When I was thinking of books to talk about for this week’s edition of Off the Cape, I was astounded to find out that we’ve never written an OTC or even a Friday Recommendation for one of the best books on the market: Jeff Lemire’s Sweet Tooth.
This Vertigo Comics series was Lemire’s first foray into working on his own books with color (thanks to Harvey Award winning colorist Jose Villarrubia), and it is one that has been met with showers of adoration since its $1 first issue launch. I was a bit late to the game, but once I read the third trade paperback (“Animal Armies”), I was in love.
Find out why after the jump, and if you haven’t yet, check out any and all of Jeff’s work. The guy is a phenomenal talent as well as a great guy.
For those that have not read it, here is a quick elevator pitch as to what Sweet Tooth is about:
In a post-apocalyptic world, a young hybrid (part-animal/part-human) deer boy named Gus sets into the real world after his father dies, where he meets a haunted man named Jepperd. Together (through some rather enormous ups and downs), Gus, Jepperd and the rest of the cast set off on a quest to find out what exactly caused the plague that wiped out much of humanity, and what exactly Gus’ role is in the grand scheme.
Given my predisposition to post-apocalyptic stories, I knew I would like Sweet Tooth. And Jeff Lemire, the writer/artist of the story, does an excellent job at creating this hardened world that feels like a slew of other dystopian societies while also feeling entirely fresh. The timing of arrival of the hybrids and the plague is one of the central mysteries of the story, and it gives the book an excellent core to develop other story beats out of. From a strictly plot standpoint, this book would be a worthy read, especially with all of the moving parts that orbit Gus and Jepperd and the elements that develop from them.
But what makes this book soar is the brilliant character work that Lemire puts on the page. At the core of the book is also the juxtaposition of the sweetness of Gus and the dark world he lives in, embodied by the deeply troubled Jepperd. Gus is an innocent in a world that has no use for the concept, a world where you’re born and if you don’t give in to your basest nature, you’re likely dead. But he’s also the key to the redemption of the world and, more specifically, Jepperd.
The pairing between Gus and Jepperd is in many ways the best and most enthralling relationship in comics, as the duo constantly learns from each other, whether through action or inaction. In the most recent issue, #24, both characters are at the brink physically, mentally and emotionally, and Lemire is pushing them and the book as a whole to new levels with what is happening.
But it’s not just those characters that are well-rendered. I have to say, the hybrids in this book completely own me every time they show up (besides the dog hybrids from “Animal Armies” that rest firmly in the “creepy-as-all-hell” category). Specifically, Bobby the Groundhog’s wildly inarticulate and primitive speak cuts me to the core of my emotional shielding, breaking my heart a little bit with each appearance. Throw in the way Lemire renders him, with his arms extended outwards but with his paws pointed downwards in a deeply submissive way, wounds the hell out of me.
I also love that even the best men in this book (by men, I mean not hybrids) are deeply broken in one way or another. You obviously have Jepperd, but Dr. Singh, a tragic man who was desperately trying to save humanity but essentially had to sacrifice hybrid children and their mothers in the process, is another man haunted by what he has had to do in his desperation to accomplish his goals.
Thankfully, the villains in this book are evil fully realized; dark, fearful men that recognize this world as one that is lost, and act accordingly in attempts to not just survive but thrive.
Continued belowLemire’s art is a style completely his own, with a very expressive, very raw look that accentuates the emotional beats of the stories, while also proving very capable from showing the horror of this world. Every character has their own defining look, and Lemire ably shares their personalities in everything from hand position (see: my comments about Bobby the Groundhog) to the subtle looks Gus and Jepperd share with each other.
Perhaps the thing that Lemire does best with his art is the way he tells a story. Having come from a more independent background, Lemire is the type who brings a scene to life in the most efficient and minimalist way possible, often giving situations more emotional weight with a subtle shift of the eyes than many other artists can typically accomplish with a litany of panels. This economical and well-thought out storytelling in his art can make small moments soar and bigger moments stand out all the more, with the Gus’ dream sequence from issue #24 standing out as a particularly good example, with its stark and haunting imagery combined with watercolors by Lemire himself that gives each page an ethereal feel.
Jose Villarrubia proves himself a superb partner-in-crime for Lemire constantly, as his colors are spot-on throughout, adding weight and atmosphere to every sequence. The guy is one of the most consistently great colorists in the game, and it was a joy to see his work receive recognition at this year’s Harvey Awards.
While I initially was hesitant on jumping onboard with this book (for some reason the previews Vertigo ran in the back of their books before its release left me cold), I’ve appreciated this book more and more with each passing arc. This week marks the half-way point, as Sweet Tooth #25 arrives and we now know this book will run to 50 issues. For anyone and everyone who enjoys good comics, Sweet Tooth is one that is not to be missed.
