I feel that the most important part of making comix is in the layout stage.
I usually work from a full script and adjust when necessary as I layout the story into small thumbnail-sized pages. It's rare that I draw the story first and then dialogue it (even though that feels more like pure comix). I "wrote" several Billy Dogma comix art first. But that was an experiment I came to trust for independently produced work. Of course, collaborations that divide the creativity and labor require a script to work from. And, most publishers and editors aren't gonna greenlight a project sans first draft of any given story. Unless you're a seasoned auteur whose proven their market value.
When I layout The Red Hook for Webtoon, I have to keep in mind the vertical scroll format. Which means I also have to abandon most insets and landscape panels and utilize more thin and tall panels. On Webtoon, a splash page is akin to a single panel. But, I do think about the eventual print editions, and the pacing is substantially different.
Some writers argue that comix starts with the script. Sure BUT comix are a visual medium where image IS text. Dialogue is negotiable; applied to elucidate what isn't being shown or visually conveyed. Good comix storytelling is when the text and art yield to each others virtues, spawning something better together.
And, if the artist CAN'T graphically design the story in a compelling yet clear way, it doesn't matter how great the script is. Art can enhance a brilliant comic book script or DESTROY IT.