I'm not debating that, but looking back over my post, it's clear I should have explained myself much further:
The first film is a classic. They hired the writers who wrote this classic, and now they're having somebody who has no connection with the classic film, re-writing parts of it? Isn't this something the two original writers can do? Surely they've done re-writes before.
Film writing isn't a solitary endeavor like novel writing. A film script is not a finished work in itself, just a plan for making a movie. So the writers of any film work in collaboration with the other people making it. Neumeier and Miner are the credited writers, yes, but
as Neumeier relates in this interview, they got a lot of input into their evolving script drafts from Jon Davison, Paul Verhoeven, and others along the way. And the basic concept was itself an homage to
Judge Dredd, essentially. So it was never exclusively just those two people's work.
And there are any number of reasons why a given writer or pair of writers might not be available to work on a given project, even when they have a history with the franchise. Even if they did work on this sequel, they wouldn't be working on it alone. The standard Hollywood feature film writing process today routinely involves multiple drafts by multiple writers, most of whom aren't even credited. Ultimately, it's the director whose creative choices shape a movie, followed by the producers, and the writers are basically there to do their bidding. It's not a writer-driven industry like television. So the idea that any movie script would ever be sacrosanct and immune from revision is a fantasy. Hollywood just doesn't work that way.
Indeed, but it's almost unheard of to make a leap from obscure projects to a famous franchise and a famous superhero characters. Usually these writers take stepping stones to awful bigger projects, more pedestrian potential hot films, etc.
On the contrary, we've had a lot of recent superhero films from directors who had no prior blockbuster experience. The Russo Brothers worked mainly in television before they did
Captain America. Before
Iron Man, Jon Favreau's work included stuff like
Elf and
Zathura: A Space Adventure, whatever the hell that is. Rian Johnson's only "major" film pre-
Star Wars was
Looper. Before
Godzilla and
Rogue One, Gareth Edwards had only done a mid-budget indie film called
Monsters. It happens all the time with directors, so why would it be unheard of for writers?
Besides, what in the hell has fame got to do with quality? Like I said, only a fraction of a percent of the scripts that moviemakers read ever actually get filmed and released. What the public knows about screenwriters is the tip of the iceberg. There are probably plenty of writers in the industry doing brilliant, inspired work that filmmakers and executives have gotten to know but the general public has never gotten to see, because there are so many hurdles between script and film that most scripts never manage to surmount. So it makes no sense to treat fame as a relevant factor here.
For me, this is like the person learning to be a runner and hoping to be in the Olympics going from running a mile to a year later being in the Iron Man competition.
Even if that were a valid analogy -- which it absolutely is not, because you're confusing what you're personally aware of with what's actually getting done behind the scenes -- why would it be a bad thing if that happened? Why do you care more about fame and prestige than actual talent or ability?
Gonna guess the latter. 
