"Is Rob Liefeld really the one who created Deadpool if everything about the character that people like was done by others? You show me a Rob Liefeld character that people like, and I'll show you the other creators who are responsible for you liking him."
"It’s hard to appreciate today just how radical a shift in tone the first Fantastic Four was. But there was another revolutionary aspect of the series, one hidden from the reader but unendingly controversial: It was the first superhero series to use the so-called "Marvel method." To save time while writing a dozen or more comics at once, Lee had recently developed a thrifty alternative to writing out full scripts. He’d merely come up with a rough plot — ”as much as I can write in longhand on the side of one sheet of paper,” as he put it in a 1968 interview —- talk that over with the artist, then make the artist go off and create the entire story from scratch. Every emotional beat, character interaction, and action sequence was now the responsibility of the guys drawing them, who until then had been accustomed to just drawing whatever a script told them to draw. Now it was the artists who built the narrative architecture, and the writers who did something more like buffing up: Once Lee got the artwork back, he’d interpret what he saw and cook up dialogue bubbles, narration, and sound effects. “Some artists, such as Jack Kirby, need no plot at all,” Lee said in that 1968 chat. “I mean, I’ll just say to Jack, ‘Let’s let the next villain be Dr. Doom.’ Or I may not even say that. He may tell me. And then he goes home and does it. He’s so good at plots, I’m sure he’s a thousand times better than I.” ... There’s also the issue of how the artists were credited on an issue-by-issue basis — something far more provably damning for Lee. As Marvel’s popularity grew, he wisely chose to engage fans by giving specific credits at the front of each issue, something the fly-by-night comics industry had rarely bothered to do. But when readers saw “RUGGEDLY WRITTEN BY: STAN LEE, ROBUSTLY DRAWN BY: STEVE DITKO” or “SENSATIONAL STORY BY: STAN LEE, ASTONISHING ART BY: JACK KIRBY,” they were being profoundly misled. The mechanics of the Marvel method meant that, by any reasonable definition, his artists were actually authoring the stories with him. Their resentment grew.
While it would take them a while to finally acquire Captain Marvel, they got something more important out of it than the character. They got Otto Binder, the writer of those classic Captain Marvel Adventures stories, who would go on to be the definitive Superman writer of the ’50s, and certainly one of the most influential of all time. His tenure at DC saw the creation of some of the most popular elements of Superman, the stuff that’s still in use today. Supergirl, Kandor, Bizarro, the Legion, the concept of the out-of-continuity “imaginary story,” — those are Binder stories. He didn’t create Jimmy Olsen (Jimmy, the Harley Quinn of his day, was an import from the radio show), but he certainly defined his character and with it, the feel of the Silver Age. And he did it by just continuing the style he and CC Beck had been honing on CMA...The irony of DC suing Captain Marvel because he was too similar to Superman, and then hiring a writer to make Superman more like Captain Marvel is staggering.
"And yet, I guess, in away, I am an unusual rabbit on account of...Instead of having hundreds of children, like your ordinary run-of-the-mill rabbit, I had several fathers. Fathers with odd names like, uh, Tex Avery, Friz Freleng, Chuck Jones and Bob McKimson, the ones who directed most of my pictures. Fathers like Tedd Pierce, Warren Foster and Mike Maltese, who wrote most of my biography. And, of course, a father named Mel Blanc, who had thousands of voices and was nice enough to give me one of them."
—Bugs Bunny, The Bugs Bunny/Road Runner Movie