I have a fair amount of experience with Aquaman. For a while in my mid-twenties, I played on Zero Hour MUX, an online, text-based roleplaying game that was built around the DC Comics setting. Getting one of the major DC characters required an application. Green Arrow was taken ... so I applied for Aquaman, and got it. So, from one standpoint at least, I'm a bit of an Aquaman expert.
One major problem that DC has always had with their films is one that Marvel has gotten well beyond: DC seems to still think that "superhero" is a genre. It's not. Superheroes are heroes with powers, but there are a lot of different types of heroes, they have different types of adventures, and these result in different types of films.
This is obvious from the Marvel films. The first two Iron Man films, though a bit repetitive in tone, are basically industrial suspense films with a high dose of action. Iron Man 3 is a mix of mystery and techno-thriller. Captain America is a WWII period film. Captain America 2 is a political thriller. Thor is a trans-dimensional redemption story. Thor 2 is a fantasy quest. The upcoming Ant-Man film is a heist with superpowers.
The key thing is this: all of these movies (except perhaps Iron Man 2) would have been interesting stories in their own right, even if not tied to the franchise.
So, here is how I would handle the Aquaman set-up and major thematic elements:
Intro: The film begins with a man (Tom Curry) in a lighthouse, looking out into the ocean during a storm. He sees something and, racing down to the beach, finds a woman lying on the rocks. She is a beautiful blond woman, but is injured. A head injury. The man carries her into the lighthouse and tends to her wounds. As he tends to her wounds, the camera focuses in on a coral necklace around her neck. In the center is a piece of coral that is shaped in the symbol of an "A" ... which transitions into the "A" in the Aquaman logo to cue credits.
After credits, two kids are revealed: a 10 year old blonde named Arthur and a slightly younger brunette boy named Orm. It is dawn and they are playing in the water. Arthur is waving a large trident-looking stick around, pretending he's fighting off some generic bad guys. Orm is waving around a smaller stick, pretending to be a wizard.
Orm dares Arthur to jump off a high rock into the water. Arthur does it and vanishes into the waves. He's under water for a while. Orm gets terrified and jumps in after him. He hits the water, but panics as he swims around looking for Arthur. Orm sinks, rolled by a wave. Right as he's about to crash into a rock, Arthur darts out of the water and pulls him up out of the way. The boys run back toward the lighthouse, past their mother (a brunette, and not the woman from the intro sequence), who is watching television and making breakfast.
Tom Curry, a decade older than pre-credits, is busy getting dressed. The kids are running around, creating havoc. The wife enters the bedroom in shock. "You've got to see ... Come here." He comes into the living room, looks at the television, and collapses onto a chair as he stares, dumbfounded, at the television. The kids run in and stop, sensing that something serious has happened. Pan to the television: images of the Twin Towers attack. Pan back to Orm, whose expression is one of fear and confusion, and Arthur, whose expression is more grim determination.
The origin story focuses on the following or incorporates following elements:
- Arthur grows to believe that the society of the surface world is corrupt and destructive. Maybe he has this view from outside as an anti-government environmental terrorist or inside the system as a Navy SEAL or some other background or combination.
- In mid-twenties, Arthur learns that his mother was an Atlantean queen (and gets her necklace from her father). He goes to Atlantis hoping for a utopia, fed up with the surface world.
- Orm wants to go with Arthur, but can't (unable to breathe water). Establish the jealousy aspect, though Orm is not an enemy in this film.
- Arthur discovers corruption within the Atlantis government. He leads a "man of the people" style rebellion against the Atlantean aristocracy - so the bulk of the film has a very Braveheart or Spartacus (or, you know, Conan the Barbarian) feel to it, complete with a dramatic rousing speech to unite the people of Atlantis together. In order to protect his new people, he must become the king, taking charge of the very system that he previously railed against.
- Arthur's powers in the film include: breathing underwater, superstrength, damage resistance, enhanced hearing/limited sonar, telepathically communicate with aquatic life, a vague "water sense," gains Atlantean trident before end of film.
- Establish that he weakens longer away from water. Not fatally (like Kryptonite) but enough that if he got shot after being out of water for a while, he could easily die. While in water, he is virtually invincible (but so are other Atlanteans) to anything but Atlantean magical weaponry.
- Atlantean magic plays heavily in the corrupted part of the government. At some point, Arthur needs surface help he can trust and enlists Orm, who is thus exposed to Atlantean magic. In fact, Arthur encourages him to learn enough that he can first magical bolts that can harm Atlanteans.
The one problem with this concept is that it has a lot of parallels with Thor, but they're almost inverse connections. The Arthur/Orm relationship is one where Arthur is elevated above Orm, even though Orm views himself as the "rightful" son, while the Thor/Loki relationship is one where Loki has always known that Thor was heir to the throne. Thor is banished from his kingdom; Arthur comes to his kingdom for the first time and must claim his throne. So, while there are some similarities, there are also some pretty significant differences.
- Possibly introduce Aqualad (but don't call him that). Other potential allies from Aquaman's team "The Others" can be introduced.
Again, I want to remind Hollywood that I am more than willing to consult or perform a script doctoring role on this project. Just drop me a message.