|
The group you are posting to is a Usenet group. Messages posted to this group will make your email address visible to anyone on the Internet.
Your reply message has not been sent.
Your post was successful
 |
Newsgroups: alt.comics.batman
From: se93...@brunel.ac.uk (Stig Tollefsen)
Date: Tue, 1 Mar 1994 14:34:43 GMT
Local: Tues, Mar 1 1994 3:34 am
Subject: Jim Aparo
In article 14...@jupiter.sun.csd.unb.ca, nolive...@mta.ca (Nelson Oliveira) writes:
> I realize this is TOTALLY off the subject at hand, but I have to say Well I grew up on Jim Aparo too. His art has become rather stilted and unimaginative lately, >something about this comment. The first books I ever picked up were "Death in >the Family." I grew up on Jim Aparo. Out of all the comics I read in the >last few years, one of my favourite artists was Jim Aparo. He may not have a >really wild imagination as, say, Norm Breyfogle, but he always places his >characters at places in the panels that grab the most emotional impact. Case >in point, Batman 431, the "You four men can come out now" issue. Not only is >this, IMO, the definitive Batman story, but also the definitive way Batman >should be drawn. What he lacks in different facial designs for certain people, >he makes up for in intensity. The Death of Robin. The Breaking of the Batman. >I cried when I saw those panels. > Later, but he used to have a wild, exciting style. Check out The Brave and the Bold V1 ca. #110 and onwards, and Detective Comics just after Archie Goodwin took over as editor (#327? Can't remember...) That was some of the greatest art of that era. (And I'm not old, dammit!) --- "I was a teenage dinosaur / Stoned and obsolete / I didn't get fucked and I didn't get kissed / You must Sign in before you can post messages.
To post a message you must first join this group.
Please update your nickname on the subscription settings page before posting.
You do not have the permission required to post.
| |||||||||||||