Art by Steve Skroce
“They’ve never given a damn about land. This has only ever been about our water.”
In the year 2112, Amber Roos watches the breaking news on CBC from her home in Ottawa as the White House burns. Soon, missiles are falling on the Canadian capital in retaliation, killing both her parents as a terrible war for Canada’s natural resources begins. More than a decade later, Amber is surviving alone, roughing it in the wilds of the Northwest Territories as the American military pushes those few who resist ever northward. It is there that she hooks up with the Two-Four, a small, motley band of Canadian resistance fighters. Yellowknife is about to become a hot zone, as the Americans set their sights on the bountiful waters of Great Slave Lake.
Vaughan’s story takes place in a future where the American use of drones has evolved and magnified to include giant robots in a variety of forms. However, the villains are diverse and complex. One major player is revealed to be Canadian-born, but raised in America, and questions arise as to whether Canada may have undertaken a pre-emptive strike after growing fearful about American designs on Canadian resources. Meanwhile, the protagonist has a relatable back story from the beginning of the war, but is pretty cagey about her recent history. I’ve seen criticism of the premise as unrealistic, but in a world dried out by global warming, leaving Canada as “the Saudi Arabia of H20” in the words of Brian K. Vaughan, it isn’t all that hard to imagine the United States going to war to get it the same way they have done for oil in the past.
With an American writer who is married to a Canadian, and a Canadian artist, it was interesting to me (as a Canadian who lives in the US) to see how We Stand on Guard signaled Canadian identity. The title is a great touch, taken from a line in the national anthem. French is sprinkled in largely untranslated, the Tim Hortons logo appears in the background, and the CBC changes from national broadcaster to resistance communications network. Vaughan credits artist Steve Skroce for slipping in a variety of other Canadian references, which make for great Easter egg hunting. Moreover, Vaughan doesn’t seem afraid to make America the villain, albeit in a far-flung future, allowing for a genuine conflict between the two identities.
The Deluxe edition collects the limited six issue mini-series from Image Comics, making this story really a slice of a larger conflict we may never get to hear more about. The issues are presented as chapters, with the original cover art beginning each section. Steve Skroce goes to town drawing outlandish animalistic war machines, but he also has a fine hand for expressive human faces, even in the smaller panels where some artists’ characters become indistinguishable. Unfortunately, many of them don’t get much time to shine before becoming collateral damage. This criticism could go for most of We Stand on Guard; the biggest problem is that there isn’t more, leaving little room to develop a large concept. But the glimpse we do get is brutal and fascinating.
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