It’s very rare for me to open a comic book with the amount of word balloons that Kody Chamberlain’s Sweets has and not be intimidated. I know that’s odd, but sometimes opening an issue to see a maze of balloon tails can be off-putting, suggesting that the issue is “too talky” or even confusing. The fact that Chamberlain pulls a bob-and-weave of story in Sweets #2 that talks like a Tarantino film is quite an accomplishment.
Issue #2 is dialogue heavy, but every conversation is natural. Chamberlain also shows some serious lettering skills by being able to keep things moving without confusion, though Sweets being his baby in which he did everything himself, it’s got to make coordinating such complicated dialog much easier. Sweets #2 is more linear than the previous issue, and easier to follow. I previously suspected that the issue breakdown would result in all the disjointed pieces formulating into one cohesive unit, and issue #2 is a step towards proving me right.
While I enjoy the grittiness and intrigue of watching the detectives work the case of the serial killer the media has dubbed the titular Sweets, the real joy of Chamberlain’s work is the amount of artistic variety he pours into it. The interludes that break up the bulk of the narrative are bizarre to be sure, but the drastic change in styles for each separate one showcase Chamberlain’s versatility not only in technique, but also in inking, coloring, and lettering. Judging solely on Sweets #2, Chamberlain could do an entire graphic novel in quite a few different styles. The fact that he found a way to join them into one project is commendable.
Sweets #2 in terms of actual plot isn’t the best crime comic I’ve read this year, but it’s certainly one of the most beautiful and well produced. It’s obvious that Chamberlain has poured his heart and soul into this project, and I urge anyone reading this to allow it grab your attention.
