Welcome to the Multiversity Year in Review for 2020! While this has been, by many accounts, a terrible year, there were a number of fantastic comics released in 2020, and over the next ten days, we’ll be highlighting our favorites across 25 categories. If you want to give your thoughts on our picks or share your own, feel free to do so in the comments!
Best Single Artist
What’s so cool about comic art in 2020 is how much variety you can find. There are artists who use traditional pencils and inks, artists who do digital paintings, and artists who make art much as a video game designer would. You can find artists who strive for photorealism, artists who express themselves through cartoon, and artists who capture emotion through abstraction. We try to cover the whole multiverse of comics here, and that comes across in the many different styles in this, our list of the best comic artists of 2020.
10. Andrea Sorrentino
For the third year in a row, Andrea Sorrentino cracks our annual top ten best artists. It also just so happens that three years ago “Gideon Falls” came out. This is hardly a coincidence. Sorrentino’s work on “Gideon Falls” has not only been excellent from issue #1, but has been getting better as the series progresses—”Gideon Falls” not only accentuates his strengths as a visual storyteller, but pushes them to greater heights.
Right from the beginning, I was impressed by Sorrentino’s uncanny ability to capture perception beyond the common five senses. How do you draw the feeling of being watched? Or sensing a connection through touch? Or that feeling of your stomach dropping as the world falls away and your nightmares become real? These are such abstract concepts and complicated storytelling problems. Yet Sorrentino keeps finding ways to tackle these problems, and his solutions are so elegant, I don’t even notice the mechanics of it while I’m reading, I simply feel it.
In its final year, “Gideon Falls” has unfolded on an epic scale, but instead of losing the existential elements to the action or the plotting, Sorrentino uses them to ground everything. They are the foundation upon which the visual style of the series is built. Using the language he’s developed over the past three years, he’s able to heighten moments to a place that doesn’t feel real, while paradoxically feeling devastatingly real. And for an existential horror book like “Gideon Falls” that’s a necessary skill to make the book work at all. But when that skill is functioning at the level Sorrentino is operating at, it’s downright transcendent. ―Mark Tweedale
9. Chris Samnee
I wish I had a cool story about how I had fallen in love with Chris Samnee’s work years ago, and this year’s “Fire Power” with Robert Kirkman is a renaissance in his career. But truth be told, this is my first experience with Samnee’s work and now my story is about the jealousy I have for anyone that has watched his talent and skill flourish.
I had seen “Fire Power” advertised, and celebrity aside, the “Free Comic Book Day” first issue had me interested. What I wasn’t expecting was how quickly I was going to fall in love with the artwork. I consumed that first issue at least three times in the first hour I was at home, and less than 24 hours later I was back at my LCS to grab the graphic novel “Prelude” that had released simultaneously.
Samnee’s style at first glance is simplistic, similar in line work to Bruce Timm style animation. Where it separates itself though, is the heavy, dark lines that outline the characters and make the shadows dance. The other visual note I would make about Samnee’s style is how emotive the characters are. As cartoon-like as everything can look in “Fire Power,” the characters always ‘act’ out their emotions and there is never a doubt about what a character is thinking or feeling.
As for storytelling, Samnee never comes up short with pacing. The second issue of “Fire Power” is mostly silent, and masterful panel layouts and pacing carry the story every bit of the way. Kirkman may have scripted the action, but Samnee brought it to life by giving it a structure and working details into the shadows.
Continued below2020 has been a unique year, and Samnee’s work was a unique and personal discovery. I can’t wait to spend 2021 going back to read some of his other work to see how his talent has evolved. I’ve recently been recommended his run on “Thor: The Mighty Avenger,” so that will likely be where I start next year if anyone needs to buy me a Christmas gift. -Ryan Pond
8. (tie) Steve Lieber
One could say that Steve Lieber had a pretty straightforward year, he worked on eight issues of a series, did one variant cover (“Quantum & Woody” #3 preorder edition) and contributed to two anthology one shots.
