The DC Comics superhero pantheon is full of implausible and downright silly characters. One of them is Aquaman. This character was invented in the middle of the last century, when the demands on comics were low, and by the 2000s, when audiences became more demanding, he had become a target for ridicule. A superhero with scales and a trident, breathing underwater and controlling fish? What could be sillier? That’s the opinion that DC Comics creative director Geoff Johns was pushing back on, and he brought interest back to the character in a very unusual way.
The author deliberately built the plot around Aquaman’s ridiculous image. The Atlantean descendant is confronted not so much by horrible monsters as by the mocking American society. The superhero is alien to the world where he grew up. A contradiction begins to grow inside him: why risk his life for the sake of people who don’t have the slightest respect for him? This background makes the story look good against the backdrop of hectic superhero action movies, and the unhurried pace of the narrative creates the necessary immersive effect. You can really empathize with Aquaman here!
Artist Ivan Reis successfully maintains the originality of the comic. He draws the monsters confronting the hero in a dark, almost Lovecraftian style, thereby introducing a touch of effective horror into the story. As a result, the comic also looks better than many of its counterparts.
The last but not the least advantage of “The Hollow” is its self-value. The story arc is competently closed, and the intriguing ending becomes just a reason to pay attention to the sequel.