An impressive meta-narrative fantasy in which a group of friends become trapped in the secondary world of their role-playing game – one that draws knowingly upon the legendarium of classic writers of the genre.
Die is an ongoing comic book series from British writer, Kieron Gillen, and French artist Stephanie Hans (along with lettering from Clayton Cowles; and design from Rian Hughes). It follows the (mis)adventures of a group of friends who, in 1991 had played a Dungeons & Dragons style fantasy table-top role-playing game invented by one of their group, Solomon. They get sucked into the Secondary World it depicts, in the form of their avatar-characters, each one assigned a symbolic die (d4: Dictator; d6: Fool; d8: Grief Knight; d10: Neo; d12: Godbinder; d20: Master). Two years later, they re-emerged traumatised, wounded, and missing a group member. The story picks up a generation later, when, as dysfunctional adults, the unexpected arrival of the magical d20, an icosahedronic call-to-adventure, catalyses them to return to the Fantasy world to free themselves of the various wounds that haunt them. Here they encounter a world ravaged by a seemingly endless war between humanoid races (humans; elves; hobbits) and a mechanoid Prussian army. Here the metanarrative layering (‘real’ people playing characters in a Fantasy world) takes on a literary level, as Gillen draws upon the legendarium of the Brontës juvenilia, (Angria; Gondal; Glass Town); and Tolkien’s Middle-Earth. But all is perverted by the virus of its deranged demi-urge. Here, in an act of ironic instauration hobbits are cast as Tommies in a version of the First World War presided over by Tolkien himself (whose first-hand experience of the Somme and loss of two of his dearest fellowship influenced the creation of his epic). In the second volume, a gothed-up Charlotte Brontë makes an appearance as another demiurge haunting her own creation (and in one of the better sequences, the ‘backstory’ of the Brontës is related by her). In later issues other literary luminaries make appearances, such as H.G. Wells. This layering could easily become a post-modernist hall of mirrors. Endless intertextuality does not in itself make something work – indeed it can seem pretentious, overly showy (a magician drawing attention to his own tricks: ‘Look at me! Aren’t I clever!’) and can belie a lack of confidence in one’s own ideas. Fortunately, the main characters are well written – each with their exceptional skills and demons to face – and the dynamic between them convincing. This is a great ensemble piece. The dialogue is snappy. The artwork is stunning. I must admit I am less engaged with the plot. Volume 1: Fantasy Heartbreaker brilliantly sets everything up – slickly introducing the characters, the backstory, and the inciting incident. It quickly plunges us into the glorious technicolour of the Fantasy world, where there are dragons, sexy elf queens (based on a sixth form crush of one of the characters), and a lot of action. The second volume ‘splits the party’, and the narrative traction is impaired, I felt, by a somewhat atomised plot. Characters go off and ‘do stuff’, but it is harder to relate or care. It still looks impressive, and if you are hooked by this stage, no doubt you will want more ‘fixes’ – and there are 3 collected volumes, and 14 issues to date to feed your habit. To take the metanarrative to the extreme, Gillen has created a RPG based on Die, so you can now play a person, playing a character… This is perhaps a bit mind-bending for some, but it shows Gillen’s creative verve. It certainly takes what could easily be a formulaic ‘hack-and-slay’ to a whole new level. Die is well-written and beautifully illustrated (and designed). The collected volumes come with some interesting essays and variant covers, adding to the value-for-money. This is a fine example of creative collaboration from a talented team.
Checkout Die at: https://diecomic.com/
Kevan Manwaring 2021