The U.S. War Department recommended ‘Uber: Invasion’ in 1945
First published in 2013, Uber is an alternate history World War II comics series from Avatar Press that imagines the Nazis creating super-soldiers very late in the war (April 1945). The result of this historical divergence is not that Germany wins the war — at least, not yet — but that everyone loses as the fighting continues with escalating devastation. The series’ writer Kieron Gillen (The Wicked + The Divine, Phonogram) and artists (Caanan White, Gabriel Andrade, and Daniel Gete) blend science fiction and war genre to great effect as Uber explores the horrific consequences of war.
In 2015, Uber concluded with issue 27, a cliffhanger ending that raised the stakes of the conflict. Avatar Press launched a successful Kickstarter campaign this year to help fund the creation of the series’ sequel, Uber: Invasion; the first issue goes on sale tomorrow, December 7, 2016.
MEANWHILE did something special to promote tomorrow’s release of Uber: Invasion — we built a time machine, went back to 1945, and asked the U.S. War Department to endorse the comic. The department was dubious and hesitant to honor our request, but after we assisted in creating the world’s first atomic bomb, it complied. Below is the official, declassified 1945 notice promoting Uber: Invasion.
Here’s why we wanted to promote the comic:
Blood and Guts
Uber uses the blockbuster actions of its superhuman combatants as a metaphor for the massive destruction caused by war. The artwork is an engaging mix of horror and beauty.
Fictional Premise, Real Sacrifice
In Uber, the characters remind readers of the real-world heroism and sacrifice that occurred during WWII. For example, in Uber #11, when Winston Churchill defiantly stands against a giant German super-soldier sent to kill him, we admire his grit and remember the real Churchill’s toughness.
The Devil is in the Details
Gillen provides structure to the fictional science of creating super-soldiers. When Agent Stephanie (the Allied scientist spy who steals the secret of creating superhumans from the Germans) updates her colleagues on evolving improvements to the process, the science talk is so detailed that it sounds plausible.
The creative team balances the science fiction premise with grounded, sympathetic characters. For example, in Uber #19, when a young Eamonn O’Connor visits the grave of his fallen superhuman brother, we feel his loss.
Gillen considers the strategy implications of superhuman warfare. How do you stop a German super-solider with three or four less-powerful Allied combatants? How do you launch an armored human powerhouse from a ship? These questions are explored so thoughtfully that you suspect — if the military ever creates superhuman soldiers — Uber will be studied at military academies.
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