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Description
Here's what I'm talking about when I say that Johnny and company will be in color, while everything else will be Black and White. I use grayscale to show the over-commericalized, hyper-marketed, planned by committee, mundane, and 'normal' world around them. In fact, in some scenes, you'd think I'm making a Mark Miller Sin City fancomic. If I get a comment "Look Out Amber! There's that Yellow Bastard!" I've succeeded.

Meanwhile, Amber, Johnny and all their friends, are done in full color, to represent the heart and dreams and desire to make something nice and charming and timeless for a change.

This also comes into play when the gang interacts with the outside world. While they do so, you'll see people still in grayscale moving up to someone like Johnny, and as Johnny reaches over to touch those people, they turn to Color, and over time, the color spreads and pops on the scenes until the whole world around them ends up Technicolored.

Description
Here's what I'm talking about when I say that Johnny and company will be in color, while everything else will be Black and White. I use grayscale to show the over-commericalized, hyper-marketed, planned by committee, mundane, and 'normal' world around them. In fact, in some scenes, you'd think I'm making a Mark Miller Sin City fancomic. If I get a comment "Look Out Amber! There's that Yellow Bastard!" I've succeeded.

Meanwhile, Amber, Johnny and all their friends, are done in full color, to represent the heart and dreams and desire to make something nice and charming and timeless for a change.

This also comes into play when the gang interacts with the outside world. While they do so, you'll see people still in grayscale moving up to someone like Johnny, and as Johnny reaches over to touch those people, they turn to Color, and over time, the color spreads and pops on the scenes until the whole world around them ends up Technicolored.