Review by Ian Keogh
In 2006 DC jumped the continuity of all their superhero titles forward a year. Under the seas Aquaman was missing and Atlantis was destroyed as Kurt Busiek introduces Arthur Curry, but not that Arthur Curry. As drawn by Butch Guice he sure resembles Aquaman, even more so when kitted out in a variation of his costume, although when people who know Aquaman meet him they realise it’s not the same guy.
As the Sword of Atlantis subtitle hints, Busiek’s version of Aquaman emphasises the fantasy trappings of undersea life rather than relying on superheroics to keep the action coming. Arthur is introduced displaying finer instincts in rescuing the bulky King Shark from slavers, with others also freed at the same time. He’s receiving telepathic instructions from a man whose features are kept hidden, not least by tentacles replicating hair. Known as the Dweller in the Deep, he’s an enigmatic type prone to grandiose predictions and portentous narrative captions.
Butch Guice and colourist Dan Brown keep the atmosphere gloomy. Guice uses shadow to conceal people so it’s rare that they’re clearly seen, although when they are Guice’s portraits are elegant. Brown colours almost everything in dark blue, compounding the lack of light under the sea. Because the glamour of Atlantis isn’t an option, Guice designs a series of small makeshift communities constructed from debris, and that also feeds into the fantasy feel. His Aquaman, though, is heroic, not given the stock superhero poses, but with a nobility nonetheless.
The first half dozen chapters were previously collected as Once and Future King, and as they end broad hints have been dropped as to where the original Aquaman is, although not with reasons, and Arthur Curry is established as a heroic archetype with a temper. He’s been given Aquaman’s armour, and very much looks the part. Ocean Master has turned up, as has Mera, but nothing has quite gelled, and the mysteries aren’t as compulsive as intended. This also marks Guice’s departure.
There’s a delay in picking up events in the present day again, as Busiek takes a detour back to the Aquaman of old in the company of co-plotter Karl Kesel. It’s the collection’s highlight, bright, clever and adds some depth to King Shark’s past whilst also providing and resolving a mystery in two chapters of Phil Winslade’s appealing art. Winslade contrasts the remainder of the book by avoiding shadow and concentrating on the beauty of undersea life and surroundings. Pete Pantazis seals the contrast with bright colours.
After the final two chapters here Busiek would also leave the series, and without resolving his mysteries. Those chapters recalibrate never very credible Aquaman villain the Fisherman. The new version is an improvement given greater power and motivation, and interestingly drawn by Ricardo Villágran, working from Mike Manley’s layouts on the conclusion. However, although horrific in places, it’s marking time rather than memorable.
Although labelled as Volume One, there has been no second volume since 2019, meaning it’s not likely to manifest in book form. Readers are left with enough information to figure out where the original Aquaman is, and come the next DC reboot this version of Arthur Curry was erased from continuity. It all leaves Sword of Atlantis with a few interesting ideas and some nice art, but low on the list of must-have Aquaman.
