Still not convinced that Aquaman is a bad ass despite Geoff Johns’ exhaustive efforts? The fascinating lead character at the center of Image Comics’ “Undertow” has all of the undersea gravitas that you’d ever need.
Written by Steve Orlando
Illustrated by Artyom Trakhanov
Lettered by Thomas MauerAtlantis is the world superpower, and Redum Anshargal is its worst enemy. If you want to break free of the system, he can offer you a place at his side, exploring the wild surface world in his watertight city barge The Deliverer. He and his hostage-protege Ukinnu Alal hunt the Amphibian, a legend that could be the key to an air-breathing life on land. But as they become the hunted, can Anshargal’s team survive long enough to turn the tables on the godlike beast they set out for?
Staunch politics and Harryhausen fantasy – two great tastes that apparently taste great together. Writer Steve Orlando makes a purposeful effort to make a world and a time that is very different from the one we know seem relatable by putting class warfare at the forefront of the story. Redum, the central major general of a rebel society, spends every waking moment concerned for his followers and their freedom from an indulgent and vacuous Atlantis that is presented as an extension of the battle between the economic 1% and the other 99%. Our vessel for exploring this resistance effort lies with Ukinnu – the fortunate son of a wealthy Atlantean industrialist that one day decided that his silver spoon had become too distasteful and – through a battle he rebelliously signed up for – found someone to admire in Redum.
Though Ukinnu is presented as the relatable outsider that allows us a glimpse into this world, Redum is really the most fascinating character. Magnetic in his ability to command respect immediately, though not quite charismatic, Redum is a man obsessed with his cause. And although he’s stern and focused, he comes across as genuinely concerned for those under his wing. Orlando presents most of this through his actions or in the way that others react to Redum’s leadership – showing, rather than telling. But the political cause that drives him seems to consume him to a point – exploring this down the road makes Redum into a potentially riveting character, as even just and noble causes have their limits. Orlando really has something with great potential here: a Leonidas of the undersea sect. Or, to let you in on a non-sequiter that popped into my head: Orlando might have a Don Draper/Tony Soprano character on his hands. The only thing Aquaman has over him lies in the fact that “Arthur Curry” is just way easier to pronounce than Redum Anshargal.
I’ll resist the opportunity to make a bad “art pun” out of his first name and just say that Artyom Trakhanov’s art is very intriguing, especially given the undersea pulp-future setting. The visual setting recalls a classic sci-fi monster movie of an alternate Earth or future, much in the same way that something like Matteo Scalera’s “Black Science” does. The Atlantean race are a lithe aquatic alien-looking hybrid set of humanoids (think “Abe Sapien”), whose physiology and development were obviously considered heavily by both creative talents. Orlando throws a bit of hard sci-fi physio-babble into the affair and it has to come off as believable. Considering that, Trakhanov’s designs for these characters are practical, compelling, and retro futuristic.
Trakhanov’s approach to coloring the issue was to use a decidedly muted and specific color palette. The palette is based on settings more than anything else. While the underwater battles are bathed in teals, greens, and blues – early sequences above sea-level are full of rich oranges and reds. At any one time, however, a specific color range is established and the page is pretty much bathed in it. It’s most potent effect actually ends up happening above water, where seeing something other than greens and blues teases the mind a little more. The muted and specific color sets help to evoke that classic pulp sci-fi feel that everyone was clearly going for.
Trakhanov approaches layouts in a unique fashion, as well. Every once in a while Trakhanov will encapsulate a character in a panel that acts as a sort of speech bubble itself, encircling a character or event even as that character is part of a larger spread. This is the type of thing that many artists do to create dynamic ways to lead the eye within a larger picture – Andrea Sorrentino employs techniques like this on “Green Arrow”, which is the most recent and best example I can think of to compare this to. Sometimes this works beautifully to draw the eye to the sequence of a conversation taking place within a much larger image. Other instances are not as successful, as an early spread has the read focusing on smallish, unclear aspects of a larger battle that aren’t distinct enough for the highlighting to add any additional impact to. Sorrentino had similar iffy experiments early in his sequential career and now he stands as one of the most inventive visual storytellers in comics. Using that comparison point, Trakhanov’s stuff looks great, on the whole, and he has a bright future.
“Undertow” delivers on all of the promise that “Aquaman” has failed with for a while now. I keep bringing it up, because this is another example of a couple of lesser known creators and Image Comics beating the bigger guys at their own game. By providing the groundwork for what looks to be a rich, politically-minded action-adventure character piece, Orlando and Trakhanov give us yet another Image Comics genre series to put on our pull lists that we can all point to as a shining beacon of quality. The type of quality that gets us excited come “Image Expo” time and then actually gets delivered on.
Final Verdict: 8.0 – Buy
