Step By Bloody Step #1, page 4

I must confess when I first saw the title, I was not enamored of it. There is already - pardon me - so much bloodshed in the world (even prior to the present crisis in Ukraine). Also, most titles with the word "blood" (and its variations) often are precisely that - mindless and violent books that, far from lifting the spirits, result in the precise opposite. However, there is also a sense in which one should not only not judge a book by its cover but also that one should all the more not judge a book by its title - not without reading it first. And this book had at least two reasons that served as an incentive for doing what I just said. First, it had the endorsement of Felix who, in turn, drew my attention to the excellent advance press it was getting even prior to the release of the first issue. Second, the artist himself - repped by Felix who has an uncanny sense of repping the most promising names in modern comic art.

I am glad that I picked up the book - which reminded me that, in my bias, I had forgotten the cardinal rule of thinking outside the box and, most importantly, the vital role of context. In many ways, life is hard (much harder for some compared to others, especially during these past couple of years and more of the COVID-19 pandemic). Looked at in that light, there is a fundamental need to persevere - not simply to survive but also to thrive if that is at all possible in a harsh and imperfect world. It is, literally, "step by bloody step". And we meet the protagonists right at the beginning - an armoured giant and a helpless child. One of the best examples of this can be found in this page - power and gentleness; the harshness of the environment set against the pathos of the specific situation. Given the frenzy at Felix art drops (and this one was particularly chaotic), I needed to fix on a page. This was the easy part. I struggled to load the artwork even though I waited patiently at my computer. Even placing an order was an inordinate struggle - click by bloody click. My constant sideways glance at the time led me to despair as the seconds ticked by without my order even being sent successfully. So after my order was finally placed after what seemed to be an eternity, I tried for other pages - only for Felix to respond by e-mail that they were already on hold. It was therefore a surprise of the highest and most pleasant order when he e-mailed me to let me know that I had successfully ordered this page.

But enough of my (rather petty) travails at a Felix art drop. I will not spoil the fun of the reader - save to say that this was an amazing issue in every sense of the word. For starters, there are no words. The art had to tell the story. And it did so - in spades. It had a universality about it even in relation to its creators. In particular, a highly gifted artist from Uruguay was able to weave together a story in pictures that had elements of everything (including a hint of those robots that grace Japanese manga) - with the result that it has a timeless and universal appeal that transcends borders and language. As one follows both giant and child through the various environments, the transition is paradoxically seamless despite the sharp contrasts in each. We have elements of brutal combat coupled with idyllic scenes, many rooted in fantasy. But we are never free from the harsh realities that come with the evil in the world. Pick up the book. You won't regret it. And, yes, it is four-issue limited series so there is no danger of being strung along interminably because even good things may not (always at least) last forever. The last time I was so enthusiastic about a series was God Country (also by Image Comics). That was a fantastic series. This is equally fantastic despite being quite different. Oh yes, the writer and color are also important, so here's a shout out to the writer, Simon Spurrier and the colorist, Matheus Lopes, not forgetting the graphic designer, Emma Price. Kudos to all.