#Prairie Comics Festival

[cycyanart]

If you're in Winnipeg/Manitoba come check out Prairie Comics Fest! It's our local indie comic and zine faire 💖

[scotthendersonart]

OCTOBER FESTIVALS & COMIC CONS

This October I will be at two comic conventions and festivals. Prairie Comics Festival will be October 5-6, 2024–RETURNING to the Millennium Library in FULL FORCE taking over the entire 2nd or 3rd floor! There must be TRIPLE the number of artist, writers, and publishers then pervious years, all through the blood sweat and tears of S.M. Beiko! In conjunction with PCF, HighWater Press will be…

[sequentialcanada]

Prairie Comics Festival Welcomes 3 Canadian Comics Headliner Guests

Prairie Comics Festival, a non profit Winnipeg-based organization known for its annual artist market and year round educational comics programming, announced its three headliner guests for the 2023 Festival

Prairie Comics Festival, a non profitWinnipeg-based organization known for its annual artist market and yearround educational comics programming, announced its three headlinerguests for the 2023 Festival, taking place September 23 to 24 at theWest End Cultural Centre. They have also curated the finalized roster ofexhibitors, the largest contingent in the event’s history. In 2023, Prairie Comics…

[scandalousadventures]

Here Be Dragons! A silly comic about a knight who attempts to slay a dragon, and a dragon who simply doesn't have the time. I'll have physical copies at Prairie Comics Festival tomorrow and Sunday (October 5th and 6th), and I'll put extras in my online shop after 💚

[mintshiiarts]

Here we go for self-promo, which I never am fond of doing but know I have to do it in this case! My self-published, indie comic, Robust Heat is now in pre-launch on Kickstarter! You can find it here.

It is going to be printed into a full volume, graphic novel, with 150+ pages. Full colour, American standard comic book size (6.625" x 10.25"). The printed version is going to be more polished, have rewritten, relettered, redrawn parts that the webcomic version does not have. If you like slight Baccano! vibes mixed with Netflix's Hollywood (2020), then please consider checking it out :D. The actual launch date is going to be on April 2nd, and if you'd like an email notification when the campaign goes live, the notify me button will do the job for you. And if you have anyone in mind that you think might enjoy these series, please pass this along to them! I know I don't have a wide reach/big audience, and what my comic is--I consider kind of niche-so I'm hoping to get this word of mouth get rolling. Thanks in advance \O/ PS, I will be in PCF (Prairie Comics Festival), and hopefully DCAF (Dartmouth, not Dublin, Comics arts Festival) later this year. If any of you are from those spaces, do let me know if you'd be interested in local pick-ups.

[chadwickginther]

Prairie Comics Festival

I’ll be at Prairie Comics Festival this weekend! Prairie Comics is happening October 5-6 at the Millennium Library 3rd floor, 251 Donald Street in Winnipeg. This year’s headline guests are E.M. Carroll and Faith Erin Hicks. From the festival website: The Prairie Comics Festival is an annual 2-day event featuring a marketplace and panel and workshop programming, geared towards celebrating,…

[mi6021-mez-dissertation]

Cal Arts Staff

Robert Domingo - Character Animation

specialises in 2D and CG, has worked at Walt Disney Worked on The Lion King, Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan, Fantasia 2000, The Emperor's New Groove, Treasure Planet, and Home on the Range Worked as a CG character animator on Shrek 2, Shrek the Halls, Over the Hedge, Madagascar, Kung Fu Panda, How to Train Your Dragon and The Croods

Steve Brown - Character Animation

worked in the Theme Entertainment industry as an environmental concept artist, such as las Vegas casinos and theme parks also working on freelance storyboard work on a number of independent animation productions, including My Friend Shadow, Witch Mask, Tian Keng, and Iron Skies.

Maija Burnett - Director of the Character Animation Program Her screen credits include Curious George (Warner Brothers/Universal), 9 (Focus Features), Garfield: A Tail of Two Kitties (20th Century Fox), Ed, Edd ‘n’ Eddy (Cartoon Network) Her work has been featured in festivals and museums eg. Comic Con

Linda Dorn - Character Animation has taught both Advanced Animation and Life Drawing at CalArts with industry experience includes Animator, Visual Development, and Sequence Design at Futurama, Disney Feature, Hyperion, and July Films

Mindy Johnson - Character Animation

regarded as an Award-winning author, historian, filmmaker, educator, musician and more

produced record-breaking global campaigns, creative content, exhibitions and events for a growing list of clients including: The Disney Company, AMPAS/Oscars.org, WNET/American Masters, The Walt Disney Family Museum, SiriusXM Radio and Horipro Entertainment. 

Nicole Panter Dailey - Film and Video & Character Animation

script editor and fiction writer, co-creator and writer on Pee Wee's Playhouse and London Channel 4's Dream Date. She is the author of Mr. Right On & Other Stories and editor of Unnatural Disasters; Recent Writings from the Golden State.

