|UBER: INVASION No. 7, June 2017|
Arguably, such a monotone, “hyper-slow motion erosion” of the National Socialist monster, “sliver of flesh by sliver of flesh”, could have become quite a tediously gory read for this title’s 4,277 followers, with the assault on the German’s sight alone requiring a staggering nine frames in order to depict the cutting of his cornea and the subsequent self-rupturing halo activation which instantly disintegrates a third of the still-conscious Nazi’s head. However, that definitely is not the case here, as the text proves a more than compelling read by realistically describing the combatants’ options, considerations and consequences, almost as if they were authentic historical figures.
Gillen’s unexpected introduction of the red-suited super-swift Zephyr also ensures a surprising change to events from those anticipated when Razor’s ‘sneak attack’ upon a “fully-developed” Battleship causes no discernible damage whatsoever. Indeed, before “the initial five enhanced humans” somewhat nonchalantly stroll up to the sadistic Siegfried’s stationary, mid-punch form and take him apart piece by bloody piece, it momentarily appears that U.S.S. Colossus II is about to suffer an even more ignominiously fatal defeat than his older brother did in Paris.
Topping off this clinical conclusion to the “first year of Uber Invasion”, is Daniel Getes’ vivid artwork. The penciller really manages to nail the sense of “speed with no kineticism” when illustrating the latest additions to the Allied super-human arsenal, by resisting the temptation to “try and get that Kirby-velocity” and simply capturing each “moment in the hyper-detail” instead. Little wonder therefore that this title’s British writer praise’s the “perfect” artist’s contribution in the magazine’s afterword.
|The regular cover art of "UBER: INVASION" No. 7 by Daniel Gete|