Color
>makes printed versions of the comic much more expensive (Printing 1 page of color is roughly 10x more expensive than 1 page of black and white)
>slows the comic creation process down.
>slows the release schedule down (1 month for 22 pages vs 20 pages a week in a black and white comic)
>often takes away attention from the linework and composition
>gatekeeps indie creators who can't afford a colorist and have little knowledge of color theory
We need to get rid of color. The price difference alone should make anyone agree with what I'm saying. I hate paying 5 dollars for 20 pages of color when I could pay 10 dollars for 200 pages of B&W
And do you think this will sell more comics?
More than they are selling now. If they improved the content inside the comics they still wouldn't improve their sales because no one would buy it.
I doubt the content will improve because most comic writers seem to be little petty c**ts.
The success of the manga market proves normalgays don't actually care about coloured pages that much. Especially the shittily coloured pages American comics use.
The success of the manga market proves that Asian television and movies are nigh-unwatchable garbage so everyone has to settle for comic books.
Go tell it to someone that can do anything about it. You're wasting your keystrokes here.
It also proves the writing doesn't need to be good, though capes technically proved that already.
as a kid I liked the black and white comics (indy/manga) stuff since it was easier to copy the drawing because color got in the way
>And do you think this will sell more comics?
it used back during the 1970s
sell comics?
This is how stupid Cinemaphile is. You lay out a plan and, whether accurately or not, explain that it will cut the cost of comic production by 10x.
A moron asks how that will sell more comics, not because he's too stupid to realize that a 1000% reduction in costs will translate into profits without more sales.
This is why I don't argue with you idiots, most of you lack the basic math and literacy skills to be allowed out of your special schools.
Anon I bumped this thread with that post when it was on page 9. Suck my dick.
Comics?
you say this then post an image that's reliant on color to be complete. You can do this- but you need to have artists that know they're working in B&W primarily. Adapting the manga model of letting artists have BG assistants would go. along way as well. Bring back studio production.
OP's image looks more than fine to me in b/w, but I agree with you overall.
I'd add that good coloring can obviously elevate a piece but the issue is good coloring is not easy and bad coloring is worse than a good b/w piece. In general, as manga and a lot of older comics have shown, its better off if every page isn't colored
The real problem with American comics is that 99% of them are written by 3rd string hacks who are given corporate mandates not to stray too far from IP canon, and to reset if they accidentally advance the characters.
More like they are given too much freedom. That’s why comics are so schizo compared to the movies, games, and shows.
The movies, games and shows at most cover a 4-6 issue limited series, of course they are consistent against editorial narratives over decades with changing editors.
>The average shounenslop manga will spend multiple weekly chapters on a single fight, with characters revealing their true power level (but not their true, true power level), naming all their attacks, and explaining in autistic detail the how and why of their powers/attacks
Fixed.
>editorial
They don’t do their jobs nor do they really care because capeshit comics are dying.
They exist because the higher ups at DC are too lazy to check on comics which they know no one really buys. They’re far more autistic outside of that.
Color doesn't cost shit, it's the paper they use moron.
I like color.
you will never be japanese
does it really cost that much more to print in color now? Back in the 80s we had indie comics in black n white and a fair amount of them did pretty good (tick, TMNT).
Nowadays even low budget comics are in color (unless it's a stylistic choice). I just assumed printing in color became a lot cheaper.
if its really 10x more expensive, most comics should just drop the color and save that for the more expensive "reprint" collections.
That being said a fair amount of modern artists NEED color to a lot of the hard work for them since they can't draw that well
>does it really cost that much more to print in color now?
“Ink companies spend a lot of time getting the right combination of pigment, dye, and carrier to be able to have a very stable small droplet for high-resolution printing.” All that research and development, of course, costs a lot of money, and there is where the price comes in.
>does it really cost that much more to print in color now?
Yes, it generally costs atleast 3-4 times as much to print in color as it does to print in black and white. You also have to pay a seperate colorist to do the coloring which adds additional costs to every book. The western comic making system is stupid and inefficient compared to what they're doing in Japan and the market reflects that.
That and manga uses cheaper paper.
