|UBER No. 21, December 2014|
Despite selling a disappointing 5,858 issues in January 2015, approximately five hundred copies less than its predecessor, creator Kieron Gillen need not have worried as to whether this comic book’s readers would find its narrative both “interesting and enjoyable.” For whilst the twenty-two page periodical surprisingly only dedicates less than half its contents upon Maria and Sieglinde’s “meet[ing] in Kiev for a strong exchange of words and/or blows”, this penultimate chapter in “The Shadow War” story-arc ‘packs plenty of additional punch’ by surrounding the “first duel between fully activated Ubermensch-class enhanced humans” with plenty of additional drama and action.
For starters the Stafford-born writer finally divulges “what’s going on with Hitler” by having Joseph Goebbels’ rather obvious Fuhrer clone obliterate the corpse of a medical experiment courtesy of a well-placed, and gratuitously illustrated, halo effect. Ever since “the apparent death” of Adolf “at the hands of Siegmund” it has always been evident to followers of this title that the Reich Minister of Propaganda had arranged for someone else to take over the leader’s identity. This scene however provides the first actual proof that the replica is an 'Uber' of some kind… and one which the German politician even considers to be a viable “suitor” for his own wife Magda!?!
Just as unforeseen is the British former music journalist’s revelation that “Mister long-suffering Tank-man bodyguard Conrad” is actually the “active” spy at Bletchley Park. Admittedly artist Daniel Gete’s overly graphic love-scene between the undercover Nazi agent and Stephanie may be a little lewd for some. But the Spaniard’s detailed panels depicting ‘heavy petting’, from a plot perspective at least, is understandably the key to the British scientist realising just who the top secret research department’s traitor is; “A Tank-Man wouldn’t sweat from sex.”
The highlight of this comic though is undoubtedly Katyusha’s pummelling of Battleship Sieglinde, and the subsequent understandable concern (and shock) etched upon the face of her colleague Siegfried when he himself observes the terrifyingly raw power of the Third Reich’s latest foe. “Capable of shaping the battlefield to her liking, [and] claiming the high ground…” Maria Andreevna’s long-awaited and highly-anticipated ‘fist-fight’ with Winston Churchill’s assassin is disconcertingly rather one-sided, despite the “blonde witch” almost catching the Soviet Forces off-guard at the start of the contest. Although the combat’s all-too early resolution, which sees Klaudia unceremoniously “propelled… into the Dnieper”, isn’t nearly as disappointing as some of Caanan White’s pencilling during the fracas.
|The regular cover art of "UBER" No. 21 by Caanan White|