July 1997
Writer: James Robinson
Penciler: Ladronn
Inker: Juan Vlasco
Colorist: Glynis Oliver
Editor: Mark Powers
Editor-in-Chief: Bob Harras
Firsts and Other Notables
In telling the story of the first meeting between Moira and Cable (while also depicting for the first time Cable's immediate arrival in the past), this issue pays off one of those cryptic hints that so populated the early years of the Cable, specifically, the revelation in New Mutants #89 that Cable and Moira knew each other.
In terms of Moira and the HoXPoX retcon, nothing here is really contradicted or given a new perspective as a result of those revelations.
Stan Lee appears in the opening pages as Cable to introduce the issue. Like with Wolverine #-1, on the first page of this issue, Stan is standing on top of the first page of next issue (though here, the page is drawn by Ladrönn whereas next issue, it's drawn by Randy Green, its penciler).
Cable's unspoken mission referenced here is presumably his whole "kill Apocalypse in the past to prevent his rise in the future" deal, which Robinson (and then Casey) will foreground moving forward.
Speaking of Apocalypse, he pops up at the end of the issue, having ironically been awoken from one of his periodic hibernations by the arrival of Cable. The Swiss temple where he does so will be a key location in a story a few issues from now.
Creator Central
Ladrönn (his first name is Jose, but he's credited just as "Ladrönn") makes his series debut with this issue, though it is technically only a fill-in. He'll return in a few months as the book's new regular artist and stick with it for almost two years, a period which is arguably the creative highwater mark of this book and one of the few bright spots amongst the X-books.
Stan jokes that he doesn't know how "Fabian, Jeph, and Scott" keep Cable's backstory straight; that would be Nicieza, Loeb, and Lobdell, respectively.
A Work in Progress
Angus MacWhirter is the person whose hovercraft the X-Men rented (and destroyed) in X-Men #104, and was later killed and possessed by Proteus in X-Men #119.
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You can't have a mob being whipped into a religious fervor in a Scotland-set story without Reverend Craig, Rahne's guardian/tormenter/father.
Under Ladrönn, Muir Island looks noticeably more high tech than it usually does.
Moira has a book by Nathaniel Essex (aka Mister Sinister) on her shelf.
Cable wipes Rahne's memory of meeting him (according to Stan Lee, at least), making their interaction here consistent with when she later meets him in New Mutants and doesn't recognize him (the kind of continuity detail I have a hard time imagining most writers nowadays would bother with).
Um, Actually...
This issue seems to suggest that Rahne's mutant powers haven't manifested yet, but she didn't come to live with Moira until after they did.
Also, narration says she is a future member of X-Force, when in fact, she was a member of X-Factor (and Excalibur) at this time.
The Cable Guy
Stan Lee makes fun of Cable's giant guns.
Artistic Achievements
This is the part of the review where we just marvel at Ladrönn's art.
Austin's Analysis
Cable #-1 probably isn't the best Flashback Month issue amongst the X-Book issues. But it is without a doubt the best drawn of them. Ladrönn arrives on the scene with a style that is equal parts modern European in its Moebius-esque use of intricate linework and textural depth and classically American in the way it channels the bombastic, larger-than-life figures and layouts of Jack Kirby. It's a fitting style for this issue specifically (and, later, the series in general), in which an almost alien Cable arrives from a decidedly Kirby-esque future into a more mundane "present" day. But even the "mundane" present crackles under Ladrönn's pencils: the bricks in the wall and the cobblestones in the street are highly detailed and richly textured, Muir Island is a high-tech Kirby wonderland that could rival Reed Richard's lab and Reverend Craig is depicted with a wild-eyed fervor in which he seems to be almost literally spewing hellfire. The plot is fairly mundane, and in its way as much a narrative cul-de-sac as the X-Man and X-Factor flashback issues (spared that fate entirely only for the way it's technically paying off a plot point setup years ago). But I'm not really paying any of that much attention, because the art is simply so much fun to look at.
Next Issue
You know what Emma Frost's backstory needs? Well, according to Generation X #-1 the answer is "Dark Beast."
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This story really does upset the HoX/PoX revelations (ret-con) because Moira claims that “mutants always lose”. Except, she should realize that mutants actually did win in Cable’s future (Apocalypse succeeds anyway), and it led to a nightmare future that Cable decided to return to the past to change.
ReplyDeleteIt could be explained away that Moira wants to see a better future for mutants, except that’s not her motivation (she even aligned herself with Apocalypse in her Life Nine), as she claims that mutants are doomed to extinction. That’s the terrible secret she shows Xavier when they meet which convinces Xavier to (largely) give up on his “dream” and embrace Krakoa. As soon as Xavier meets Cable, Xavier should reject Moira’s agenda and redouble his belief in the importance of his “dream”. Cable’s future was always a problem for Hickman’s story, and one which was never addressed. I expected that Cable would simply be ignored during Hickman’s tenure, but no, Hickman brought young Cable into the story early, without ever addressing the fact that he’s a time traveller.