Sweet Tooth 2009 13

Animal Armies' part 1! Gus and the other hybrid kids meet a new ally in the militia camp, but will he help them find a way out? Meanwhile, Jepperd and his new traveling companions head into the heart of 'The Last City' looking for allies of their own.

The acclaimed series by writer and artist Jeff Lemire reaches its conclusion as Gus's journey comes to an end and the fate of the hybrids is revealed!

Following on the heels of THE NOBODY, his Vertigo graphic novel debut, writer/artist Jeff Lemire pens his very first ongoing series Sweet Tooth. A cross between Bambi and Cormac McCarthy's The Road, SWEET TOOTH tells the story of Gus, a rare new breed of human/animal hybrid children, has been raised in isolation following an inexplicable pandemic that struck a decade earlier. Now, with the death of his father he's left to fend for himself . . . until he meets a hulking drifter named Jepperd who promises to help him. Jepperd and Gus set out on a post-apocalyptic journey into the devastated American landscape to find 'The Preserve' a refuge for hybrids. This unique and haunting new series is written and illustrated by Eisner-nominated creator Lemire (The Essex County Trilogy) and colored by fellow Eisner nominee Jose Villarubia.

Now a Netflix Original Series! For readers eager to dive right into Jeff LeMire's strange sci-fi story, Sweet Tooth the compendium is now available! An inexplicable plague has women giving birth to human-animal hybrid children all over the world. The deer-child Gus is left to fend for himself after his father dies, leaving him with more questions than answers. A cross between Bambi and Cormac McCarthy's The Road, Sweet Tooth follows the innocent journey of a young hybrid boy suddenly thrust out into a world no one can explain. Collects issues #1-40 in a new story-only collection that places the reader directly into the action and doesn't let up until the very last page!

In this stand-alone story, we take a peek into a day in the life of Gus as our favorite antlered boy finds moments of surprising tenderness in the grueling militia camp. Meanwhile, Dr. Singh recounts the events of the plague.

Experience a surreal descent into one man’s psychosis in this haunting and chilling graphic novel from the New York Times bestselling author of Roughneck and Sweet Tooth, hailed as “the Stephen King of comics” (Maclean’s). A man wakes up alone in a strange room with no recollection of who he is or how he got there. The padlocked doors and barren lobby reinforce the strangeness of this place. This is—as he reads from an old-fashioned keychain beside his bed—the Edgewater Hotel. Even worse, something ominous seems to be lurking in one of the rooms. But when he meets a young companion—the only other soul in this vast, enveloping emptiness—his new friend begs him not to unlock the door. There must be something behind it…but what? A haunted hotel on the edge of reality, an endless bridge spanning an infinite ocean, and a man and a boy looking for a way out. This is the setting for a boundary-pushing, genre-defying new work of fiction by one of comics’ master storytellers. “A perfect miniature of memory and loss, affecting and beautifully told in an outstanding use of the medium. A haunting dream of a book” (Warren Ellis, New York Times bestselling author).

"Comics and Cognition: Towards a Multimodal Cognitive Poetics develops an analytical approach to multimodal communication in comics through insights from embodied cognitive science, especially cognitive linguistics and visual psychology. It extends previous cognitive poetic frameworks to the study of multimodality in comics, providing a cohesive analytical framework that also connects comics to other literary and artistic interests. The approach highlights the embodiment of cognition, and how this structures knowledge in long term memory, and activates it through perception, mental simulation, and creative blending. These cognitive processes allow readers to make impressions, predictions, inferences, and eventually conclusions and interpretations about a text. Many of these processes of reader comprehension are unconscious, but emerge into a conscious experience of the multimodal text with a richly construed and nuanced texture. This book unpacks the dynamic interplay between the reader and the multimodal text throughout the processes of multimodal reading, including opportunities for interaction, interrogation, and improvisation of meaning derived from the reader's embodied and textual experiences, tackling crucial features of the comics form, and their impact on such issues as viewpoint, temporality, abstraction, metacommentary, and transmediation. The proposed multimodal cognitive poetics applies to narrative and art comics, in both print and digital media"--

In a 2019 interview with the webzine DC in the 80s, Jeff Lemire (b. 1976) discusses the comics he read as a child growing up in Essex County, Ontario—his early exposure to reprints of Silver Age DC material, how influential Crisis on Infinite Earths and DC’s Who’s Who were on him as a developing comics fan, his first reading of Watchmen and The Dark Knight Returns, and his transition to reading the first wave of Vertigo titles when he was sixteen. In other interviews, he describes discovering independent comics when he moved to Toronto, days of browsing comics at the Beguiling, and coming to understand what was possible in the medium of comics, lessons he would take to heart as he began to establish himself as a cartoonist. Many cartoonists deflect from questions about their history with comics and the influences of other artists, while others indulge the interviewer briefly before attempting to steer the questions in another direction. But Lemire, creator of Essex County Trilogy, Sweet Tooth, The Nobody, and Trillium, seems to bask in these discussions. Before he was ever a comics professional, he was a fan. What can be traced in these interviews is the story of the movement from comics fan to comics professional. In the twenty-nine interviews collected in Jeff Lemire: Conversations, readers see Lemire come to understand the process of collaboration, the balancing act involved in working for different kinds of comics publishers like DC and Marvel, the responsibilities involved in representing characters outside his own culture, and the possibilities that exist in the comics medium. We see him embrace a variety of genres, using each of them to explore the issues and themes most important to him. And we see a cartoonist and writer growing in confidence, a working professional coming into his own.