From writer Kieron Gillen (The Wicked + The Divine, Phonogram, Immortal X-Men), artist Stephanie Hans (Journey into Mystery, Angela: Queen of Hel, Secret Wars 1602), and letterer by Clayton Cowles (Daredevil, Star Wars, Moonstruck), and published by Image Comics, comes Die: Loaded, the continuation of Gillen and Hans’ three time Hugo award-winner Die.
For those unfamiliar with the Die series, this new series would not be the place to start. Die: Loaded doesn’t waste time on a “previously on” recap or a gentle reintroduction. It dives straight back into the story with only fleeting reminders of what came before. New readers will be lost, so we’d heavily recommend reading Die first.
Writing/Story
This new chapter picks up with Ash at home with his wife, about a year after the group’s return from the game. The real world has moved on, struggling with the aftermath of COVID, while Ash struggles to reconnect with a child he barely knows, born while he was away in the game. When the surviving players reunite for Chuck’s long-delayed celebration of life, new players are chosen for the game, which remains bloodier than ever.
While the comic kicks off a bit slow, Gillen uses that time wisely. Ash steps back in as both narrator and guide, offering fans a grounded recap of past events in the time since the last game ended. The issue is heavy on setup, but Gillen’s conversational writing remains razor-sharp. Each character’s voice carries real weight, and every exchange feels natural to the moment, yet purposeful in driving the story forward, a delicate balance that Gillen manages with ease. The story itself is gripping as always, with the world of the game and the regular world carrying a lot of stories in both.
In terms of lettering, Cowles, also a Die alum, once again plays a crucial role in ensuring Gillen’s writing lands with maximum impact. His lettering balances intensity and clarity, using crowded inner monologues to convey the characters’ mental noise while opening up space when the story needs room to breathe. Each character’s dialogue box and voice feel distinct and deliberate, helping to shape their personalities as much as the writing itself. The scene with the Gods’ speech, in particular, carries such immediate weight and identity that it’s an absolute lettering masterclass.
Art Direction
Hans’ artwork in Die: Loaded is as breathtaking as ever. Each god and their associated themes look strikingly distinct, a deliberate visual choice that makes the double-page spread introducing them feel both chaotic and divine. The transitions between scenes are fluid and cinematic, and when the issue ramps up toward the end, her depiction of the characters’ powers is both gruesome and mesmerizing. Just like in the original Die series, Hans manages to make every page feel like a painted revelation, dripping with atmosphere and emotion.
Regarding color, Hans knows exactly when to pull back, muting tones and essentially nixing backgrounds, so that the following page hits twice as hard. This technique shines in the moment when the first new player is drawn into the game: The subtle palette that precedes it gives way to a sudden burst of color and energy that’s likely my personal favorite in the issue. It’s an event readers have witnessed before, yet Hans makes it feel entirely new.
Verdict
In the end, Die: Loaded proves to be a sequel that honors the emotional weight and creative ambition of the original while carving out its own edge. Gillen and Hans return to their series fresh and ready for many more rounds of the game. The dice have been rolled again, and if this first issue is any indication, we’re in for something extraordinary.
Die: Loaded #1 hits your local comic shop on November 12th.
