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Wednesday, January 8, 2025

X-amining Cable #43

"Broken Soldiers"

May 1997


In a Nutshell
Cable's personal philosophy is highlighted in a pair of parallel stories set millennia apart. 


Writers: Todd Dezago with Brian Vaughn

Pencilers: Randy Green and Chap Yaep

Inker: Scott Hana

Letterer: Richard Starkings & Comicraft

Colorist: Mike Thomas

Editor: Mark Powers

Editor-in-Chief: Bob Harras


Plot
A group of Askani disciples in the present day ask their mentor for a tale of their savior, the Chosen One: Cable. He proceeds to tell of an adventure from Cable's past, set in the far future, in which Cable risks his own life to save his Clan Chosen troops in a battle against Apocalypse's New Canaanite soldiers, only to argue for mercy when his forces emerge victorious, saying to kill in cold blood is Apocalypse's way. As the mentor explains that Cable's morals are what will bring them salvation, Cable finds himself embroiled in a similar conflict in the present day, helping rescue a young mutant from an angry mob, only to turn and prevent the mutant from killing his attackers, saying vengeance leads to darkness. Meanwhile, Jean Grey-Summers broods over the fact that she must tell Cable that his mother — Madelyne Pryor-Summers — has returned to life. 


Firsts and Other Notables

He goes unnamed in the issue, but the narrator of the "future" events preaching to the Askani acolytes is Ch'vayre, Apocalypse's one-time prelate in The Adventures of Cyclops and Phoenix and Stryfe's later guardian in Askani'son. Later stories will establish that he was sent to the past by Mother Sanctity in order to establish a present day Askani clan to help Cable kill Apocalypse then instead of having to fight him in the future.



At the end of Cable #43 is a two-page spread detailing various friends and foes of Cable, a sort of precursor to the inside cover "recap" pages that Marvel will soon adopt. 



Creator Central

Early work from Brian K. Vaughn, of Runaways and Y the Last Man fame, co-writing this issue. He'll dabble a bit in the X-office around this time, and again in the early 00s. 


A Work in Progress

Madelyne's resurrection over in X-Man is acknowledged in this series for the first time. 



Human/Mutant Relations

In the present day sequence, "Creed lives" can be seen graffitied on a wall. 



Austin's Analysis

Cable #43 marks the most concerted effort yet to explore the concept of Cable as a religious figure, thereby continuing the efforts begun by Jeph Loeb during his run on the series to give Cable a narrative purpose beyond "being mysterious" and "having big guns". As such, the issue works much better in the abstract as part that effort than as a standalone story. Randy Green does some interesting things with the layouts, putting the past and present events alongside each other in parallel. But there's little gained from the effort beyond the observation that it's happening — the parallel construction doesn't reveal anything new or cast events in either time period in a new light. Instead, Cable #43 is basically just two inoffensive but unexciting stories told in tandem because, why not? 


Next Issue

Jubilee plays mind games with Bastion in Generation X #27!


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3 comments:

  1. How would you say that future/past version of Cable matches up with the Cable we got in the Liefeld days?

    ReplyDelete
    Replies
    1. The nice thing (..."nice"...) about Liefeld's Cable is that the character is so thin - just a bunch of popular tropes — its relatively easy to reconcile later, more nuanced characterization onto that version of the character.

      Plus, you've got stuff like the conventions of the genre at the time that prevent Liefeld Cable from actually killing in cold blood all that often, even if he's got the general aura of someone who has no problem with it.

      tl;dr = Do they match up perfectly? No. But not any worse than any other long-running character with lots of variable creative voices in the mix.

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    2. I think he went Rogue and shaved about 20 years off his age. The flowing locks on this issue’s cover, which I didn’t realize before reading the story inside signified his younger self, just reminded me of the contrast between Cable’s receding silver hairline under Liefeld and his more recent depictions — even before I came across a reply in this issue’s lettercol stating that “Nathan Dayspring is in his early thirties,” which despite the wording appears based on the reader’s question to apply to the present-day incarnation of the character.

      Delete

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