The Jim Aparo Fan Club

A look at the career of comics artist Jim Aparo.

Wednesday, April 13, 2016

Aparo credited in Batman v. Superman!

If you watched through all of the film Batman v. Superman: Dawn of Justice, you saw Jim Aparo thanked in the credits:
Presumably, the credit is in acknowledgement of the filmmakers' taking some inspiration from Jim's rendition of Bruce Wayne and Diana Prince in Brave and Bold #158:

The film includes a visually similar scene with Bruce and Diana attending a high class social event, although one without Dick Giordano attending!
Then again, it could be a more general acknowledgement of Jim as the Graphical Guru of Batman team-ups!

Wednesday, April 15, 2015

Aparo Art in Convergence: Green Arrow #1, April 14, 2015

OK, not much Aparo art, but look closely at this page, the second of two recapping the history of Green Arrows Oliver Queen and Connor Hawke:

Down there at the bottom? A panel from one of the issues of Green Arrow that Jim drew in the 1990's:

Friday, January 16, 2015

An Aparo Cover on a New DC Comic?!

The Chip Kidd Variant cover to DC's Batman and the Outsiders #1, part of DC's April "Convergence" event, will be using a Jim Aparo drawing of the team's Geo-Force character as its source. Other variants are employing the work of classic Silver and Bronze Age artists, such as Joe Kubert (Hawkman #1), Don Heck (Wonder Woman #1), Dick Giordano (Justice Society of America #1), and even Sheldon Mayer (World's Finest Comics #1)! It's nice to see the work of these legends appearing on covers again, if just this once.

Thursday, April 8, 2010

Brave and Bold: The Lost Issues?!

Check out this wild blog from Ross:
Starting with scans of classic (mostly) Aparo covers (from Brave and the Bold as well as other series), Ross produces imaginative glimpses of team-ups that never were...and, in many cases, never could have been! The digital surgery is much more neatly done than most of the Photoshopped work one often finds on the web, with Ross very neatly merging Jim's work with the art of artists like John Byrne and Gil Kane (among many)--an impressive job considering Ross uses the much-maligned Microsoft Paint to get his results!
Favorites of mine include the team-ups of Batman with Captain Kirk of Star Trek, Air Wave, and Black Panther!
Great fun, Ross!

Wednesday, October 28, 2009

Aparo on the Web: The Spectre

At The Bronze Age of Blogs, Pete Doree treats us today to "The Wrath of the Spectre". Pete offers up some well-deserved praise for the Orlando/Fleischer/Aparo/Carley run from the 1970's in Adventure Comics, and serves up scans of the first installment for your reading pleasure. I was struck by this comment of Pete's:
[Aparo's] art also had the 'cool' factor, something indefinable that only Gil Kane's could match. Every one of his characters somehow just looked unspeakably cool, like the greatest Rat Pack movie never made.
Well said, Pete! Anyone who's seen Jim's rendition of the Spectre's alter ego, Detective Jim Corrigan, would probably agree. Corrigan wasn't the only stylish and suave gentleman to grace Jim's pages--I'd add his renditions of Bruce Wayne, Oliver Queen and Scott Free to the Aparo "Rat Pack", just for starters.

Elsewhere on the web, the Groovy Agents serves up Brave & Bold #116, a team-up of Batman and the Spectre that ran contemporaneous to the Spectre solo series that Pete samples (see above).

Thursday, October 22, 2009

One Wreck of a Cover!

Here's a look at one of the few comics missing from my own Jim Aparo collection, the cover to Charlton's Grand Prix #31, from 1970. Nearing the end of his stint at Charlton, Jim supplied this smashing piece of art. To the best of my knowledge, it was Jim's only contribution to the racing comics genre (Charlton, I believe, was the only publisher of American color comics still exploiting the subject by the 1970's). That's Jim's distinctive lettering on the "Last Chance" title, by the way. Charlton was often quite happy to let Jim letter his covers (not the logo, of course), unlike DC, which was far pickier about its cover text. I've usually found that comics artists struggled--often unsuccessfully--when they tried to convey the speed and excitement of racing. Depicting a crack-up like this obviously makes the job a lot easier, with the wheels spinning off the axle and comics-style impact explosion, but I especially love the way Aparo incorporated his trademark landscape tilt to add dynamicism to an already-energetic design. I'll bet the Charlton editors wished they'd assigned Jim a few more of these kinds of jobs after seeing what he turned in here.
Jim would revisit the race tracks a time or two in his career at DC, although not in comics devoted specifically to the genre. Typical of the comics vets of his generation, he could and would draw anything he was assigned to draw, any setting, any time, any genre. And as evidenced by this terrific piece, he usually drew it very, very well.