and decompressing the story a bit; which is what we often see in these and modern day annuals.
And the good news is, he’s back for issue 26. Which might make what I’ve just said a lot of shite, I don’t know, I stand by it, but I could understand it being picked apart. It just felt like we were getting a visual treat for sticking with the book this past year.
When I read this and i look at something like the art in Crosswind, it just feels like some artists are poles apart in understanding the the actual art form of comics and sequential storytelling.
The expression on Murk’s face on page 2 conveys basically a whole 24 issues of character and relationship building in a single image and Abnett has smartly left it to his artist to do this - showing the trust in him to pull that off.
I really get the sense that the artist has read the previous issues or scripts, or at least asked a bunch of questions to Abnett before deciding how to represent these characters on the page.
Body language, gestures, facial expressions, layouts - they are all tools that an artist would do well to understand before emabarking on a career in comics.
It wouldn’t surprise me at all if Sejic has some sort of background in animation.
There’s a lot of budding artists floating about in Millarworld - I’d recommend picking this issue up and studying it.
Back to the story and Abnett has continued on directly from the previous arc and Arthur’s forced exile from Atlantis .
If you have read much of Abnett’s work you will know he does a lot of smart Sci Fi work and it’s noticeable that he brings some of that in here, with the Ninth Tride of Atlantis - which of course makes sense, as Atlantis may as well be a world alien to us.
And it’s the visual introduction of this that shows another side to Sejic that he is also master of, and that’s beautiful design work; characters, creatures, clothing and environment - this must have all have taken a bit of time. I hope that it it is recognised in the industry.
Quite a brilliant issue, marred by a typo by the letter lee that I can’t believe that neither he or the editors never picked up, I noticed it right away where they have used the word ‘form’ instead of ‘from’ and it is quite jarring and disappointing when an artist has put so much on these pages in both the art and the colours, that something like this is overlooked by either laziness or folk who have just switched off and going through the motions.
The whole run is to be recommended, but this issue in particular is a highlight and a nice change of pace which serves to keep the series interesting.
Take a bow Mr Abnett and Mr Sejic.