AceShowbiz - At the end of January, comic artists Nick Dragotta and Daniel Warren Johnson found themselves immersed in a unique marathon session at a Marriott Hotel in Monterey Park, California. Seated at separate tables in a small conference room, the two dedicated days—stretching from morning until late at night—to signing comic books. Workers moved carefully around them, placing each signed issue into protective holders for grading and preservation.

Fueled by coffee and brief breaks for meals, Dragotta and Johnson signed more than 15,000, possibly over 20,000 comics in just four days, all under the supervision of a signing and grading company's representatives. Despite the grueling schedule and bleary eyes, the atmosphere remained calm and friendly, punctuated by light conversation and the soft hum of fans drying the freshly inked covers.

Both artists, friends since the 2010s, have recently emerged as two of the most influential figures in the comic book industry. Dragotta is the regular monthly artist on DC’s Absolute Batman series, while Johnson wrote and illustrated the Absolute Batman annual last year. Together, they symbolize a powerful shift in comics that signals the return of the superstar artist.

For much of the 21st century, comics have been dominated by writers rather than artists, despite the medium’s visual nature. While certain artists did gain recognition, the spotlight largely shone on writers such as Brian Michael Bendis, Robert Kirkman, Scott Snyder, James Tynion IV, and Brian K. Vaughan. These writers built upon the foundations set by earlier legends like Alan Moore and Grant Morrison.

However, Dragotta, Johnson, and a select group of others—including Hayden Sherman, Jorge Jimenez, and Peach Momoko—are reviving the artist’s prominence in the industry. This resurgence echoes the early 1990s when artists like Jim Lee, Todd McFarlane, and Rob Liefeld left Marvel to form Image Comics, sparking a fan frenzy akin to Beatlemania. Their store appearances, especially in locations like L.A.’s Golden Apple Comics, drew massive crowds. Reacting to this, Marvel and DC subsequently curtailed artists’ influence while elevating writers’ voices.

“Certainly in the '90s, artists and Image artists ruled the land,” says Jim Lee, the longtime DC chief who has witnessed the industry’s ebb and flow. “We are now getting back to a balance where both artists and writers are driving sales and fans.” Lee believes this renewed focus on artists as superstars is beneficial for both the business and the art form.

Among the key drivers of this artistic revival is DC’s Absolute line, launched at the end of 2024. Led by titles such as Absolute Batman, Absolute Wonder Woman, and Absolute Superman, the line reimagines characters and their origins on a sweeping scale. Unlike typical relaunches by DC or Marvel, this initiative has reinvigorated the industry, attracting new readers and energizing publishers and retailers alike.

The Absolute line has also elevated artists to a new level of fame, turning signings into major events. For example, Dragotta and Johnson held a signing marathon in an Oakland comic shop last year that lasted well past midnight, fueled by caffeine and fan enthusiasm. Similarly, Jorge Jimenez attracted hundreds of fans in a Spanish comic shop in February. These artists are now leveraging their growing mainstream recognition in unprecedented ways.

Dragotta recalls his initial reaction to writer Scott Snyder’s bold pitch for Absolute Batman, which altered the trajectory of his career. “The real hook was when he said, ‘Bruce’s parents will die in a school shooting,’” Dragotta says. “I thought, ‘You’re really going there?’ And he said, ‘Yeah.’”

In this new version of Absolute Batman, Bruce Wayne grows up in a blue-collar neighborhood without a butler or Batcave. Meanwhile, in Absolute Wonder Woman, illustrated by Hayden Sherman, Diana Prince is raised in Hades by the sorceress Circe to become a witch, rather than on Paradise Island with the Amazonians. She even flies on a skeletal horse.

This bold creative direction has had a dramatic impact on DC’s market position. The company has surpassed Marvel in market share for the first time this century, selling nearly 12 million units since the launch of the Absolute line. Notably, Absolute Batman sales continue to climb, defying typical industry patterns where sales generally plateau or decline.

Scott Snyder tweeted in February about the remarkable sales trend: “Just heard that sales on Absolute Batman 17 actually went up from 16, which is crazy. To have sales going up or even holding at this point...we don’t know how to wrap our heads around it.”

Currently, Absolute Batman consistently sells 300,000 copies each month, an extraordinary figure in comic book publishing. Ryan Liebowitz, owner of LA’s Golden Apple Comics, notes that the Absolute series has renewed confidence among retailers and attracted first-time comic book readers, a rare phenomenon in recent years.

Beyond sales, comic artists today benefit from new revenue streams unavailable to previous generations. Signings, once often free, have become lucrative events. Limited edition variant covers generate additional income, and the sale of original art has become a significant source of revenue.

Original artwork by Dragotta, Johnson, Sherman, and others rapidly sells out on Felix Lu’s online store. Lu, a former Hollywood assistant turned comic art dealer, notes that prices are soaring to levels comparable to those of classic artists from the 1970s and 1980s.

“It is a moment,” Lu says. “We will look back on this and see that this was a special time.” Notably, Dragotta’s cover for Absolute Batman No. 1 sold for $70,000 in late 2024, less than a month after the title’s release. This record-setting sale for a modern cover would likely fetch even higher prices today, given the title’s explosive popularity.

Another trend Lu observes is that collectors are no longer purchasing individual pages of original art but entire issues. Enthusiasts are paying six-figure sums for these complete works, indicating a shift toward “vintage values” in the contemporary market.

During the signing marathon, when asked about the biggest change in his life following the book’s success, Dragotta laughed and replied simply, “Money.”

Dragotta and Johnson may have arrived at this moment via vastly different paths, but both share a deep dedication to drawing. Growing up in New Jersey in a blue-collar family, Dragotta was encouraged to explore art and culture, visiting museums and Broadway shows. He attended vocational school while working in a chemical glassware factory and on farms with his brother. Drawing was always a constant for him, though he only realized it could be a career after visiting a comic convention and discovering the Savannah College of Art and Design, which set him on a path to study sequential art.

After graduating, Dragotta remained in Georgia and secured a job at a studio specializing in comic coloring, marking the beginning of his professional journey amidst the 1990s comic scene. This background underscores the diversity of experiences that shape today’s top comic artists who are now reclaiming the spotlight.