In the introduction to their edited volume, The Canadian Alternative: Cartoonists, Comics, and Graphic Novels, Dominick Grace and Eric Hoffman write “Canadian comics have always existed on the edge” (xii), outlining a number of the ways Canadian comics have both been placed and created space in and on the margins. Be it the underground comix movement, the desire for regional representation, or the exploration of indigeneity, LGBTQIA+ identity, histories of migration, and similar concerns, these “alternatives” offer space to address the multiplicity and nuances of Canadian comics in generative ways. For their part, Candida Rifkind and Zachary Rondinelli use ongoing conversations about “where does the story of Canadian comics begin” as the point of departure for the 2022 special issue of Canadian Literature, “Past, Presents, and Futures of Canadian Comics.” Looking to the past and present, they signpost scholars whose work examines “questions of ethnicity, race, and place [...] in order to reveal experiences and understandings that have been historically underrecognized.” The future, they suggest, will be framed by concerns of access (for readers and creators alike), and is one that they hope will engage with “the multi-faceted, aesthetically diverse, and globally networked histories of Canadian comics [that] have yet to be fully captured.” Correspondingly, as Barbara Postema and Andrew Lesk observe, this future is one already grounded in “the diversity of cartoonists and comics that affirm the plurality of Canadian identities” (498).

The four presenters on this panel approach these questions from diverse perspectives and, in the process, cover a wide array of Canadian comics, from well-known graphic novels like Kate Beaton’s widely acclaimed Ducks to independent comics by indigenous and queer artists to a distinct version of the superhero comic developed in Canada. Jocelyn Sakal Froese's paper explores the relationship between land, community, and capitalism in Canadian comics, comparing Jeff Lemire's Essex County (2011) with Kate Beaton's Ducks: Two Years in the Oil Sands (2022). By examining how these works reflect settler-Indigenous relations and the environmental and social impacts of industrial capitalism, Froese situates Canadian comics as a platform for interrogating national identity. Next, Margaret Galvan's paper expands this discussion by focusing on how state-imposed censorship in the 1980s, particularly with regard to queer comics, shaped the creation and circulation of LGBTQ+ narratives in Canada. By examining the responses of Canadian cartoonists, Galvan highlights the tension between artistic expression and governmental regulations.

Third, Sayanti Mondal's work brings attention to Indigenous representation in Canadian comics, analyzing Cole Pauls's Dakwakada Warriors (2019) and its innovative use of hybrid language (English and Southern Tuchone language) and allegory to resist linguistic hegemony. Mondal's focus on Indigenous narratives in graphic form further enriches the panel's exploration of marginalized voices in Canadian comics. Finally, Jasmine Redford examines the portrayal of violence in Richard Comely's Captain Canuck, considering how the Canadian superhero is a vessel for considering the ethical forms of violence necessary to protect the nation.

Together, these papers offer a multifaceted look at how Canadian comics address issues of land, identity, violence, and resistance, offering a comprehensive view of the medium’s role in shaping and reflecting Canadian society. Each panelist will speak for 13 minutes, followed by general questions and discussion.