Hot Streak: Nick Cardy’s Aquaman, Previously

« Suffering sea snakes! Can this really be happening, Aquaman? » — Aqualad has a query.

I just realised, a few days ago, that I’d left something hanging for too long: nearly two years ago, I turned the spotlight on a series of Aquaman covers, casually (in my debonair way) letting it be known that there existed another, earlier, and even longer (well, by one) run of exemplary Aquaman covers. The time has come to see whether I was talking through my hat… or not.

Now, at the risk of repeating myself, it must be stated that, since we’re dealing with DC’s late Silver Age, there’s more to any given cover than a signature. DC’s recently-ascended art director, Carmine Infantino, had a hand in designing virtually every DC cover between late 1966 and early 1976. How strong a hand varied from cover to cover, of course. A good designer sometimes knows when to hold back and be invisible, or just about.

Infantino always strove to improve himself and update and hone his skills. Well into his career (he’d started in 1940 at Timely), he pulled an unexpected (and very smart) move. As he recalled it in The Amazing World of Carmine Infantino (2000, Vanguard Productions):

« Around 1960, I went back to school again, this time to study under a gentleman named Jack Potter at the School of Visual Arts. What Jack taught me about design was monumental, and I went through a metamorphosis working with him. I’d sit there confused and he’d tear the work apart. But then it was a light bulb going off – bam! – and I’d understand everything he was getting at.

After studying with Potter at the SVA, my work started to grow by leaps and bounds. I was achieving individuality in my work that wasn’t there before.

I threw all the basics of cartooning out the window and focused on pure design. Everything I did was design-oriented. That was quite the challenging task. But that’s where Potter’s teaching took me.

… I started putting hands in captions, that was decorative. He taught us to do everything decoratively. I’d always found captions very dull. So I thought I’d break the captions into smaller paragraphs and use hands to get people to read them. I regularly pushed design and perspective to the extreme. »

And speaking of reinvention, I must also salute Nick Cardy’s own mid-career creative burst. Prior to the mid-60s, Cardy had always been one of those genteel, tasteful but entirely unexciting journeymen, the way most DC editors liked ’em. I can think of precious few long-timers that managed to convincingly reinvent themselves and greatly raise their game, well into their career, without utterly misplacing their original identity (that disqualifies you, Keith Giffen) in the process. Alex Toth, Jerry Grandenetti and perhaps Sheldon Mayer come to mind…

At any rate, when Infantino got together with Cardy on those covers, all hell broke loose, in the best possible way.

This is Aquaman no. 37 (Jan.-Feb. 1968, DC). The despondent walrus, bottom left, is family pet ‘Tusky’. Oh, and my apologies for ever-so-slightly poaching some potential Tentacle Tuesday material.
This is Aquaman no. 38 (Mar.-Apr. 1968, DC). I wonder what’s up with the redundant vertical logo, top left.
In case you’re wondering about Aquaman’s expanded regal duties (“and TV!“), they were showing repackaged reruns of his half of the previous year’s Superman / Aquaman Hour of Adventure. A Filmation production, so don’t expect too much if you haven’t seen it.
But back to the comic book: this dazzling scene announces the saga of “How to Kill a Sea King!”, as our amphibious hero seeks to thwart a hostile Venusian takeover of Earth and sea. Script by Bob Haney, art by Cardy. This is Aquaman no. 39 (May-June 1968, DC). Oh, and the hottie? That’s “Aliena”. A real bolt of ‘inspiration’ there, Mister Haney.
This is Aquaman 41, (July.-Aug. 1968, DC). Such dynamically-designed fun! This is where the new creative team of Stephen Skeates and Jim Aparo joins new editor Dick Giordano (his second issue), but Cardy remains on covers… because Aparo, who resided a couple of states over, couldn’t attend the cover conferences.
This is Aquaman 41, (Sept.-Oct. 1968, DC), a highlight among highlights from the redoubtable team of Infantino (publisher-designer), Cardy (penciller-inker), Giordano (editor), Jack Adler (production manager and colourist), and, inside, Skeates (writer) and Aparo (penciller-inker-letterer). There’s a texture to the colour work (most evident on the foreground piraña… a freshwater fish, incidentally) that’s unusual for comics of that period. I wonder how it was achieved…
This is Aquaman no. 42 (Nov.-Dec. 1968, DC).
This is Aquaman no. 43 (Jan.-Feb. 1969, DC). Face-first in a bed of mussels, with several tons of pressure? Yikes.
This is Aquaman no. 44 (March-April 1969, DC). I love how, despite the gravity of the situation, the mobsters are kind of cartoony. Cardy would most fruitfully mine this tragicomic vein in the brilliant but short-lived western Bat Lash (1968-69).
This is Aquaman no. 45 (May-June 1969, DC), concluding Skeates and Aparo’s two-parter, the self-explanatory “Underworld Reward”. An undeniably epochal cover by Mr. Cardy. To wit, so compelling and mysterious is this scene that it’s merited an astute blogger’s impressively in-depth analysis… well worth a peek.

-RG