Sweet Tooth #10 – Review

by Jeff Lemire (writer & artist), Jose Villarrubia (colors), and Pat Brosseau (letters)

The Story: Singh uses hypnosis to lead Gus through his past on a search for answers.

What’s Good: After falling just the tiniest bit short of his usual gold standard last month, Lemire kicks us in the teeth with one of his best issues of Sweet Tooth yet.

Lemire removes Jepperd this month, allowing for a more focused issue that develops the relationship between Singh and Gus.  What makes this so superb, and so intriguing, is that Lemire returns to the juxtaposition between science and the humanities.  In my usage of the word “humanities,” I mean that which escapes the dull rationalism of scientific figures:  religion, emotion, and childhood innocence in the case of Sweet Tooth.

The conflict between these two sides becomes a major, yet subtle, theme as Singh struggles to probe through Gus’ memories.  He repeatedly, almost desperately, asks Gus whether there are any scientific instruments, numbers, or notations in the cabin of his youth, and each time he is befuddled when told that this is not the case.  The cabin is a science-free zone dominated by bizarre mix of zealous religion and childhood experience and, as such, both Gus and his father reject science as the evil justifications and misguided machinations of sinful men.  The result is a sense of Singh’s inability to understand Gus’ world.  There must be a scientific explanation for Gus’ existence, but there is simply no evidence to support this no matter how much Singh desires it.  Eventually, Singh even falls to cynicism; for lack of empirical evidence, he believes Gus’ mother to have never existed.  Of course, at issue’s end, he is proven dead wrong.

Sweet Tooth #8 – Review

by Jeff Lemire (writer & artist), Jose Villarrubia (colors), and Pat Brosseau (letters)

The Story: Gus meets Dr. Singh and has a shocking revelation.  Meanwhile, Jepperd simply tries to forget.

What’s Good: Despite being in a post-apocalyptic future full of horrid people, and despite starring a boy that’s half deer, like most of the past issues of Lemire’s series, this month’s issue of Sweet Tooth feels distinctly human on many levels.  There are so many genuine, strong emotions called forth, here.  All of it feels honest, almost in a “slice of life” kind of way.  None of these emotions carry even the slightest  hint of artifice or construction, despite this being a written text.  For instance, Jepperd’s camp side conversation with Louise is a genuinely funny moment, a brief glimmer of light in a world that is pitch black.  The fact that you’re sure to laugh at Jepperd’s joke only pulls you closer to these two characters, as you too find yourself amused and comforted by Jepperd’s jest despite the unrelenting brutality and nastiness of Sweet Tooth’s world in general.

Or there’s Jepperd’s trauma and the kind of self-flagellation he undergoes.  Lemire’s narration here is brutally simple, enhancing his character’s dire state.  As the character tries to forget, attempting to render himself unconscious in painful fashion, we come into contact with that dark hole that always lurks beneath Lemire’s book, threatening to suck everything down.  More importantly, due to Lemire’s minimalist narration, we truly understand Jepperd and feel his pain.

Meanwhile, Gus’ portion of the issue is no less engaging, as Lemire introduces us to Dr. Singh.  All told, it’s a fantastic juxtaposition between a scientist at the extremes of an adult “ends justify the means” doctrine, and Gus’ Christianity-tinged innocence and “black and white” sense of right and wrong.  The back and forth the two have is intriguing, if only because Gus seems unable to accept, or fully comprehend, Singh’s stance, while Singh can only look at Gus’ ideas as a kind of naive idealism he wishes he could still inhabit.

Of course, a lot of this isn’t laid out in words.  Much of it comes solely from Lemire’s illustrations which, as always, are in perfect sync with his script.  Dr. Singh in particular is fantastically drawn.  Regardless of what the doctor says, his constantly world-weary expression and tired, glassy eyes evidence a man who’s exhausted, someone who’s seen far more horrors than any man should.  Compared to the always wild-eyed Gus, the difference is stark.  Lemire also has some good fun with layouts this month, using creative paneling to mirror the fade in and out of consciousness.

Oh, and did I mention there’s a huge slam-bang revelation at the end of the book?  It’s sure to raise a few eyebrows.

Sweet Tooth #4 – Review

by Jeff Lemire (writer & artist), Jose Villarrubia (colors), and Pat Brosseau (letters

The Story: Becky’s secret is revealed, as Gus and Jepperd come face to face with the seedy underbelly of Lemire’s post-apocalyptic world.

What’s Good: Lemire truly takes us into deep waters this month, and what we get is an incredibly disturbing book.  His narrative world has never been more dark, but that darkness now has a very uncomfortable grain of perversion to go along with all the gloom and doom.  That Lemire actually went in this direction is a brave move by him and actually surprised me.  Best of all, hiss theme this month is as tasteful as possible, given the subject matter.  This is not shock for shock’s sake, and it carries not a grain of sensationalism.

Really though, it’s hard not for me to draw similarities between this month’s issue and the Road.  Much like that book/film, Lemire’s work here is so dark, that it causes the reader to grasp at any moment of human kindness.  Because the rest of the issue is so disturbing, when Lemire gives us that one good action, as innocent Gus pushes Jepperd into the role of hero, it feels so satisfying.  It also shows how solid the chemistry is between the two characters: the innocent Gus still carries the ideals the experienced Jepperd has seemingly forgotten.

And that’s another strength of this month’s issue, as it perhaps, more directly than ever, raises the issue of morality that rightfully crops up in any dystopian work.  What still counts as a “good man” in a world that is gone so wrong?  It’s clear that Gus, whether he’s aware of it or not, is attempting to move Jepperd back along the road of redemption, and it’s both fascinating and touching.

That said, even with this glimmer of goodness, Lemire is quick to remind us that the world of Sweet Tooth is still oppressive, always threatening to envelop any hope or kindness that crops up.  Even an act of heroism is, in this world, incredibly brutal and violent in its very nature.  Lemire makes no effort to render Jepperd’s actions glossy, and despite the good intentions, it’s all depicted with an unforgiving, violent, and harsh honesty.  Worse still, once this redemptive moment is complete, the darkness of Lemire’s world is quick to move in and recapture its hold.  Jepperd’s actions may have, in themselves, been good, but the difference they made turns out to be far less than one might expect.

On art, Lemire delivers some absolutely gorgeous outdoor images.  It’s clear that as an artist, he’s generally very well aware of his strengths.  There’s a stunning horse-ride in the rain that best encapsulates Lemire’s sparse, yet emotional style.

What’s Not So Good: With his rougher style, I did feel that Lemire’s artwork isn’t at its best in close, well-lit, indoor surroundings.  It strips him of the barren, outdoor landscape he works so excellently, while drawing attention to his flaws.  Essentially, he’s an utterly unconventional cartoonist being forced to draw a more conventional comic scene, and as a result, the simpler nature of his artwork that usually serves him so well becomes a bit ill-suited.

Conclusion: The best issue since the series debut.  If you’re not reading this, you are really missing out.

Grade: A –

-Alex Evans