Revisiting the 'Are Writers Necessary?' Debate: From 90s Artist Supremacy to Today's Storytelling Renaissance in Comics

In the late 1990s, amid the speculative boom and bust of the comics industry, writer Gail Simone penned a satirical column titled "You'll All Be Sorry!" for Comic Book Resources. One particularly memorable entry, "Terror at Twelve Feet!" (circa 1999-2000), imagined a chaotic convention panel debating the provocative question: "Are Writers Necessary for Comics?" Featuring creators like Joe Madureira, Peter David, Rob Liefeld, Erik Larsen, and Brian Pulido, the parody culminated in a pizza delivery guy hilariously struggling to "write" a Green Lantern script, underscoring the era's perceived overemphasis on flashy art over substantive storytelling. This satire wasn't just humor—it captured a real cultural rift in mainstream comics, particularly at Marvel and DC, where superstar artists drove sales through dynamic visuals, while writers were often seen as secondary or interchangeable.

Fast-forward to 2026, and the debate feels both nostalgic and eerily relevant. The comics landscape has evolved dramatically: digital distribution, creator-owned platforms, and media adaptations have shifted power dynamics. Yet, tensions between writers (champions of narrative depth, character arcs, and thematic resonance) and artists (advocates for visual spectacle, design innovation, and immediate fan appeal) persist. Today, with AI threatening creative roles, market instability from economic pressures, and blockbuster adaptations like Amazon's Invincible highlighting the synergy of story and art, the question morphs into: In an era of multimedia dominance, who truly drives comics' success? This article looks back at the debate's origins, examines current leading figures on both sides, and explores how their achievements reflect the industry's maturation.

The 90s Flashpoint: When Art Eclipsed Words

The "Are Writers Necessary?" quip stemmed from the 1980s-1990s "artist revolution," epitomized by the founding of Image Comics in 1992. Disillusioned with Marvel and DC's work-for-hire models, artists like Rob Liefeld (Youngblood, Deadpool co-creator), Erik Larsen (Savage Dragon), Todd McFarlane (Spawn), Jim Lee (WildC.A.T.s), and Marc Silvestri broke away to prioritize creator ownership and artistic control. These books thrived on hyper-detailed, action-packed visuals—splash pages, exaggerated anatomy, and edgy designs—that fueled the speculator market. Sales skyrocketed: McFarlane's Spawn #1 sold over 1.7 million copies, largely on the strength of his distinctive, shadowy style.

Writers, meanwhile, were often relegated to scripting over artist plots via the "Marvel Method" (loose outlines drawn first, dialogue added later). Critics argued this devalued narrative coherence; flops were blamed on weak stories, even if art dazzled. Simone's satire defended writers like Peter David (Incredible Hulk, X-Factor), who emphasized character-driven tales, against the "artist-as-brand" ethos. Broader voices, including Alan Moore (Watchmen) and Grant Morrison, advocated for writing's primacy in building emotional stakes and long-term appeal.

This era's legacy? Image Comics proved artists could helm successful ventures, but the 1990s bust—overproduction and market crash—exposed the limits of style over substance. Many Image titles faltered without strong plots, paving the way for a writer renaissance in the 2000s.

The Pendulum Swings: Writers Reclaim the Spotlight

By the mid-2000s, as superhero films exploded, comics shifted toward cinematic storytelling. Writers like Brian Michael Bendis (Ultimate Spider-Man), Jonathan Hickman (Avengers), and Mark Millar (Kick-Ass) became stars, crafting event crossovers and character revamps that drove sales and adaptations. The debate quieted but didn't vanish—artists still commanded high page rates and covers, but writers shaped universes.

In 2026, writers dominate mainstream discourse, with successes underscoring narrative's enduring power. Scott Snyder exemplifies this: His Absolute Batman (launched 2024) has been a juggernaut, topping charts and inspiring crossovers like Absolute Wonder Woman. Snyder's vision for DC's "Next Level" line—launching March 2026 with titles like Batwoman by Greg Rucka and Lobo by Skottie Young—positions him as a architect of DC's future, blending bold swings with character depth. He argues modern comics must feel "urgent" and address real hardships, a writer-centric ethos that propelled Absolute Batman to dominate 2025 sales alongside Marvel's Ultimate Universe.

