>>6571552
>Analog isn't bad, it's just that there's workflow improvements[...]
Nobody is disputing this, and I myself draw (manga-like comics) entirely digitally. It can be smoother to work digitally, it can also be smoother to work analog. Need a background? Just walk 2 steps, put it on assistant's desk and explain to their face what you want.
>Most of the time a publisher wants what sells and isn't going to cost them an arm and a leg and your work has to be worth that cost for them if you want to do trad.
Here's where you may have been mislead: publishers in japan don't give a fuck how you do your work, as long as it's delivered on time and continues to sell. They're publishers only, their job is to publish and that's all they do. Magazines (which are owned by publishers but are publiCATIONS, not the publishers themselves) have editors which will be assigned to be a liaison to a few authors at a time. Authors have a flat page rate and earn royalties off book sales. That's it. The cost of production is not the publisher's concern, which is why the mangaka has to pay assistants out of their own pocket. I can't speak for western publications, but japanese ones don't care if it's digital or analog. If the author is drawing analog, it's at their own expense. Sauce: Felipe Smith's interview(s) on Cartoonist Kayfabe.
>A large portion of doujin authors are also working all-digital as well[...]
A large portion of doujin authors are also working in analog as well, because that's how they learned and digitizing your work is not at all a barrier. This isn't a solid argument, as it's based on conjecture, not statistics. It doesn't even make sense with the rest of what you're saying. The young generation of doujin artists may be drawing digitally out of convenience, but that doesn't mean the folks who have been at it for decades have all switched. I'm not even sure why you bring up the amateur industry when we're talking about the professional industry anyway.