Two things have changed since that tutorial was made: There is now a node named Map Range that does what my Rescale group does, and shadows are a bit better (but still tend to have jagged edges.) So Eevee is still very feature incomplete as far as NPR workflows are concerned. We all hope it will get more options like a proper Toon Shader node soon, or that we’ll just get a proper GLSL script node, which will open up options for the community to just code what we need.
The only feature complete NPR toolset right now is the Cycles ToonKit collection of OSL script nodes. This avoids the various problems that Eevee has, and has lots of powerful tools like line art, light groups, etc. And since its part of Cycles, it gets to take advantage of Cycles stuff that Eevee doesn’t have, like cutom passes/AOVs, bevel node, displacement, etc. The downside of ToonKit is that since it’s OSL scripts, it can only be rendered on CPU, so it’s much slower than GPU rendering (which is already slower than eevee.) However, this is not as big of an issue as in the past, as we’ve just gotten powerful Viewport denoisers. So you can still get a mostly clean render in a couple of seconds, even on CPU rendering.
The other minor issue with ToonKit is the UI implementation. It works, but since it is working around some features, it doesn’t fully support options that we’re used to in a pure cycles workflow. For example, in Cycles we can control light color and strength from inside the materials, but in ToonKit you have to do it in the lamp’s settings tab. But this isn’t that big of a deal.
There’s no reason that Eevee can’t have all the features that ToonKit has, its just a matter of them getting developed. Which will hopefully happen soon.
The other alternative that’s coming up is the BEER rendering engine that the BNPR folks are now developing. That’s basically going to be a framework that allows custom GLSL scripts, so the community will be able to write whatever they need.
And of course, Grease Pencil is great, and will be a good solution for lots of effects and stuff you’d need in a comic.
A big factor in all these workflows is simply complexity of style. If you’re working on black and white or 2 or 3 tone with a lot of black lines and black hatching, you can simplify things a lot, and it’ll be much easier to fix things in post. Its when you want lots of fancy light that it gets really complicated (see my Rei Process video.) But this is more complex than established comic styles.
Another resource worth knowing about is the SketchUp program. Its good for throwing scenes together, and has large amounts of content you can use. And you can export it to Blender.