Bliss #1 introduced a simple concept with poetic execution: a son testifies in a trial for his father. He became a murderer after making a deal with a demonic Demi-God to save his boy. The first issue, which reunited the Coyotes team of writer Sean Lewis and artist Caitlin Yarsky which created a world that felt part gritty, urban anime, and part surrealist poem. As the lead character told the story of his father's descent into the life of a monster's assassin, does Bliss #2 keep the same creative energy as the first?
Bliss started off very good and approaches great here with this second issue, which dives deeper into the consequences of a decision made in the name of a father's love. Sean Lewis and Caitlin Yarski work beautifully together, with inventive pages that could often each be a standalone art piece with as much meaning as a painting you'd see in a gallery. There's a beautiful splash of a couple holding hands on a stoop. We're behind them, with them, as they discuss a memory with we see play out before them in a single, stunning image. In another spread, the lead character walks through a tunnel as his transgressions bubble up in bursts of red. In another sequence of panels, one of his victims is told not to look at him as he kills her only for her to slowly, panel by panel, turn to face him… until, where she stood, is a red stain.
Caitlin Yarsky creates Eisner-worthy work in Bliss, creating these beautiful images that also work to create a cohesive narrative that makes the reader feel like they're falling into a pit of despair along with Bliss's ill-fated, tortured father. It'll be interesting to see how this court case ties together with the flashback, which has been the most interesting parts of Bliss, and it seems from the end of the issue that a new element of the story will come to the present-day portion of the comic as well.
After the first issue, Bliss was a comic that left me intrigued and impressed by Sean Lewis and Caitlin Yarsky. Now, personally, I can't wait for the next issue.