In 2020, Lieber worked exclusively on Metropolis, with issues #5 to #12 of the maxi-series “Superman’s Pal Jimmy Olsen”, along with writer Matt Fraction; he also contributed with an 8-page story about Olsen and Superman’s relationship in “Superman: Heroes” and a couple of pages dedicated to Steve Lombard and Lex Luthor in “Superman: Villains”, both issues tackled the aftermath of ol’ good Superman revealing his identity to the world (for the nth time).
But, what’s important about Lieber’s work this year, and what earns him his first appearance ever on our list, is what he managed to do in those 200 pages (give or take). The magic of his work resides on his simple panels that show the action on a clear way, the exceptionally expressive poses and faces of the characters he draws and, maybe the most important, the comedy; he excels like no other artist in the pacing of the page, you can see how he perfected what he learned in “Superior Foes of Spider-Man” and dropped the mic on “Jimmy Olsen”.
People say that rhythm is everything in comedy, and Lieber manages to translate to paper a concept so abstract in the spoken word that I sincerely didn’t even thought was possible: comedic timing. He designs his pages in a certain way that, we as readers, are aware of the time that has passed between panels, and he (and Fraction) uses that awareness to drop punchlines exactly where are needed, whether is one per page or one per panel. I can’t wait to see what comes next for him. -Ramon Piña
8. (tie) Rod Reis
It can’t be easy to be the follow up act to one of the greats, but that’s exactly what Rod Reis was asked to do. Bill Sienkiewicz was the artist of “New Mutants” in the 80s but his work was so iconic, that he was still the guy primarily associated with the book. Perhaps no longer. Reis masterfully took Sienkiewicz’s abstract style and made it something completely his own. Reis has a naturally clean and modern style, but in “New Mutants” he explored a less representational style. He scribbled. He blew up panels. Words bled into images. Most artists struggle to create a style of their own, Reis synthesized some techniques from one of the most celebrated but least replicated artists in the history of the medium, and folks, I think he elevated it. Asked to do the impossible, he not only rose to the occasion, he shattered expectations. Reis issues of “New Mutants” are some of the most gorgeous issues Marvel published in 2020. Random one-shots became must-have item’s with Reis’ name on the cover. Reis has been doing good work for a long time, but his 2020 was on a whole new level. And the way things are looking, this is only the beginning of many great years to come. -Jake Hill
7. Pepe Larraz
In the late 1980’s Marvel had in their stable a talent named Art Adams. Not a quick artist, they worked him in on projects suited to his schedule, bringing his immense gifts to a mini-series, or a back-up feature, or knocking an annual out of the park. Call him comics’ first Designated Hitter. His art is loud and boisterous. Pure fun. His style begat imitators like Todd McFarlane and Rob Liefeld- artists that would change the medium. That’s what I think of when I look at Pepe Larraz’s art – summer blockbuster superhero comics destined to help define an era.
Continued belowFalling just a few spots from the top of our 2019 Best Artist list, Pepe Larraz still had a remarkable 2020, his art gracing a superpowered fistful of Marvel covers, as well as making a triumphant return to the X-Men during the fall’s “X of Swords” event series.
His covers are exactly what you want them to be- bold, iconic figures posing heroically against sparse backgrounds, with a keen sense of symmetry between art and design. His interior work is reminiscent of other iconic X-artists Stuart Immonen and Alan Davis, with striking character and costume designs, an eye for light and shadow placement, and an impeccable sense of body language.
In just three chapters of “X of Swords,” Larraz packs a sizable punch, reminding X-fans why he was teamed with writer Jonathan Hickman to usher in a new era of the X-Men in the first place. While it was audacious new ideas and iconic set pieces that defined “Dawn of X,” “Swords” allows Larraz to get weird, as the Otherworld setting of the series has emboldened the artist to go for broke with some inspired character designs and some fantastically epic action sequences.