Ed Brubaker, a noir master, highlights writing's transmedia potential. His Criminal series (with artist Sean Phillips) has been adapted into an Amazon Prime show starring Charlie Hunnam and Emilia Clarke, premiering in 2025. Covering arcs like "Coward" and "Lawless," the series—co-showrun by Brubaker and Jordan Harper—reconnects him with his work, boosting reprints and acclaim. Brubaker's success shows how strong scripts fuel longevity: Criminal's intergenerational crime tales have earned multiple Eisners, proving writers can build worlds ripe for expansion beyond panels.

Robert Venditti adds versatility to the writers' side. Known for Green Lantern, The Flash, and Hawkman, his recent projects include Superman '78 (a nostalgic tie-in to the Christopher Reeve films) and Planet Death (a Bad Idea Comics original). Venditti's career—from indie graphic novels like The Surrogates (adapted into a Bruce Willis film) to DC mainstays—demonstrates writers' adaptability. In interviews, he emphasizes history and character, as in Wesley Dodds: The Sandman, blending pulp roots with modern flair. His output underscores writing's role in bridging eras and media.

These writers' dominance isn't just sales—it's cultural impact. Snyder's "statement about comics" in tough economies, Brubaker's prestige TV leap, and Venditti's licensed revivals show narratives sustaining franchises amid market flux.

Artists Strike Back: Advocacy for Visual Primacy in a Writer-Heavy Era

Artists haven't ceded ground. In 2025-2026, figures like Rob Liefeld continue championing art's foundational role, often critiquing corporate treatment. Liefeld, severing ties with Marvel in 2025 after Deadpool & Wolverine snubs, decried the industry's "terrible" handling of creators, emphasizing artists' "human imagination" over algorithms or executives. He argues Marvel's writer-centric shift stifles visionaries, favoring "repetitive and risk-averse" output. Despite controversies (e.g., his art style critiques), Liefeld's empire—built on Deadpool's billions—proves artists' IP creation power, estimating $10-20 million from his characters.

Todd McFarlane and Jim Lee embody this legacy. McFarlane, Image's enduring force, revolutionized toys with Spawn figures, prioritizing detail and artist-driven innovation. In 2026, he remains a risk-taker, influencing modern styles while critiquing over-reliance on writing. Lee, now DC's president, leverages his art stardom (X-Men #1's 8 million sales) into executive clout, rejecting AI art in 2025 to protect human creators. Both favor art's immediacy, with Lee charging up to $35,000 for commissions, reflecting his iconic status.

Other artists like Dan Mora, Daniel Warren Johnson, and Greg Smallwood are hailed as "superstars" in 2026 forums, blending spectacle with story. Yet, debates rage: Artists like Liefeld mentor newcomers but lament editorial overreach, echoing 90s grievances.

Balancing Act: Successes and the Invincible Paradigm

Both sides boast triumphs. Writers' narratives fuel adaptations (e.g., Brubaker's Criminal on Prime), while artists' visuals birth icons (Liefeld's Deadpool). The sweet spot? Synergy, as in Amazon's Invincible (2021-ongoing). Robert Kirkman's comic, with artists Cory Walker and Ryan Ottley, deconstructs superheroes through Mark Grayson's journey. The show—renewed through Season 3—amplifies this, improving pacing and diversity while retaining brutal art (e.g., Omni-Man's rampages). Kirkman calls it a "true adaptation," elevating comics' gore and heart for TV. Its success (critically acclaimed, fan-favorite) shows balanced story-art drives relevance, countering debate extremes.

Relevance Today: AI, Markets, and the Future

In 2026, the debate intersects with AI bans (e.g., San Diego Comic-Con's 2026 Art Show), book bans, and economic woes. Creators predict a "return of stability" for indies, with "self-contained" events like DC's Absolute line thriving. Vertigo's revival signals space for original voices, but challenges persist: Crowdfunding aids breakthroughs, yet mainstream entry barriers rise.

Ultimately, the "Are Writers Necessary?" query was always reductive—comics need both. Today's leaders, from Snyder's dominance to Liefeld's advocacy, prove collaboration wins. As Invincible illustrates, when story and art align, comics don't just survive—they soar. In a multimedia world, this balance keeps the medium vital, reminding us why we fell in love with panels and pages.