Suanne Spoke - Film and Video & Character Animation

she teaches acting in the Film Directing Program and in Character Animation

has made over 150 appearances on stage/film/television, most recently on “Station 19” and starring in “Second chances with Jason Nash” for YouTubeTV.  She can be seen in “Whiplash”, “Wild Prairie Rose”, “Gastropod”

Nathan Strum - Associate Technical Director

Nathan has designed, built, re-built, and updated the program's three Mac Labs

Nathan collaborates with hobbyist programmers creating new videogames for the venerable Atari 2600, designing in-game graphics and packaging materials. And yes - you can actually buy them on real cartridges and play them on 40-year-old hardware. He also semi-occasionally creates new episodes for his videogame-themed webcomic: Artie the Atari.

Out of the 57 listed staff under the Character Animation filter, 8 Had public descriptions available, all of which showcased their work in the industry of animation or similar areas

[cloudscapecomics]

CAN CON 2019

Cloudscape comics is excited to announce we will be appearing at four Canadian conventions starting this weekend!

April 25-28 we will be at the Calgary Comic Expo at booth 245

May 3-4 we will be at Prairie Comics Festival in Winnipeg

May 10-11 we will be at the Toronto Comic Arts Festival

May 18-19 we will take it all home to Vancouver with VanCAF

Hope to see you there!

[alleventsalert]

Prairie Comics Festival 2022 - Prairiecomics.com

Prairie Comics Festival 2022 – Prairiecomics.com

Prairiecomics.com – Prairie Comics Festival 2022 are organized by Winnipeg Public Library. It will be held on 30 April – 01 May 2022 in Winnipeg, Canada. Prairiecomics.com | Prairie Comics Festival 2022 You just need to follow the steps to participate in Winnipeg Public Library. (Prairie Comics Festival). Open your default internet browser.Type www.Prairiecomics.com. it in your address…

[amymja]

Felt inspired after visiting the prairie comics festival and made some art for myself over the weekend.

[cycyanart]

Throws this here

[scotthendersonart]

PRAIRIE COMICS FESTIVAL 2022

PRAIRIE COMICS FESTIVAL 2022

West End Cultural Centre September 10th & 11th, 2022 Visit: Prairie Comics Festival This weekend I will be a guest artist at Prairie Comics Festival (PCF), a little, hometown gathering of comic artists and writers of the prairies, showing off their work, and presenting workshops and panels. A wide variety of styles, age groups, Queer content, and overall friendly vibe; for people that enjoy and…

[miasmacaron]

Hoo boy I sure did love going to a Sexuality in Comics panel about queer representation in comics that was led primarily by two people on the ace spectrum. 

The Prairie Comics Festival is a legitimate delight. Best moment of the panel was when the crowd all started chanting for more asexual and aromantic representation. 

We also talked about the hyper-sexualization in queer communities that can often make queer content inaccessible to children and often works to support the fetishization of queer people. It was a really important issue to me because I remember how frustrating it was growing up and having the only queer spaces around that I knew of being bars. I wanted to meet cute girls when I was young, and wanted to be able to see content of wlw that didn’t involve hyper-sexual scenes that I was scared to watch in my house.

[scandalousadventures]

I had such an incredible time at Prairie Comics Festival this weekend for my first time tabling. I met so many cool new people and had so many incredible conversations, not to mention how so many people loved my work! 😭 It was so WILD to not only meet Em Carroll again but to be on a horror comics panel with them! They even bought one of my little dolls. LIKE WHAT!!! SO SO flattered. Such a rush of a weekend, and tomorrow will definitely be a recovery day. I feel like I made so many new friends, and after a weekend surrounded by art and artists I can't wait to start making so many new things.

[carbunclecomic]

Thank you to those who saw us at the Prairie Comics Festival this past weekend! We were proud to share the same space as so many fantastic Canadian comic creators from the prairies! 

Normal updates of Carbuncle will return on May 10th! 

[vanessakirbyfans]

As coldly drawn as an atlas yet no less capable of enflaming the imagination, Mona Fastvold’s “The World to Come” is a hard and brittle period love story that thaws into something much warmer — what its hyper-literate heroine would call “astonishment and joy��� — as a merciless 19th-century winter blushes into a most unexpected spring.

Tuesday, January 1, 1856. Abigail (Katherine Waterston) mourns the daughter who was taken by diphtheria a few months prior, and journals about a world that feels barren in the young girl’s absence. “This morning, ice in our bedroom for the first time all winter,” she reads aloud in voiceover, offering the first excerpt from an interior monologue so pronounced that Fastvold’s romance often feels like an epistolary film written by a woman to herself. “The water froze on the potatoes as soon as they were washed. With little pride, and less hope, we begin the new year.”

And what a new year it will be for the ever-studious Abigail, an overgrown schoolgirl who likens her loneliness to “a library without books.” It will begin with new neighbors. It will bloom with new memories. And it will shudder with the tectonic aftershocks of a woman who — with no means of escaping her nook-like place in the world — dares to remap herself.