Though not a ton of books bore his name this year, the ones that did were bangers. Larraz is the guy you bring in to hit that home run. He’s this generation’s Designated Hitter, and if 2019 was the year that brought Larraz to the forefront of the industry, 2020 proves that he’s officially there to stay. -Johnny Hall
6. Sean Phillips
To anyone that reads comics, Sean Phillips is a known name. While he has been working on various books from DC/Vertigo, 2000 AD, and more since the late 1980s, Phillips is definitely best known for his on-going partnership with writer/artist Ed Brubaker. The long running, limited, and one-off original graphic novels that they have worked on since the mid-2000s have been some of the greatest crime thrillers ever released in the comic book format.
While there is no denying the incredible force in Brubaker’s scripting talents, it is Phillips’s work that has repeatedly drawn me back in. Crime dramas and the like are not my usual go-to, in any medium, but the wide range of emotions that his art pulls out of me is rare outside of a short list of other artists. I found myself sitting back reflecting on why I named Phillips one of my top artists of the year. When we around to these columns I tend to set my sights on names who are bringing the strongest work, but don’t necessarily have as much recognition, or someone who is doing something outside of their typical style. But with how much I loved this year’s “Pulp” from Image Comics, it felt right put him on this list.
Phillips is an artist who brings out the exact amount of detail needed to tell a story without bogging us down with the finest details. Work like that can be wonderful, but also tiresome depending on the story or genre. His lines are placed exactly where they need to be. There is never a doubt when looking at a Sean Phillips’s page who or what you are looking at and what emotion or feeling should be taken away from it, down to the smallest or most minimalistic panel. He allows grit and pain into the work, but there is also a stark beauty that is almost indescribable.
Because many of the stories Phillips works on tend to move back and forth through time, he has a sure-fire method for making sure the reader is never confused by when each part of the story takes place. Details in the story’s present are finer, tighter, clearer. When he takes us to the past, there is still some great detailing, but everything is seen through a haze. There are gaps. Even our strongest memories have holes, what is important is that we remember the key elements. Why was this moment so important to us, for good or bad? His work evokes that feeling. Every time.
Everything he works on takes you on a journey. Through time, through memory, through your heart and soul. His art makes you a part of the story. You have no choice but to surrender to it and see yourself within these characters, even if beforehand you could never imagine you would be able to relate to them. Some of this is made whole through Sean’s pairing up with his son Jacob Phillips who does the coloring on most of these stories, but Sean’s foundation allows for the storytelling to be all the stronger.
Continued belowIt has been a few years since Sean Phillips has been a part of our Best Artist list, but just for “Pulp” alone he deserves a spot in 2020. -Chris Egan
5. Russell Dauterman
2020 was a year of change for Russell Dauterman’s work at marvel. Dauterman completed most of his artistic contributions to Thor in 2019. Dauterman’s 2020 was primarily centered around the various ‘Dawn of X’ titles. Even with less interior art projects, Dauterman’s output was still absolutely stunning this year. His representation of figures and reinterpretation of the X-Men team’s vision allow for creative cover art that fills in the moments between panels. The moments where we did get his interior artwork were almost mindblowing. The dialogue-sparse “Giant-Size X-Men: Jean Grey and Emma Frost” #1 was a sight to behold artistically. So much emotion is captured with Dauterman’s attention to facial quirks and mannerisms. The characters in his stories all have so much emotion they are exhibiting. On top of everything mentioned above, Dauterman’s interiors feature his creative page compositions that we don’t get from covers. I hope that taking on fewer interior projects will give Dauterman the time to continue to hone his craft and experiment more. Drawing covers for the X-Men titles gives Dauterman a brand new leg of Marvel Universe for him to experiment with. It is refreshing to also see an artist stick with a property for a longer period of time because they get the chance to draw all of the characters instead of a small portion of them. I can’t wait for the next interior art and new covers from Russell Dauterman in the New Year, he is one of the strongest artists at The House of Ideas. -Alexander Jones
4. Bilquis Evely
I am in constant awe of Evely’s pages. They capture the grandeur of every story she is asked to draw and, honestly, can make even a mediocre story sing. She didn’t have a lot of titles but, honestly, even getting 6 issues of Evely art is a miracle considering the detail she puts into every splash, every panel, every head of hair. The work on “The Dreaming” #20? That alone deserved a many month break from illustration. Did you see her work on “Detective Comics” #1030? I haven’t been this excited for a “Tec” story since Tynion left the title. Hell, you could argue that the last time an artist got me this excited for a “Tec” story was Francesco Francivilla in the ‘Black Mirror’ storyline.
