#canadian comics

[conkreetmonkey]

GUYS THE TRAILER FOR THE SCOTT PILGRIM ANIME IS OUT

FAITHFUL EMULATION OF THE ORIGINAL COMIC'S ART STYLE

ENTIRE CAST OF THE BELOVED LIVE-ACTION FILM HAS RETURNED TO VOICE, DESPITE MANY OF THEM BEING FAR BIGGER NAMES NOW THAN WHEN THE MOVIE CAME OUT

HIGH QUALITY, EXPERIMENTAL 2D ANIMATION IN A MODERN HIGH-BUDGET TV SHOW. COMPLEX MOVEMENT, LIGHTING AND PERSPECTIVE ON DISPLAY

ORIGINAL CREATOR PLAYING A LARGE ROLE CREATIVELY

MAY BE THE WORLD'S FIRST ANIME TO FEATURE CANADA AS AN ACTUAL FUCKING SETTING

FINALLY, SOME GOOD FUCKING TV! YES! FUCK YES! YEEEEESSSS!!!

[mk-wizard]

Thank you for supporting Psychoborg, but I have a small ask that is very easy to fulfill and costs nothing. Can you please help Psychoborg 500 likes on @webtooncanvas so it can get Super Likes? Comics need you just as much as you need comics. Thanks.

[claudiaxpression]

[pulpsandcomics2]

Active Comics #1-#3 1942 Canadian comics

[psychoborg]

Chapter 5 Page 23

Those are kale chips by the way.

Main site is here: https://tapas.io/series/Psychoborg/info

[thecomicsrack]

We are a digital and print magazine dedicated to promoting the amazing independent work of Canadian comic book creators.

With mainly interviews but also other articles, we give readers insight into creators they may not already know to help build a more vibrant Canadian comic community. Our publication is made by volunteers passionate about Canadian comic books and distributed for free online. We bring artist's alley to you!

The magazine is released thrice annually online digitally to be accessible and is for sale in print after each year. You can sign up for our email newsletter to be notified when issues are released. Or find us elsewhere through https://linktr.ee/seqmagazine

Comic Book shops or individuals can contact us at sequentialmag@gmail.com for bulk ordering (>5 issues)! Shipping is priced for Canada, we can ship internationally but must quote each order as is varies and depends on number of issues ordered. 

[hotcomicstv]

Magical Beatdown review

[tajliyaj]

No Reason To Apologize (Teach Media), 2022.

Adapted from the play Controlled Damage by Andrea Scott, this graphic novel illustrates with more nuance the resilient life of Viola Desmond. I admire the way Scott illustrates the various relationship dynamics Viola would have had to navigate being a light-skinned biracial Black woman at this moment in Canadian history.

There is much to learn from her story about the small and large ways individuals contribute to activism from different angles, the constraints and push-back that can be faced by various groups, and how community care and resilience is ultimately at the centre of it.

[scarymask]

Free to read RIGHT NOW! Aptitude Test Issue 13!

aptitudetestcomic.com/comics/issue13…

Join me as I finish a long dangling story, say goodbye to some old friends, and drastically alter the topography of a major Canadian city!

[fell-hound]

My graphic novel “And We Love You” has been nominated for a Sequential Magazine award for best graphic novel! Such an incredible honor to be nominated alongside rad canadian talents. The final winners are fan voted, so if you enjoyed the book or would otherwise like to support queer creators making queer books, you can do so here: https://sequentialpulp.ca/2023/02/06/sequential-magazine-awards-2022-voting-and-nominees-revealed/ Thank you! :)

[fortressofserenity]

The Canadian superhero school

It's pretty small and based on from what I've read, it does have its own peculiarities to stand out in some way. In the case with a number of the Canadian superhero comics I've read, female sidekicks do exist but they're not so frequently victimised. Same goes for love interests but then again Canadian superhero comics aren't so continuously published, well until now, so they don't really have much of a large canon to draw from.

Another thing is that it's generally not as meta as American superhero comics tend to be, in the sense of not being so deeply metafictional in most other cases. The only Canadian superhero comic to be close to metafictional would be Northguard where the character of Philip Wise is shown to be reading a comic book, but when he does become a superhero he has to train in order to become one or something like this.

Whereas in American superhero comics when superpowered characters become superheroes, they head straight into action whereas Philip Wise had to train to get to where he is. It's not hard to see how different and even unsuperhero a number of Canadian superhero comics are, even if they do come close they don't really seem as superheroic as their American counterparts are in some places. The older Captain Canuck comics feel more straight up science fiction.

The Northguard comics has come to involve geopolitical commentary, the Pitiful Human-Lizard does away superhero cliches altogether. Lev Gleason's Fantomah is very rooted in horror and so on, based on the stuff I've read so far. But it's not hard to see how American superhero comics will always involve rollicking action, even the horror-based characters get into the same as well.

[mk-wizard]

A friendly reminder that Psychoborg is on Webtoons too, so if you're a fan of the comic, please sub and like as much as you can there too so it can qualify for the Super like. It helps me a lot.

@headdypidgeon4180 @tntmtheshow

[nightheartcomics]

The original cover of The AL ZONE, a sci-fi sex-comedy comic I made for Inktober 2019 🤘🖤

[geegeecomics]

Snow Day! Snow Day! Snow Day!

[psychoborg]

Chapter 5 Page 22

Hey, Clicker came out of hiding!

Main site is here: https://tapas.io/series/Psychoborg/info

[crownedinkcomix]

Brian Evenson’s Ed vs. Yummy Fur serves as a thoughtful companion to Chester Brown’s groundbreaking Ed the Happy Clown and its evolving narrative across various iterations—from its origins as a serialized feature in Brown's Yummy Fur comic book to its reconfigurations in multiple graphic novel editions. The book excels in its comparative analysis, particularly in examining what is lost and gained with each revision of Brown’s work. Evenson’s insights into the omission of Yummy Fur’s gospel adaptations and issues #13–18 in later editions of Ed the Happy Clown are particularly incisive, shedding light on the shifting creative intentions and contextual nuances behind Brown’s editorial decisions. For those intrigued by the transformative nature of serialized comics, these discussions provide a compelling perspective on the evolution of Brown’s storytelling.

However, Ed vs. Yummy Fur sometimes falters by delving too deeply into overly minute details. Evenson’s focus on trivialities—such as Chester Brown’s choice to hyphenate (or not) the term "graphic novel"—can feel extraneous, diverting attention from the book’s broader and more engaging themes of adaptation and artistic growth. This preoccupation with minutiae creates an uneven reading experience, particularly for readers less inclined to fixate on such peripheral aspects.

The concluding interview with Chester Brown serves as an illuminating, if slightly ironic, counterpoint to Evenson’s exhaustive analysis. While the interview is engaging, it starkly highlights Brown’s apparent detachment from the intricacies Evenson so meticulously examines. Brown’s casual attitude toward these finer details adds an amusing dynamic to their interaction but may leave readers seeking more profound insights from the creator disappointed.

Ultimately, Ed vs. Yummy Fur is a niche work best suited to ardent Chester Brown fans eager to delve into the nuances of his early career. For readers with a broader interest in comic book analysis, the book’s focus on granular details may feel overly restrictive, limiting its appeal beyond the context of Ed the Happy Clown’s transformations over the years. While Evenson’s dedication to his subject is commendable, the book’s narrow scope makes it a highly specialized read, most rewarding for diehard enthusiasts of Brown’s formative period.