Reading stuff like Marvel comics can be so jarring when the artist switches for an issue or two, because it's like... often the artist is just as big a part of the identity of a comic as the writer is. It's like changing the entire cast and director of a show for an episode or two, so the story is continuing, the same person is writing it, but all the actors look different and have a slightly, or even sometimes very different interpretation of their characters, and all the shots and lighting and stuff give things a different tone. The artist is, after all, the person who draws all the body language and expressions, so in a lot of ways, they're the one acting the words the writer has written.
As an artist, I've never liked gigs where I was picked because I was cheap, or because I'm the artist the person knows from being a friend of a friend or similar. I want to be picked because I'm the best artist for that job. There are just some jobs where I know I could do it, but not excel, like something grim and gritty. Like this comic I did art on for a writer for Scream Magazine:
Firstly: Ugh, old art, bleh. But even with that out of the way... I was picked for this because the writer had my contact details and stuff through another job and knew I was looking for work at the time... and I was upfront that horror really isn't my thing. I've never really liked this. There's a cleanness and objectivity to my work that just isn't well-suited to horror. When I draw it, you kinda feel like the guy is going to leap back out of the water in a few minutes, having beaten up the evil ghost.
It's not that the panels aren't depicting what the writer asked for... it's just that it's not a good stylistic pairing. I draw best on plucky, bold and bright, energetic stuff, like people going on adventures, having over-the-top fights and making quippy jokes. It's like putting brie on a pizza...yes, it is cheese, and it'll be edible, but it's the wrong sort of cheese and will neither make the best of the taste of the brie or the pizza.