Written by: Geoff Johns
Art by: Paul Pelletier, Sean Parsons
Cover by: Paul Pelletier
This has to be one of the best issues of the series. Johns and Pelletier bring their A+ game. This issue sets up the grand finale of Geoff Johns’s run on Aquaman, and by the looks of it, hes going out with a bang. Everything is just great. This issue has me in a bitter-sweet excitement for Geoff Johns’s final issue of his run on Aquaman. This issue is full of emotion expanding on Aquaman’s origin, all while pumping you up for the epic conclusion of the “Death of a King” arc.
Taking place right after the huge cliffhanger in issue 23, Aquaman wakes up 6 months later, not knowing what the heck has happened since he’s been out. Vulko is there, of course, to catch Arthur up to speed. Once Aquaman realizes that he’s been knocked out for 6 months, he demands to know where Mera is. Vulko tells him that he last saw her confronting the Dead King in Atlantis. This worries me. I have grown to love Arthur and Mera’s relationship, and I am anxious to learn of her whereabouts
Vulko then tells Aquaman that all the answers to his questions lie at the bottom of the tomb that the Dead King crawled out of. Vulko will not tell Aquman what he is destined to discover, all Vulko tells him is that it is something he must face on his own.
Aquaman will learn of his destiny and of his origin in this tomb. I don’t want to give too much away; this is a crucial issue for Aquaman’s origin in Atlantis. In this tomb, Aquaman discovers his true destiny as the protector of the Atlantean race.
Johns writes this issue with perfect flow and suspense. There are great scenes of emotion, from both Aquaman and the characters during the flashback in which he learns of his origin. Johns does a great job of maintaining the serious tone throughout the book without dismissing the mystical elements of Atlantis.
The art in Aquaman #24 is outstanding. Thanks to this series, Paul Pelletier is now one of my favorite artists. Pelletier’s art truly helps the reader understand the emotion and destruction in this comic, just as much as Johns writing. High regards also go to Rod Reis; his colors define the aquatic scenes and brighten the environment of the Atlantis that once was.