Doing comic books is not easy. Professionals average about 1~2 pencils a day, and same for inks and coloring, with maybe 25% more output compared to pencils. If seasoned pros work at that speed, how can non-pros expect to work any faster? And even among pros, there are artists who are just naturally slower at the execution of artworks. Adam Hughes is notorious for being slow, and he’s one of the best comic book artists of his generation.
No tool will make you faster. Practice might, but even that is not a guarantee. If practice and experience and talent could make you faster, then guys like Adam Hughes should be lightening fast by now, but that is not how it works. I’ve been working professionally as an artist for 14 years now and spanning across multiple mediums, but it has not made me any faster. In fact, I demand more out of work now than I did when I was younger, so I take even longer.
When I inked for a living, I preferred using high quality watercolor brushes. Inkers like Mark Farmer and a bunch of the “organic line” guys all use brushes. If you are really good, you can get away with using a #5, but if you are not, you might need a #2. Winsor Newton series 7 watercolor brushes are some of the most respected brushes out there for detail work, but they are not cheap.
I also used nibs for specific type of line work, and I used anything from G nibs for manga work, to crowquill, to whatever suited the purpose. The technical pens like Rapidograph are good for architectural or mechanical stuff, but they are terrible for fluid, organic work. The felttip pens are often used too, and some people who can’t get organic lines with nibs or brushes (lack of control and skill) use the felttips and “fake” line weight by going back over the lines to add thickness in various spots.
I would not bother with analogue tools today. Now I’d just use Painter for everything. You can get some great inking in Painter if you know what you’re doing.