Because each page was generated with its own lighting and palette, and nothing carries between generations. The fix is one grade applied across every page, which costs no ink and takes about a minute.

30 August 2026 · Panel Haus

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Because every generation makes its own lighting decisions, and nothing carries from one to the next. You made page one on a Tuesday and page six a fortnight later, and they are lit like two different books.

The fix is not to regenerate anything. It is to put one grade over all of them, which takes about a minute, costs no ink, and is what film and photography have always done at the end.

Why it happens even when everything else is right

You can solve character consistency completely and still have this problem, which is what makes it confusing.

A character definition pins the person. It says nothing about the time of day, the colour of the light, how contrasty the shadows are, or how saturated the whole image is. Those get re-decided from scratch on every single generation, and they are exactly the properties a reader uses to judge whether two pictures belong to the same world.

Worse, it compounds invisibly. Each page looks fine on its own. The problem only appears when you scroll the finished book, which is usually after you have made all of it.

Why regenerating is the wrong fix

The instinct is to go back and redo the pages that do not match. Do not.

You would be rerolling pages you were happy with, chasing a look you cannot specify precisely enough to hit twice, and every reroll changes the composition too. That is the expensive habit described in how to fix one thing in a panel, applied at the scale of a whole book.

Consistency of look is a post-processing problem. It has a post-processing answer.

What a grade actually is

Every film you have watched was shot over weeks, in different weather, on different days, and then pulled into one look in a grading suite at the end. Nobody reshoots a scene because the sky was greyer on Thursday.

Comics have always done a version of this too, historically because of the printing process. A book with a limited ink palette reads as one object even when the pages were drawn by three different hands.

A grade is the same move: a single colour transformation laid over everything, so variation that was distracting becomes texture.

The Lighting panel

Eight presets ship, and they are chosen to be looks rather than adjustments:

• Newsprint and Xerox for cheap print and photocopy, which is the most forgiving family of all.
• Silver Age for saturated classic comic colour.
• Noir and Midnight for the dark end, one monochrome and one cold.
• Sunbleach for hot and washed out, Ink Wash for muted and painterly, Neon for the loud end.

Under them are six sliders: exposure, contrast, saturation, sepia, hue and mono. Plus a strength control from 0 to 100, which is the one most people ignore and should use most. A preset at 40 percent is usually better than the same preset at full, because the point is to unify the pages, not to announce that a filter happened.

Then apply to all pages, one click, and the whole book agrees with itself.

The part worth trusting it for

There are exactly six parameters, and that is a deliberate limit rather than an unfinished feature.

Each of the six maps one to one onto a filter function the browser itself implements. The live canvas and the exported image are therefore driven by the same code and the same values, so what you tune is what you get in the PDF.

Temperature, tint, vibrance, highlights and shadows, grain, vignette and split tone are all real grading controls and all deliberately missing. None of them can be expressed in that same set, so shipping them would mean approximating with the controls that do exist. The preview and the export would still agree with each other, and both would be wrong in the same way, most visibly on skin tones. A grading tool that lies to you while you tune it is worse than one with fewer knobs.

That is also why this costs nothing. There is no model involved and no request leaves your machine. It is a colour transformation, applied locally, instantly.

How to use it well

Decide the look early, apply it late. Knowing you are making a noir book changes how you prompt every panel. But do not lock the grade in until the art is settled, because a grade over half-finished pages hides problems you still want to see.

Dial the strength down. The most common mistake is a preset at full strength, which stops being a look and becomes a filter. Start at 100 to see what it does, then take it to 40 or 50.

Monochrome hides the most. If your pages vary wildly and you have no appetite to fix them individually, Noir or Xerox will unify almost anything, because the biggest inconsistency in AI art is colour, and those two remove colour from the argument.

Grade the whole project, not page by page. Individually graded pages are the problem you started with, in a new outfit.

The short version

Your pages do not match because nothing carries lighting between generations, and that is not fixable at the prompt. Pick one look, put it over the whole book, pull the strength back to about half. It costs no ink, takes a minute, and is the single cheapest thing you can do to make a set of pictures read as a comic.