The weekly manga digests are on cheap as shit newspaper too
I wouldn't mind comics in black and white. As a kid I'd pick up BnW books like Ninja High School and Tick because it was easier to copy the drawing without colors getting in the way.
DC /Marvel should put out a cheap as shit no color version of a comic (ex; Spiderman) next to the regular priced colored version and see which one sells better. The comic is otherwise the same but just cheaper
Wont work, too many underlying issues for "color" to be the game changer in comics.
Japanese comics are completely soilent, compared to 60% of American. The only thing more soi than manga are tranime.
Anyone with doubts about this can quell them in 15 minutes of visiting Cinemaphile.
Yes, they sell like hotcakes to soi millennials and zoomers. Don't give a frick.
Western culture is basically an Anglo/American monopoly. You shouldn't be so sad and angry about other cultures managing to find their own place in the international market. We need more Japans, no less.
Neither all the people who promote Anglo culture will ever become Anglos, it doesn't matter how many times they refer to it as 'western culture' in order to trick themselves into believing their work or the work from their country has any chance of catching international attention. This servile attitude is specially strange in people that aren't even from northern Europe.
Internet culture is a anglo american monopoly even then doubtful depending on how much english content one comes in contact with. Majority of the cartoons children see on tv in Europe are a mix of french and anime shows with american shows being about a third of it.
Manga has more variety than just capeshit.
Despite different subject matter manga is super repetitive
Yeah the Japanese shit is way more rigid and repetitive, so much so you get people parodying relatively young tropes because they get so prevalent so quickly.
And american comics are either the same zombified superhero characters from nearly a century ago or autobiographical depression doodles.
>Japanese comics are completely soilent, compared to 60% of American.
The main problem is that comics are shit and they don't appeal to the fans.
This.
Comics as a medium haven't really developed or at least accepted new story structure techniques for over 20 years.
20 years is roughly the period in for which Japanese comics have become the same shit with a different wrapper. There are as few original Manga as there are original comics. Which is doubly-damning because there are SO MANY Manga.
And yet mangas sell like hotcakes, what's the secret?
>it sells a lot so it's good
Also most weebs and nips have shit taste and will just buy up for super shallow reasons.
>what's the secret?
- linear storyline with an end in sight and one creator/creative team on charge
- huge variety of style/genre, can get very weird and not safe
- japanese politics being less invasive/people being less exposed to japanese politics
- big distribution model/network making chapters easily accessible through legal or illegal means
- weekly or montly regular releases
Bonus :
- backed up by an anime adaptation, or a weekly anime release to reach the non-readers
Capeshit checks out half of these boxes, the one that would be hard to achieve for indies, but fails with the basic. Quality is optional and not the main factor, especially for books aimed at teens, but a dynamic artsyle is definitely a plus to get noticed.
>have shit taste and will just buy up for super shallow reasons.
That's also how capeshit survive in the US, though.
Manga has loads of different genres. For comics, you gotta dig for anything that isn't capeshit. That is a massive issue.
You have to dig for good manga too. People did, that's why we know the ones we know.
People don't have to dig since anything new is always put on the front cover on the magazine. From their people can follow or drop it. You can't do this with comics.
>People don't have to dig
For good manga? You absolutely need to dig.
Not really. Word of mouth is usually all it takes. Compare that to comics where it's basically impossible to find non capeshit comics if you're not in America. Even then, most just don't bother with it.
The manga community is more willing to share and receive, but someone had to dig in the first place. Non-cape comics are often treated like anathema by capeshitters, so they do everything in their power to stifle non-cape discussion.
>Non-cape comics are often treated like anathema by capeshitters,
First day on Cinemaphile?
I prefer wheat myself.
>First day on Cinemaphile?
no capeshitter dislikes or hates non-cape comics. At worst they're apathetic to it.
Yep. First day on Cinemaphile.
Whoops. Spelling mistake. Still true.
>someone had to dig
That barley happens since all the companies have Viz or another company translate. Fan translations only happen when nothing official happens or when the official stuff is shit.
