UBER No. 1, April 2013 |
Despite portraying of beginnings
of a wholly inaccurate alternative Second World War, where German
super-soldiers have somehow managed to defend a dilapidated Berlin from the Red
Army during 1945. It is hard to agree with the publisher’s disclaimer that “the
stories, characters and institutions mentioned in this magazine are entirely
fictional.” For not only does Issue One of “Uber” start with a full-blown
illustration of a heavily perspiring Adolf Hitler putting a pistol in his
mouth. But just a couple of pages later, having shown the Fuhrer changing his
suicidal mind, this “Avatar Press” periodical heavily involves some of the real
War’s most pivotal players such as General Heinz Guderian, Albert Speer and the
British Prime Minister Winston Churchill.
Indeed whilst the majority of the
comic book admittedly concentrates on the exploits of Doctor Bergen, ‘Katyusha’
Maria, General Sankt and Lupin Schultz, the Fuhrer’s insane ‘motivational’
presence is felt throughout the entire book’s proceedings, and culminates in
the man himself ordering the mass murder of a million Soviet prisoners of war
with the words “Give me opera.” So whilst such a deed is clearly historically fictitious
the character ordering it is most definitely not.
This edition is also
surprising for its lack of action, especially when one considers its storyline
is immersed within the final bloody days of the Soviet Union’s Berlin strategic
offensive operation; a time of when soldiers from both armies fought one
another in savage hand-to-hand combat, face-to-face, with little quarter being
given or asked. True, Schultz, the first Panzermensch killed in action, dies an
impressively gory death thanks to Doctor Bergen and an anti-tank round and the
Projekt U facility is fire-bombed. But until ‘Battleship’ Siegfried's double-page
mass extermination of Russian prisoners at the book’s end, most of writer Kieron Gillen’s scenes are either
profanity-laden arguments between bickering German generals, or concern
Bergen’s flight from the Swiss/Austrian border and subsequent murder of her
bodyguard.
Disappointingly the artwork by Caanan White simply does not live up
to the promise shown by his powerfully dynamic cover illustration. The
penciller has gone on record to explain that as the Nazi regime was cruel and
sadistic he wanted to portray them physically as smug, arrogant and
remorseless. But by exaggerating such facial features with sneers and scowls he
has also slightly disfigured them. Such an erratic ‘emotional’ style also
slightly grates when White depicts the more historically well-known characters
of Hitler and Churchill. Both of whom are immediately recognisable from decades
of published caricatures. But neither of which prosper from the artist’s
attempts to dramatically emphasize their feelings upon their faces.
The variant cover art of "UBER" No. 1 by Caanan White |
Swearing, sneering Nazi's and a twist on Nietzsche's ubermensch. You really are tempting me with this.
ReplyDeleteGlad you're enjoying this one Bob. Its not really my cup of tea to be honest but I like the basic storyline and its clear from the variant cover art that soon it isn't just going to be the Germans who have the super-powered soldiers :-)
DeleteYep, you're tempting me as well. It looks like Bob and me are on a different wavelength to you, Simon. No disrespect meant, of course!
ReplyDeleteNone taken Bryan. I have the entire run of "Uber" including specials, so I'm in it for the long haul. It is good I just wish it wasn't so profanity laden. Gore I can take. But I'm just too old-fashioned for swearing in a comic to sit terribly comfortably with me. Anyway I'm in this for the long ride, so plenty more reviews coming in the next few months as I try and catch up :-)
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