| Summary: | In this article, I study the influence of manga on the two main Canadian comics worlds. I show how, for several reasons that I will explain, the Anglo-Canadian comics world has been quite receptive to manga influence, while the French-Canadian one has been much less welcoming. This different degree of influence can be seen in one aspect of the formal structure of comics: the various panel layouts on the page, sometimes called the grid. Mainstream French-Québec BD (BDQ) tends to use a more regular grid than mainstream Anglo-Canadian comics. The latter adopts a more fluid form of the grid, which is also typical of manga style. Using Brenna Clarke Gray’s parallel between territorial border and comics gutter (Gray 2016), I argue how these differences can be seen in some concrete examples from both Canadian linguistic communities. I conclude with the Tamaki cousins’ graphic novels to emphasize how fluidity is a reflection of, and on the Anglo-Canadian comics world, and maybe beyond, which could be seen as a critique of the notion of rigidity in various fields (identity, sexuality, border), as well as a calling for textual, sexual and national fluidities.
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