It's the monthly release and pacing
The average shounenslop manga will spend multiple weekly chapters on a single fight, giving you every emotion and thought of the people fighting and the ones watching
A basic american capeshit comic will have multiple sped up fights with some quips
"comics" come from a special and WEIRD AS FRICK moment in newspaper history. I'm talking about real weirdo bored-out-of-their-skulls literary and colloquial fads. For example: the term OK comes from 'olls korrekt' as a cutesy misspelling, which was so damn popular the US president started using it. If you go back and look at the comics, we have the Yellow Kid, Little Nemo, Krazy Kat, all this shit was weird as hell. You will also know that they numbered their panels so you could tell which one to read next.
Egyptian art and hieroglyphics were also a fad, in other words needless and confusing elaboration was the 'style of the time'. This ENHANCED highly subjective (or surreal) storytelling such as horror and romance comics which were far more popular than the odd and vague rip-offs of earlier pulp fiction (superman is Doc Savage and John Carter of Mars inspired and Batman is almost a one to one plagiarism of the Shadow) that dabbled in weird (more so in the short lived 'silver age') but the moral panic against comic books which created the CCA mostly to muscle out competitors to the superhero sludge publishers eliminated most horror/romance and limited the comedy comics. All that was left was SHITTY superheroes and occasional war/cowboy shit that couldn't tell real stories due to the CCA. The elaborate WAY comics still tell stories is also incredibly alienating for anyone trying to read this shit not to mention any chance of a good story wouldn't be available until the big guys started 'prestige' imprints that ignored the CCA.
US comics suck by design and really never had a chance. British and Franco-Belgians were inspired by Japan to tell better stories even before the manga craze of the 90s without having to suffer under CCA in the first place. In the US 99% of produced comics are ASS, the few that are good are not even connected to the industry, these are 'graphic novels' that become Times best sellers. Comics have always sucked in the US.
>Egyptian art and hieroglyphics were also a fad
>US comics suck by design and really never had a chance.
>British and Franco-Belgians were inspired by Japan to tell better stories even before the manga craze of the 90s
>In the US 99% of produced comics are ASS
>Comics have always sucked in the US.
wut
Japan started to influence Europe around the time of Van Goh, I guess I won't die on this hill though, maybe the influence isn't as big as I see but Euro comics mostly avoid the weirdness of US comics.
Egyptian art was a fad in America a dozen or so times and the 'weird flatness' of US comics tend to come from that influence.
As for most US comics sucking, I stand by this. Extremely few US comics are 'good' by the measures of any other media (books, tv, film, fricking variety revues) and especially compared to Euro and Japanese comics (or Korean for that matter) due to sucking foundationally, being censored and part of a monopoly that had no incentive to writing 'good' stories even up to today.
>Extremely few US comics are 'good' by the measures of any other media
This is the same case for Euro comics and manga.
schizo shit.
Color is the reason for comics success for the last 80 years in the first place tbqh
Manga is ugly and boring to look at, no amount of zoomer sales can change that
>Manga is ugly and boring to look at
the general public does NOT agree. American comics make up only 9% of our comic sales
Most people read neither so the general public doesn't care .
you don't read comics
>The main problem with American comic readers is that too many of them will only buy color
ftfy
Nah, comics are just generally outdated, they only appeal to people of a certain age, and this will never change because the only people below that certain age who care about comics are tumblrtards and coping "if it ain't white it ain't right" white supremacists, neither of whom are relevant groups worth appealing to.
You are wrong, the factor that makes manga huge in Japan, producing material on an industrial scale (most of it rubbish) is that in Japan Manga is the main source of entertainment. While in the USA the comic doesn't even enter the TOP5.
But one thing you are right. Comics are very expensive, digital following the price of physical is ridiculous. Marvel and DC should look for a way to put ALL of their stories that come out every week in the reader's hands, especially the less important and popular ones.
Then what makes manga huge in the United States?
>in Japan Manga is the main source of entertainment.
That's not true. Most Japanese people don't regularly read manga or watch anime. The difference is that in Japan most people have read a manga as a kid meanwhile nobody in the west reads comics.
It's not color. It's paper quality.
Just make the paper dirt fricking cheap for disposable floppies and save the nice paper for trades.
