Sienkiewicz treats a comics page as a surface to attack, with paint, collage, photography, scratched ink and outright abstraction. The New Mutants and Elektra: Assassin showed mainstream readers a superhero book could look like a gallery piece, and that permission runs through decades of cartooning since.
Bolland's line is close to mechanical in its precision, every contour deliberate and every surface finished. The Killing Joke and his Judge Dredd work made his name, and his covers remain a reference point for how clean a comics image can be.
Hitch draws superheroes at movie scale, with wide panels, real architecture and crowds that feel populated. The Authority and The Ultimates made widescreen a working term among comics artists.
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