That’s the power of Evely’s art.
She knew what The Dreaming should look like and executed a vision that was fantastical, dark, fractured, and, eventually, full and whole. She manages to make Batman look vulnerable and like a fiery demon out for vengeance in the same issue, with fire that I swear I can hear crackling, without making one or both emotions feel false or discongruent with the character on the page. Her expressions can be exaggerated or restrained, suiting the mood, having a massive page of Batman looking at a torn Robin logo feel small or making a tiny panel of Dora yelling feel massive.
If every frame is a painting, then every panel by Evely is a masterpiece. – Elias Rosner
3. Elsa Charretier
Elsa Charretier has had a busy 2020. Between working through seemingly endless commissions, doing a handful of variant covers and exclusive art pieces, and running a wildly successful Kickstarter campaign, she somehow managed to also create some of the most evocative imagery of the year in the second and third volumes of “November”.
The graphic novel series has shown how masterfully Charettier can evoke emotions and bring complex characters to the page. With each volume, the world of “November” becomes more intricate, interconnected, and intense, and Charretier has traced this evolution gracefully. Whether she is depicting an action-packed shootout, or focusing on subtle body language in a 12-page phone conversation, Charettier crafts each panel in such a manner that the reader cannot help but be riveted. Her style is instantly recognisable, accessible, and remarkably effective.
Elsa Charretier’s published catalog this year may not be extensive, but it is far better to create a work that will captivate readers for years to come than release a host of forgettable filler. “November” has garnered a great deal of deserved praise, and Charretier’s art is an immutable part of its appeal. After “November” ends with its fourth volume, it will be fascinating to see what Charretier brings her refreshing art style to next. –Jodi Odgers
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2. Jamal Campbell
You can’t write about Jamal Campbell without using the word “lavish.” His coloring choices are lavish. His character designs are lavish. The worlds he designs are lavish. It is beautiful, overwhelming and lavish work. That undeniable quality is what has consistently distinguished Campbell from so many others working today.
He has released one series all year and, when you’re this good, that’s all you need. “Far Sector” takes a brand new Green Lantern, a script from one of the finest genre novelists working today but yet untested in comics and an imprint (Young Animal) that was otherwise done transforming all of it into a luscious space of imagination that demands it be appreciated.The world is bright, dynamic. His character designs here are transformative, able to take characters’ limited emotionality and turn it into a visual strength regardless of their priority in the panel. Every character flows through the page with costumes that are pulled from a royal drama I never knew we needed. It’s afro-futurism by way of an optimistic “Ghost In The Shell.”
It all succeeds because Jamal Campbell’s work is so strong. His art conjures a world you don’t just believe in but you admire. You want to be wrapped up in the colors and details. You want the imagination to take you away to whatever place could ever be this perpetually lavish. -Jacob Cordas
1. (tie) Daniel Warren Johnson
Across the four issues of “Wonder Woman: Dead Earth,” Daniel Warren Johnson’s art transports readers to a DC wasteland where huge monsters roam and the surviving humans have reverted to a medieval aesthetic. This combination works brilliantly with Johnson’s style. His loose linework gives the art a frantic feel as well as a tangibly gritty texture, perfect for humanity on the brink of extinction. The landscapes are rugged and unforgiving with human outposts rundown. In every panel, characters are marked by cuts and scrapes, or covered in flecks of dirt and blood. Johnson’s attention to detail, whether it be in close-up character moments or in the gargantuan sweeping battles, give the world a great depth and realism.