Every single comic feels like some writers self insert fanfiction. There. That's the issue right there. No one is willing to invest in a series if the characters personalities change every 3-4 issues.
Name examples
>all modern comics suck
>they just...feel
>3-4 issues
non reader detected
I agree. My armchair theory is as follows:
We ditched handwritten cursive text for print text in handwritten format. Yes the printing press had a role in this but it's not the sole reason. Print texts are easier to read(and write.) In this same way, we recently ditched serif fonts like times new roman for sans-serif fonts like arial. Because the tails on serif fonts impair the ease of reading. Dyslexics especially can attest to that. Every phone and device now comes with sans-serif print fonts as the default. It's easier to read.
Here's where comics come in; comics are meant to be read in quick sequence, similarly to text. Evidence shows that the typical trend for text is that it evolves to be easier to read. Comics should ideally follow a similar mindset and evolution. Ditching the colors in comics is like ditching busy serif fonts. Colors are distracting visually, and slow down the whole process of quickly parsing what you're looking at.
Black and white "sequential imagery" is fundamentally more appealing to the brain for its comfortable clarity. I say "sequential" because the medium of comics is not just an "art book" of stagnant illustrations. It's using art specifically like a language to tell a story. The more clear that storytelling the better. Black and white is just more clear.
I could get into actual composition but I'd digress.
Get into it.
No, I'd have to blogpost if I did. Western comics are so fundamentally busted that I'd have to give a basicass high school art class lecture on artistic composition just to start. From panels being either lawless chaos or monotonous, to speech bubbles and sfx being an afterthought, to lack of motion rendering, to lack of pages having individual intrigue, to lack of focal panels, to absolute dogshit garbage from a toilet value distribution. Don't even get me started on how the pipeline supposedly works. Shit makes me so depressed to understand, it only makes the failure of our comic industry sting that much more. And the reasons we don't adopt better, more efficient, more appealing practices would take their own blogpost. I can boil it down to pride, logistical hurdles, and pure inability. The ones who aren't stifled by these three things are working in greener pastures than what the comic industry offers. Some are even publishing work through japan, preferring to limit what they can do culturally to sell to foreign audiences, than to have to limit what they can accomplish artistically because the western industry is so painfully moronic
I completely agree. A bitter pill for me to swallow was realizing the problem was deeper than just superheroes, America genuinely has just lost the art of making appealing comics.
It's foundational rot dude. The load-bearing support beams are barely hanging on. And when the industry (which is supposed to be a leader) is so busted, even novice creators are being ruined by their bad practices. Artists wanting to make comics are not being taught the right things, if they're even being taught at all. And the cycle continues. But if you try to do things with more appeal, you end up with a product that looks a lot like manga and everyone's asses get blasted. But it's coincidence. The Japanese just mastered artistic composition better. It's not even about ugu anime eyes and crazy hairstyles, theres successful manga that has awful, weird art. It's purely composition. It's time to accept that and stop pissing our pants.
France's BDs prove you completely right. Its genuinely an America specific issue but too many people are in denial about it.
I don't know why. Maybe it's all the sensationalism around comic IPs and famous artists of the past. People probably think that bending the knee to a product that resembles their competitor is some kind of admission that their beloved memories are "bad"
Sure, the very earliest Astro boy comics weren't a far departure from the earliest Superman comics. But from the get-go guys like Tezuka borrowed just as much from our comics as he did from our animation at the time. It's kind of a hybrid, and that worked really well together. The evolution in manga therefore followed slightly different principles of depiction and even content, than American comics which really dug itself into an edgy, somewhat campy superhero hole.
I've been wondering if part of this ties into fact that Americans place so much stock in 'originality' that the idea of copying at all is totally unacceptable, even though it is in fact one of the best ways to learn art fundamentals.
Yeah, I'd say so. When I took a basic course in Japanese for making manga, the first lesson taught you to first, master the things your manga predecessors do. Once you internalize that, then you can break the rules. Of course there are some exceptions, but everyone there is surrounded by mangas that follow "soft rules" their whole lives. They internalize it passively.
