March 17th, 2014
Über #0-10, by Kieron Gillen, Caanan White, Joseph Silver, Kurt Hathaway and Digicore Studios
Kieron Gillen let the mask slip a little at the start, when he positioned this comic as the anti-ASS, as a refutation of Superman’s central place in 20th Century history, in a spiel designed to mark Über out as being a comic free of the sort of self-commentary that defines so many modern superhero comics. “It’s probably the least ironic book I’ve ever written,” he said:
It has nothing to say about superhero comics. In fact, its utter negation of that genre-criticism may be the closest it comes to commentary. I’ve read many books which seem to labour under the delusion that the conception of Superman was the most important moment in the 1930s. This isn’t one of them. My only interest is in how I can use this genre’s conceit to create metaphors to explores aspects of WW2…
This comment, buried as it was in the mix of metatextual soul searching and historical gamesmanship of Über #0′s backmatter, provides the key to understanding the uncanny dynamics of this comic. In attempting to ward off irony and meta-commentary, Gillen negated any possibility of this comic escaping the superhero meta-conversation. Which, it turns out, is actually quite fitting in the end. Carefully researched as Über might be, with everything from troop movements to weather conditions having been taken into account, this WW2 with superheroes fantasy is still a superhero fantasy, and as such it manages the odd trick of destroying both history and genre conventions and reinforcing them at the same time.
In contrast to the carefully composed alternate reality of All Star Superman – with its suggestion of a world where greed, imperialism and mortal panic exist but are never the only options – Gillen and White present an alt-modernity in which the foundational horrors of the mid 20th Century era are all there but louder.