That cartography motif provides “The World to Come” with a clear sense of place from the moment it starts; the credits are scrawled above a map of upstate New York (played with patience and edenic possibility by the hills of Romania), and they give way to a valley so petrified in gray ice, even the slightest hints of color seem exotic. Embodied by a mealy-mouthed Casey Affleck (whose quietly moving performance as Abigail’s husk of a husband sneaks up on you), Dyer bristles against the depressive pall that’s settled around their house like it’s just another fallow period any farmer worth his beard could survive. “Contentment is like a friend he never gets to see,” Abigail notes in her journal with a novelist’s sense of invention, sketching the inner life of a spouse always less expressive than his shadow. They may be married, but what can that really mean to a woman who’s only met a handful of people in her life? At night, he grabs her breast and offers her another child. Abigail requests an atlas instead.

It could be worse. Abigail could be married to the more controlling Finney (Christopher Abbott), a jealous brute who’s just leased out the log cabin nearby and doesn’t appear to have any inner life at all. Not that his wife Tallie (Vanessa Kirby) would try to draw it out if he did. Unlike the bookish Abigail — who’s been raised to think of the world as a hidden empire built of ink and imagination — Tallie walks through life with her chin up, her cheeks flushed, and her hair caught in the wind. She is a woman less compelled by what she can imagine in her mind than what she can feel on her skin. Things like the webbing between Abigail’s fingers, which Tallie explores with unclear intentions as the two prairie housewives trade polite gossip about their husbands.

Has Tallie been with a woman before? Has any woman been with a woman before? Abigail doesn’t know the answers to these questions, or even how to ask them. All she knows is that the house seems warmer after Tallie’s visits. The swirling winds of Daniel Blumberg’s clarinet score — which can whip into a winter storm at a moment’s notice — grow as warm and soothing as an orange hearth. And a story that opens with the grief-stricken chill of a rustic horror movie starts to pull focus away from its monsters, eventually settling into a harsh but hypnotic love story less rewarding to watch than it is to remember.

In that respect, it differs from a recent spate of similar films. Critics — and this one speaks from experience — should be careful about relating every restrained sapphic romance to the likes of “Carol” or a Céline Sciamma movie. But Fastvold’s stiff knockout of a second feature (which arrives six years after “The Sleepwalker,” and trembles with the same intensity its filmmaker wrote into the scripts for “The Mustang” and “Vox Lux”) shares a common interest in female interiority and the sweet vertigo of falling in love. “The World to Come” takes that pioneer spirit and runs with it deep into the woods, even if its characters spend most of their lives standing in place, even if the movie around them — which entwines the furtive eroticism of “Portrait of a Lady on Fire” with the kerosene ache of “The Assassination of Jesse James by the Coward Robert Ford” — owes as much to the latter as it does any of its more obvious influences.

Without “Jesse James,” “The World to Come” literally wouldn’t exist. Andrew Dominik adapted the Western from a history book of the same name, sparking an artistic kinship between Affleck and author Ron Hansen — whose writing partner Jim Shepard got the idea for a novella about a forbidden affair when he found a note scribbled in the margins of an old farmer’s journal: “My best friend has moved away, I don’t think I will ever see her again.” When Hansen and Shepard offered Fastvold the script version, Affleck came with it, as did the implosive fatalism he brought to the role of Robert Ford, and the bitter survivalist mindset of living at nature’s mercy.

“The World to Come” is so withholding that the characters from “Portrait of a Lady on Fire” are practically sky-writing their emotions by comparison, and Fastvold’s film — despite its delicate lilt of a last scene — never detonates inside of you with remotely the same force. It’s jabbing and elliptical instead of lush and symphonic; old-fashioned where some of its predecessors have thrummed with contemporary zeal. No one filters drugs through armpits, or scissors their bodies into shapes that Abdellatif Kechiche might cut together. On the contrary, Abigail and Tallie are seldom onscreen together at all, and only in hindsight can we appreciate how charged the space between them is when they are. Fastvold shoots the movie at a polite and unfussy remove, the fuzzy vibrations of Andre Chemtoff’s 16mm cinematography hinting at an energy invisible to Abigail and Tallie’s husbands.

Many of the script’s most pivotal moments are folded into the margins like the two lines of chicken scratch that gave birth to these characters; each scene begins with the date scrawled across the scene as Abigail reads from her diary, and it isn’t until the end of the movie that you realize how much she’s kept hidden from us. It’s enough to know that she has access to it, and always will, but it’s also frustrating that we’re stuck watching some more ordinary histrionics instead. Abbott’s performance shivers with a sociopathic affectlessness, but “patriarchy incarnate” is thin gruel in a film where everyone else gets to play so many layers (even Affleck, who earns Dyer some hard-won dimension by the end). It’s not that his character doesn’t ring true, nor that Finney’s jealous chaos is at all contrived. Only that his destructive boorishness is such a plain way to spoil a story this ornate, like a wedding invitation embossed in comic sans.

But “The World to Come” is about the things we remember, and not the ones so easy to forget. “I hold our friendship and study it,” Abigail writes of her bond with Tallie, “as if it were the incomplete map of our escape.” Whether or not she ever finds her way free, the first half of 1856 will linger in Abigail’s mind like all of the best love stories do, her neurons and nerve endings rearranged into forest trails that forever lead back to the legend that explains them.

Grade: A-

“The World to Come” premiered in Competition at the 2020 Venice Film Festival. It is currently seeking U.S. distribution.