Western stuff just kind of does whatever it wants compositionally. Because everyone wants to stand out, everyone wants their moment of fame by being recognizable. Everyone wants to be that trail blazer. We're all so obsessed with fame. To the point where people today will even take infamy instead, if they can. Maybe it has something to do with our insane celebrity worship for the last century, thanks to Hollywood glamor. Dunno
You still haven't listed appealing American comics or artists from the past. I don't think even the best really hold up besides artistic quality.
my question is, do you think America ever made appealing comics? I try to read the "classics" and they're all eyesores to me. Or just really boring. I don't have that issue with manga from the 60's/70's, it's all very readable, I try to read an old eC comic or Jack Kirby and I just can't do it.
I would say so, and there are some American artists I adore but they are an exception and not the rule.
This is a dead horse at this point, but I think it can't be overstated how much the comics code authority fricked everything up.
name examples?
The CCA had absolutely nothing to do with art style.
No, but it had everything to do with turning comics into a joke of a medium that drove away most of the talent.
>drove away most of the talent.The most talented guys at EC stuck around in comics, though. Comics were infamously NOT the talented guys, those were the comic strip guys who only had to do three panels a day or 1 panel a day if it was a sunday strip. Comics were 2-4 pages a day
The people who seethed that much about the Code drew Underground Comix or Comic Magazines. It was a nonissue.
I swear it's like the same fricking moron on this board skimmed comics history and keeps bringing up the CCA without thinking
Don't manga "descend" from old Disney movies via their influence on Osamu Tezuka, not from the EC/Kirby stuff which descends from Golden Age cartoon comics in newspapers? Those would result in two different molds: manga is an attempt to ape the fluidity of stuff like Snow White and Bambi, while American comics echo the static but elaborate Sunday strips.
To a degree but its more complex than that. There are pre-Tezuka precursors to manga in Japanese art, including covers for girl's magazines and dolls.
This isn't very different at all to western art of the same era. In fact I'd say western art was, then, more proficient than your picrel. We were, at one point, in the lead when it came to the arts. Of course then the Cold War happened and we had a big national push for "free expression" to contrast the rigid academic art preferred by the Soviets. That free expression led to a lot of cool art movements but it also made learning "the fundamentals" less popular over time. Then the japs plucked all the good stuff we made out of the bad stuff, innovated it, condensed it, and made appealing art media out of it. Meanwhile we here have to navigate an ocean of shit daily that they decided not to borrow.
I say we do the same to them. Steal their best ideas and innovate that. But we're too proud to admit we're not that good, first
>I say we do the same to them. Steal their best ideas and innovate that. But we're too proud to admit we're not that good, first
France pretty much did just that and it worked out very well for them. America has a lot more problems to deal with systemically, though.
A lot is an understatement, but I just can't help but cope, yknow? I want us to stop sucking.
I've basically only been talking about artistic quality. Composition quality to be more specific. In terms of writing or intrigue that's a whole cultural issue. I'm not a big fan of the visual composition of old comics OR old manga. They're all pretty bland to me, because I'm so used to the innovated new stuff. Manga just took off with innovation way faster and way sooner than western comics did. actually western comics haven't innovated much at all comparatively. The illustrations in the panels just got fancier. Everything else about it still smells like the old stuff. Worse recently, since they're kind of collapsing.
When you ask "did America ever make appealing comics" the answer is yes, the earliest comics were appealing for their time. They are no longer appealing now that better stuff has been created. But they cling to the habits of appeal from an outdated era
>I'm so used to the innovated new stuff. Manga just took off with innovation way faster and way sooner than western comics did. actually western comics haven't innovated much at all comparatively. The illustrations in the panels just got fancier. Everything else about it still smells like the old stuff. Worse recently, since they're kind of collapsing.
can you name some examples?
