The suggestion that artists have nothing to do with the creative success of comic books, that it's all about the writer, is as insane ill-founded as the Image-era suggestion that comics are all about the artists and who needs writers anyway?
There are comics I've read where I read them despite the artist. And there are comics I've read (fewer, but a few) where I've read them despite the writer. I'd say that a writer is more important, but maybe 60/40 — it's a story after all, not just a set of pin-ups. I find continuity of writer on a title more important than continuity of the artist, for example.
Though that breakdown may still be wrong. Because I have some posters/pin-ups and collections of comic art that I enjoy and treasure just for themselves, and have generally been more satisfied with per se than text-only paperbacks telling comic book universe stories.
Regardless, a great comic combines great writing with great art — and, in fact, sees the artist adding to the story being told, contributing detail as well as fleshing out the writer's vision. You can survive on just dry lettuce, and you can maybe choke down some salad dressing straight up, but they're best by far working together.
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Creative Partner, Or Just The Guy What Draws The Pictures?
"I recently heard an anecdote about one of my colleagues, a comic book writer, who apparently believes that the artist has absolutely nothing to do with the creative process in comics. If the art…
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Artists were especially important at Marvel in the 60s. Rather than providing a full script for the artist to illustrate, Stan Lee would come up with a plot. Jack Kirby, Steve Ditko, and the other pencillers would then draw the whole book, which Stan would then write the dialogue for. I don’t think anybody does it this way anymore.
@Avo – The “Marvel Method” is still used in some cases, with some teams, I believe. Some writers (or artists) prefer it. For the most part, though, the scripts I’ve seen have been more detailed, though they often include more vague descriptions of what the action should be unless a particular act is critical to the rest of the plot.