UBER No. 19, October 2014 |
Whilst “Avatar Press” may well have thought that publicising
Issue Nineteen of “Uber” as being a magazine which “has captivated the comics
community with the horror and drama unfolding in the enhanced human warfare of
World War Two”, it is probably questionable that all of this particular
twenty-two page periodical’s 6,436 followers felt the same way. The edition does after all
only contain four dialogue-heavy scenes, within which the characters do nothing else but talk and pontificate to one another. Indeed even the book’s
British author ‘apologises’ for its plot being “a little quieter than normal”
in his afterword.
However despite this disappointing lack of any actual wartime
action, Kieron Gillen’s narrative does clearly still explore the unabated “misery”
with which the Anglo-American comic book series has become synonymous. In fact the
hideously deformed Leah Cohen talking about the joints in her horribly enlarged
limbs constantly “screaming” even when not moving, makes for especially uncomfortable
reading, and the “physical-focused Battleship” hasn’t even started trying
to tear apart the grisly remains of the long-deceased Patrick O’Conner when she
makes such an eye-wateringly painful remark.
Equally as disconcerting is the blatant prejudice found
within the United States Army Enhanced Human Centre, where despite both Vernon
and Freddie Rivers being “battleship candidates”, and thus being capable of
withstanding “twenty four activations”, they are only to be made Heavy Cruisers
because the American “Higher Command” have concerns that “it would be impolitic
to give a negro soldier, who we have no means of overpowering, the ability to
flatten Carolina…” A deeply disturbing scene which the former computer games journalist
handles magnificently and which also provides this “start of a new arc, working
under the title the Shadow War” with some real perplexing distasteful bite.
This comic also heralds “the return of the magnificent
Caanan White” as the title’s main artist. Regrettably, due to the aforementioned
nature of Gillen’s sedentary script, the penciller “who gave the first twelve issues of 'Uber' so much of their energy” has little actual action to depict. But that that
still doesn’t stop him doing “a wonderful job” of illustrating Leah’s horrifying
“flesh gone mad” physique.
The variant cover art of "UBER" No. 19 by Caanan White |
You're certainly right, Simon, this is a very talky issue with little to no action. That said, I still enjoyed it and as you'll soon discover, this is just the calm before the storm as the next few issues are awesome, especially issue #21.
ReplyDeleteCheers Bryan. I can certainly see what's coming, and having read #20 already, the action is definitely warming up :-)
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