Examples of lack of innovation? It's a complicated concept to just name an artist or a comic issue. You have to think about it from an artist's pov. You can look at picrel. Is it, fundamentally, very different looking from you average modern comic? The art is less detailed true, maybe jankier. But look at how the boxes are laid out. 5 boxes, all with 90 degree corners. All enclosed in gutters/borders. 4/5 are almost the same width. They're all the same height. The characters are drawn more or less from the same angle and distance on every panel. At most the "camera" rotated around. The balloons are small, and placed not where they would be most balanced as a part of the actual art of the panel. But rather where they'd be the least "in the way" of the art. These are some of the most common things you see repeated over and over in so many comics. And those are the simplest things I can describe. Look at the pages in this thread
You can see these aspects repeat over and over across all modern comics. Where is the innovation, really? Some of them get more ballsy with the camera angles, some of them get a little diagonal. Some of them get real crazy and start putting panels all over a full page spread. But when you look at manga, you see something wildly different. Different angles, zoom. Sometimes borders, sometimes none. Detail and contrast is condensed to where it's most important on the page. Text is applied as if the bubbles are a part of the illustration, not just stickers. And yet the very earliest of popular manga didn't look too different from picrel. It evolved these compositional choices to appealmaxx. Western comics evolved very little by comparison.
Color immediately adds a fricking HUGE extra layer of complexity to how everything comes together on a page too. Color composition is something even pros working in AAA concept art struggle with. It also messes with how clear it can feasibly be. Manga is claritymaxxing too.
Here's a completely random page of YuYu Hakusho. I didn't cherrypick, I just typed in a random chapter number. Look at the variation of panel sizes. The bottom panels use a diagonal vertical gutter to create a sense of unease or tension. The action pages that follow all use diagonals to keep that sense tension going. The borders on the right are erased completely, placing the emphasis on the fact that the character in black is the focus, as he's just been freed from some freaky demon mask. The speech bubbles are big and centered perfectly between the characters and the edges of the panels. The faces are all presented at varied distances and camera angles. I'm sure you see how different the page feels from the ones in the thread I linked. Or any western comic. It goes out of its way to break the monotony of the page, lead your eyes deliberately around, and give a lot of focus to the character in black by making him stand out the most. Since he's the significant player in that moment. Backgrounds are omitted so as to keep your eyes on the shape of the characters on every panel. They're drawn in again, when characters start to move around spatially so you can know where they've moved to.
Crazy amount of compositional innovation. And these are generally "soft rules" that most manga tries to adhere to because it works
>blogposting
I'll add to this by saying that when American comics do tend to innovate it does so in a way that's meant more to show off rather than to aid a story. Something like this is complete nonsense to most readers, except for an elitist niche that wants to feel special for reading this.
A more naturalistic use of close ups and face shots would help alot too. Many close ups in american comics end up being
>super close, dramatic angle of the character saying some super serious thing
or
>series of bland reaction shots with straight up angles
In your page, something like the angle with the two brothers, cropped, is an interesting composition that seems inconsequential but helps spice the page up while also subtly implying size.
Yeah fair point too, it's innovation for fun more than for utilitarian reasons. Which is fine, there's no reason you can't get creative. Japanese can get weird too, but those manga tend to be really niche or kind of underground. But very little innovation done by western comic creators gets picked up by future creators to become a part of comics as a whole. Because it's just not "improving" much of the reading experience. It's all about the reading experience.
I think the problem with close ups is that they're kind of personal in a way that capes especially aren't that comfortable with unless it's dramatic. When you draw a close up, it's like knowing how to do portraiture. You emphasize the good features, omit the bad ones, you frame it, you kind of have to make it appealing. Not appealing in terms of beauty, more like balance. But if you're drawing buff dudes in spandex, getting real close to his face and making it aesthetically appealing probably feels kinda gay. Unless it's either super serious or funny. That's my best guess anyway, I can't understand it otherwise. I like when some manga do the OP cool grandpa character and they draw all the features really well up close. Old people never look that cool, but in manga they do.
>Something like this is complete nonsense to most readers, except for an elitist niche that wants to feel special for reading this.
It's just another way of doing sequential art that happens to not appeal to you. If you don't like it or don't get it, that's fine, but don't act like an appreciation for it is a form of snobbery.
