I also think the digital side of this can vary widely based on the type of device/display used for viewing.
Yeah... here's some comments on my FB page that I thought are worth sharing:Lee Keeler:
Very good piece. My additional gripe with HIH as a series is that about one thing (plot-wise) happens per issue. I stumbled across an issue of "Wake the Devil" at a thrift store recently and it was INTENSE! I mean SLAM! BANG! BOOM! every 3 pages. Great, kinetic, dynamic. In HIH, Hellboy kind of wanders around somewhere and there's some pretty demonic city without action or whatever. Boring.
These days, guys like Mignola are just making single issues as a kind of afterthought for the trade paperbacks. It used to be the other way around, and made actually going to the comic shop every month to grab a specific series and actual treat (see Mike Allred's "FF").
So, YES, this kinda boring comic isn't colored as brightly as it should be.Jakob Westman
The RGB colour space IS much bigger than the CMYK colour space that is used in print. But it sounds crazy to say that you have better control of the colours in digital comics.
In digital comics you have thousands of outputs, all of them with different settings, in print you have ONE output (the offset press). There might be small variations over a print run, but they'll definitely be more in sync over the edition than thousands of different computer screens and devices will ever be.
And when Jim says it prints darker or more muted on paper that's only when you don't have proper soft proof setups for your work flow. Something I'm sure Dave Stewart has. I also don't think Mignola, Allie and Stewart colour proof the comics on screen. I'm 100 % sure they do proofs on paper.
What looks better is subjective, but who knows what the "proper" palette is, maybe Stewart and Mignola prefer the muted colours and find the digital comics blaring, garrish and loud.
The thing about the bigger colour range on screen is true though...