一些艺术家建议出版商应该在原创故事上获得更多机会，并向漫画创作者支付更多（更高的页面费率和版税），这样他们就可以获得体面的工资。但是如果你是一个出版商，试图在一个由于数字出版业的发展而经历巨大变化的行业中维持下去，你会支付未经验证的艺术家来创作可能会或可能不会出售的作品，可能会也可能不会被购买一位已经证明他们不愿意购买原创故事的读者？当然，出版商已经在过去已经获得回报的长期赌博上骰子，但是请记住，漫画商店里仍然有许多书店余下的垃圾箱和清仓，里面装满了“原始英语漫画”的尘土飞扬的副本，几乎无法被送走。似乎表现不错的原创作品选择不把自己卖为“原创漫画”，而只是“漫画”。许多人从漫不经心的方式了解到，漫画读者不会只是在“漫画”风格的故事中投钱。这并不是因为他们被解雇为“假”漫画而没有给予公平的镜头，因为他们中的许多都不是那么好。这不仅仅是标签变化的问题 – 这意味着艺术家们会仔细研究他们的工作并自问，“任何漫画读者，（例如通常不会阅读日本漫画的人）都能”得到“这个故事吗？”你的普通北美漫画读者可能不会理解为什么你的角色在他们焦虑或者可能与日本高中的浪漫故事无关时，脸上会有大量的汗水掉落。 （我的意思是真的。如果你不去日本上学，你为什么要在日本高中创作一套浪漫故事？）尽管你可能希望如此，北美漫画市场与日本市场截然不同，所以你不能去日本的工作，并希望它会飞到这里。事情并非那么简单。
Some artists suggest that publishers should get more opportunities in original stories and pay more to comic creators (higher page rates and royalties) so they can get decent wages. But if you’re a publisher trying to stay in an industry that has undergone tremendous changes as the digital publishing industry evolves, you’ll pay unverified artists to create works that may or may not be sold, and maybe May not be purchased by a reader who has proven that they are not willing to buy original stories? Of course, publishers have been on the long-term gambling that has paid off in the past, but keep in mind that there are still many bins and clearances in the bookstores filled with dusty copies of “original English comics”. Almost impossible to be sent away. Original works that seem to perform well do not sell themselves as “original comics” but just “manga.” Many people have learned from a careless way that comic readers don’t just invest in the “manga” style story. This is not because they were fired as “fake” comics without giving a fair shot, because many of them are not so good. This is not just a matter of label change – it means that artists will study their work and ask themselves, “Any comic reader, such as someone who doesn’t usually read Japanese manga, can “get this story”?” Ordinary North American comic readers may not understand why your character has a lot of sweat on his face when they are anxious or may have nothing to do with the romantic story of Japanese high school. (I mean it really. If you don’t go to Japan to go to school, why do you want to create a romantic story in Japanese high school?) Although you may wish to do so, the North American comics market is very different from the Japanese market, so you can’t go to work in Japan. And hope it will fly here. Things are not that simple.