From the start, it was decided that Comic Book Tattoo would not contain comic book versions of music videos for Amos's songs, nor illustrations created from literal interpretations of Amos's lyrics. Of her role in the project, editor Hoseley said, "It was very important to [Amos] that she see how the different creators were treating 'her girls' (the songs), but at the same time, not tying the creator's hands or make them feel restricted in any way and making sure that they felt the freedom to tell the kind of story that they felt strongly about."[1] When approached to contribute to the project, the graphic artists were asked to create a story that reflects that which the songs make them feel.
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About the finished collection, Amos said, "I have been surprised, excited and pleasantly shocked by these comics that are extensions of the songs that I have loved and therefore welcome these amazing stories of pictures and words because they are uncompromisingly inspiring. It shows you thought is a powerful, formidable essence and can have a breathtaking domino effect."[2]
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Exceptional beings exist who possess the ability to take on any identity. Among them is Noa, the most famous last generation synthetic doll. Sky Doll Spaceship lifts the veil on some of her often very extravagant past experiences: call girl in the middle of the desert, sexy comic book heroin, limo driver, and finally, the normal (ironic, funny, sometimes melancholic) life of a doll on planet Papathea... Discover through new exciting tales of Sky Doll by Canepa & Barbucci featuring art by European superstars Matteo De Longis, Claudio Acciari and Pierre-Mony Chan (Spin Angels)! Mature Content...$5.99
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Early in the comic, Assu, Ford, and Charles establish two dominant colour schemes that illustrate a belonging (or unbelonging) to the land. In one colour scheme (Fig. 1), the Wiweqayi are so inseparable from the land that their violet houses blend easily into magenta sky, purple earth, and treeline. The relaxed, gestural figures congregated around a warm yellow fire create a feeling of warmth and comfort.
In contrast, Parliament Hill is green and turquoise, and it stands on a prim and proper, empty lawn. The looming rectangular building casts a long hashmarked shadow behind it. This sequence clearly takes place elsewhere, as the cool greens contrast starkly with the warm colour palette that was established in T'Sakwa'Lutan. The third panel in the sequence may also resemble the colour and composition of a Canadian twenty dollar bill, which suggests material wealth as well as colonial influence.
Or should I say, not the end. The final panel is a close up of Billy Assu's child. The child is swaddled in green, representing the emergence of a new generation who, though influenced by European culture, are still supported by the generations of ancestral tradition and resistance that came before them. Choosing to close the comic with "Not the end" ties the comic together as a story of Indigenous permanence and survivance.
The coloring of the comic lends a supernatural sense to the physical pages of the comic. The comic is colored in geotic tones, with reds and light oranges featuring prominently, along with stark blacks, grey-blues and varying shades of white. The earthy tones place the story outdoors,where the windigo spirit first emerges from the trees to Wahsakapeequay in the first panel on page 63.
The transparent silvery appearance of the windigo can be missed easily, as it blends into the surrounding birch trees. The silver colors of the windigo and the white birch trees create an eerie feeling. The earthy tones and continued outdoor setting create the sense throughout the comic that the windigo spirit is constantly in attendance, and it is a matter of it being noticed within its surroundings for it to emerge and conduct another abduction.
Storm approaches the comic from an Indigenous feminist position (Storm 54), conflating the narratives of multiple women into the singular story of Wahsakapeequay, who holds space for fourteen women murdered by the brothers in attempts to quiet the Windigo.
Other elements of the text also reference the cinematic. The white on black lettering throughout the text is suggestive of subtitles and closed captioning. The inclusion of several full-page and two-page spreads throughout the text function to provide the viewer with additional context. Figures 1 and 2, the opening pages of the comic, feature close-up portrayals of Zhauwuno-geezhigo-gaubow and Wahsakapeequay depicted alongside the title in much the same way that movie opening credits feature the main actors.
Just as the narrative boxes describe the stripping of the flower blossom, Chomichuk strips the colour from the panels, leaving only a monochromatic, pale blue wash. As the comic continues, occasional auras of green, red, yellow, and purple accompany the pale blue; the purple tones are only used in these first panels or attached to Pauki herself.
Akiwenzie-Damm et al. draw on the symbol of strength one last time on the final page of the comic, where thunderbirds soar through the air as a great force behind human Anishinaabe activists (Fig. 6). 2ff7e9595c
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