Not much I can advise if your automatic reaction to not liking styles is "America never made appealing comics". I've seen those comics you mention appeal to people who are younger than the generations they were intended for, so it's not an American comic problem, it's more of a personal preference. But if it makes you feel better, back in the day I've seen Boomer comic fans reject manga as a whole just because it wasn't like the comics styles they were used to.
indie creators who can't afford a colorist and have little knowledge of color theory
Why don't they just draw BW comics? Do they really need the whole industry to adapt?
Some comics look better in B&W, like Usagi Yojimbo
Other are borderline incomprehensible like pic related. In the end it depends on the artsyle.
UY can look good with colouring, but I agree.
I would buy any b/w comic that had Art Adams art, his inking is better than PS coloring
They also don't know what pacing is, and put too much text on the page, and 90% of the time its all filler so they can pad out a page, and also the complete lack of good paneling, and not to mention not even one american comic understood how to draw action scenes, they always look flat and impact-less.
I always wondered why DC/Marvel didn't use Manga's wild success to cut their colorist staff in half and save costs on printing. Seems they did everything else in the 90s but push that.
>I will now buy your comic
A comic in black and white needs to be intended to be black and white from the beginning. You can't just greyscale a color comic, those values aren't handled correctly. But your shitpost is correct anyway, in that it doesn't matter how good art or composition is if this is the kind of fricking fetal toilet mistake that gets written.
This. I'm convinced OP is just someone within the industry wanting to cut costs and hoping everyone will be convinced by his new plan
No OP is right that black and white is superior for comics, you just need to be trained in drawing black and white is what I mean. You also can't just convert all the existing color stuff, it would have to continue existing and being reprinted in color. A little color in your b&w is ok too, as a treat
>shitty artists can't get coloring to save their work
>that gay cyan/pink pallete of modern comics don't get used
win for me.
A lot of DC's Showcase Presents and Marvel's Essentials books looked good. Given that they printed over 100 books in each line, it didn't scare people off.
The shitty writers are the problem. DC and marvel should switch to writer/artists only. This will boot out 95% of the woke moron writers from the industry
As much as I like the color version, I'd like to have Miracleman Book 3 in black and white. Same with Swamp Thing.
Another case: LoEG. I like the colors just fine, but I don't love them. It would have been better if O'Neill did it in a way to maximize the effect in black and white, or if he did the colors in paints himself. I understand it was kind of going for the old cheap 60s comic book approach, but I can't help but feel like we got the worst option.
Comics need their collected editions to actually be comfortable to hold. Manga paperbacks are about the same size of a regular book ie they’re nice to hold and compact enough to take anywhere. Comic paperbacks are big and take up too much space for such a low page count. It’s not a good deal for any potential reader.
>Comic paperbacks are big and take up too much space for such a low page count. It’s not a good deal for any potential reader.
What? I want even bigger copies of comics. I feel they're to small. Bigger manga pages too.
>to small
too small, like my brain
I like the big size of comics actually. I wish some of the manga had bigger editions too to show off the art more
I bought this cover instead of the normal one
Looks fantastic.
Great values here, I see why you did. Hatching lines are underrated as frick
I like colored art. Simple as
1) https://neurosciencenews.com/visual-neuroscience-color-perception-567/
for example is about how B&W pages are "subconsciusly" colored by the brain, using a combination of known memories and approximations, thus stimulating the visual cortex in a more "freeform" way compared to the colored page, that requires no further elaboration
2) https://www.scientificamerican.com/article/color-images-more-memorab/
Shows that color pages are more impactful compared to B&W; this is because the natural world is in color, thus our brain is more attuned to imprint memories onto itself in color; same think more in depth in
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3026336/
3) https://blogs.ubc.ca/aaeranpurwala/2011/01/20/it-dont-matter-if-its-black-or-white-actually-it-does/
is a marketing/graphic designer synthesis about how B&W is the best choice for immediate fast readability; of course, apply that to black and white comics
So bright colorful covers to get you to pick it up, and simple monochrome interiors to keep you reading
Thanks for links
No, bring back 90s coloring. Black and white should either be an intentional choice or to save money by an indie or one man team.
>Manga is outselling comics in the west
>Must be the color
Fricking moron, what a waste of a thread
Comics being $4-5 an issue now is a huge deterrent to anyone who isn't already addicted to them.