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Hot take: the colorist on my pull list saved a whole issue and nobody at the shop backed me
Last Wednesday at my shop in Dayton I grabbed issue 3 of this indie horror book and the art was muddy, like everything brown and gray, and I almost put it back on the shelf. The guy behind the counter shrugged and agreed it looked flat, but then I flipped to the letters page and the colorist wrote about switching to a limited palette on purpose to make the one red panel hit harder. I reread it that night and he was right, that single red splash on page 18 landed way harder than any bright spread would have. Now I'm second guessing how fast I write off a book for looking dull, so how do you all decide if a muted color job is a choice or just lazy work?
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