With a world so harsh, pain, fear, and anger are frequently etched on the faces of the survivors, but with Diana’s arrival, relief, hope, and joy are increasingly commonplace. Johnson draws these emotions with ease, ensuring the weighted notions of humanity that are central to the series are seen and felt. In the third issue, Johnson delivers a cataclysmic clash between superheroes that is all the more captivating due to the fury in Diana’s expression that makes her unrecognisable. It leaves the reader on the edge of their seats and truly uncertain of her restraint.
There are huge adrenaline rushes provided every time the narrative shifts gears. A raw intensity is unleashed at these moments as Johnson injects dynamism into his page layouts and compositions that leaves you reeling. The artwork seems to be alive before your eyes, as though Johnson somehow channels lightning into his pages. Diana wrestles, slices through, and blows up grotesque Haedra frequently throughout the series, with each encounter seeming more energetic, addictive, and fun than the last.
With his incredible attention to detail, dynamic action sequences, and facial expressions to convey every emotion, it’s easy to see why Daniel Warren Johnson is one of the best artists of 2020. -Luke Cornelius
1. (tie) Sanford Greene
Five issues of Image’s “Bitter Root.” Five covers for “On the Stump” and assorted variants. That’s all it took for Sanford Greene to seize an unassailable spot at the top of our 2020’s artists. Green proves artistry doesn’t need volume to make an impact. But what is it about Sanford Greene’s stylistics that earns this flex at the top of our list?
Going out on a limb: I wonder if in a decade, we reckon Sanford Greene in 2020 the way we exalt 2010s Fiona Staples, or Miller in the 80s, Lee’s 90s, or Quitely or Cassiday in the 2000s. Utterly unique, but emblematic of an era. Sanford Greene is that good.
And it’s not just that he’s good. He’s so many things we hail comics of this moment for presenting. Carving out an aesthetic true to Black culture in virtuosic originality. Observe a few ingredients that make “Bitter Root” a thing of piquant wonder: The detailed noodling, the elaborate gadgetry and weaponry, the ink splashes that hover like grainy earth in front of twisty trees, Harlem brownstones, Oklahoma Baptist pews, or Barzakh, the realm between heaven and hell. The monsters and monstrosities, some hollow and soul-less, others our sympathetic heroes, and many cartoonish or portentous or frenzied. The dense pages chock-full and action-packed, yet legible as a Coconino horizon, delineated by Greene and Sofie Dodgson’s palette of earth and fruit, but also Greene’s hectic elegance of layout.
Continued belowBut above all, worthy of songs of praise, is the Sanford Greene gift for characterization. Yes, like co-winner DWJ, Greene can fill a page to bursting; like Bilquis Evely, deliver an elegiac sequence; like Sean Philips, manufacture grit; like Rod Reis, effectuate a dreamlike sheen; and like Steve Lieber, render comic punch. But can anyone in all of comics do what this man does to make characters live, move, react, shudder, chase, regret, dance, haunt, counsel, mourn the departed, sing the blues, slay a demon, resolve revenge, or even just hold open a book with such total conviction?
No one makes characters animated (or reanimated!) quite like Sanford Greene does.
In that extra fifteen degrees of exaggeration, Greene makes the Sangerye family and all the life around them as distinctive and vivid as we’ve ever had the privilege to see in comics. There’s a dash of the monstrousness of Kirby and kaijus, a splash of the cartooning wizardry of Walt Kelly or Milton Caniff or Pixar, a trace of the fearless brush of a Paul Pope or Kazuo Koike… and yet all these comparisons don’t do justice to the uniqueness of Greene’s rare voice.
Yet as peerless and distinctive as Sanford Greene’s style, isn’t there something about those pages that just seems like a perfect distillation of the best of cartooning circa 2020? The greats always seem to ride astride the field that way. Greene is not just good. He’s greatness. -Paul Lai
