Such a shame it doesn't look like this is going to continue, because it was outstanding--some of the best art I've ever seen from John McCrea.

I generally admire but don't actually like Kieron Gillen's writing very much: it's technically impressive but emotionally cold. But I am absolutely loving Die. The writing is as great as always but it feels more immediate somehow. Also, plot-wise, a twist I'd have expected to be saved for the end of the first arc instead has already happened as this issue opens, and it's great and unexpected. Can't wait for the next issue!

I thought I could not possibly be loving this series more...and then I read this issue.

Incredibly gorgeous art that's amazing to look at but which is hard to follow, storywise.

Loved the concept and the art is phenomenal.

Everything about Gideon Falls was fantastic—the art was amazing, the dialog glittered, the characters were well-delineated—except for the actual story. Which had largely been seen before, but that's not a huge issue, necessarily, provided it's a good story and well told—I mean, how many variations upon classic Shakespeare plays have we seen, some of them extremely well done? How much better off are we for Kurosawa's Throne of Blood? Or the classic Austen film Clueless? And Gideon Falls was indeed very well told. Except that when all was said and done, the story was utterly empty. This was absolutely full of sound and fury and signified nothing. What was the point of this absolutely gorgeously illustrated story? In what way did it provide some new way of looking at the human condition or experience? If we're going to spend this much time and money reading a story whose basic plot we've seen many times before—or at least the overarching plot device–it had better be worth it beyond being incredibly attractive. But in the end that's all this was: a gorgeous story that said absolutely nothing. Gideon Falls is the LOST of comics. Seriously amazing art, though, both from a basic drawing perspective (so to speak) and in terms of phenomenal and inventive comic book storytelling layouts.

Well, I'm hooked.

Somehow, every bit of this is standard Garth Ennis Punisher and yet, dammit, every bit of it is surprising and fresh. One of the greatest storytellers in the history of comics at the top of his game. And this is almost certainly the finest work Jacen Burrows has ever done—that time spent working with Alan Moore seems to have really paid off.

On the one hand, this is the kind of story Ennis can almost write in his sleep. On the other hand, there are only maybe a half dozen writers in comics who can write better than Ennis can in his sleep.

Freakin' Ennis, man. He's been so good for so long that it can be easy to forget just what a truly great storyteller he is. Endings can be hard, but here Ennis absolutely nails it perfectly. Surprising yet satisfying, this story will stick with you probably longer than you'd like.

Great concept, good script, fantastic art.

This series should get way more attention than it does. Great idea and amazing art.

Textbook example of how to write a great first issue.

I am loving this series so much, although the decompression is a bit much at times.

I couldn't be enjoying this series much more. Fantastic writing and outstanding art combine to bring a terrific concept to life. Can't wait to read the next arc.

A first issue has to do so much — and this did it all perfectly, including the twist I did not see coming, despite having read hundreds of first issues. Outstanding.