Winnipeg's Pock-Marked Frankenstein
Last year I bought True Crime True North: The Golden Age of Canadian Pulp Magazines, about how newspaper reporters made extra bucks on the side by spicing up some of their local cases into something more lurid. I find it oh-so-telling that the closest Canadians came to doing the pulp thrills that our neighbours in the United States trafficked in was still essentially non-fiction. Caelum Vatnsdal, in his book They Came From Within: A History of Canadian Horror Cinema, has some great tongue in cheek fun with the stereotypical Canadian attitude that crafting works of fiction is somewhat suspect, and to craft tales of fiction that are actually lurid?!... well you best off moving down south to be closer to your kind, mister!
This schism between how Canadians did pulp and Americans did is no more obvious than comparing these magazines: While Canadian pulps were still essentially true crime, US pulp writers were taking that most Canadian icon, the Mountie, and mining a successful subgenre of two-fisted action where our brave Mounties fought assorted criminals and outlaws throughout the Canadian wilderness, and discovering the occasional underground city of advanced super-science above the Arctic Circle.
I will say the cover art for this particular magazine is at least somewhat in keeping with the covers of the American pulps, which is that girl-on-girl S&M sells. Seriously, if you go by the paintings Margaret Brundage did for Weird Tales magazine, you'd think Conan the Barbarian was a lesbian dominatrix.
Who ever did this though, clearly used Canadian models. You can tell by their look of polite resignation...