Cable #2
Posted: Tuesday, April 1, 2008
By: Keith Dallas
Duane Swierczynski
Ariel Olivetti
Marvel Comics
"War Baby: Part 2"
Paul Brian McCoy: 2 Bullets
Christopher Power: 3.5 Bullets
Kevin Powers: 4 Bullets
Paul Brian McCoy: 2 BulletsAh, the bloom is already off the rose. I really don't know where to place the blame (on the writer, the artist, the editor, or a combination of all three), but there are glitches all through this issue. First off, our Recap Page says Cable caught three bullets to the chest, but then Swierczynski later has Cable specify that he took two bullets - one to the arm and one to the shoulder. I suppose this is just a disconnect between whomever writes the intro. and Swierczynski. Regardless, it's sloppy.
And then there are the little things throughout the book where what's being said in the narration doesn't match up with the visual. For example, Cable says he losing blood and in no shape to fight, but the picture shows him standing casually as if nothing is wrong.
I also have to assume that Bishop's gun fires both bullets and electric bolts, because it sure as hell only seems to fire electricity this issue. It does have two barrels, so maybe that's the case. If it is, I need clarification. There's another scene later where Bishop is going for his previously dropped gun, but the choreography is off. The gun was dropped to his right, but then he's moving left and using his left hand to get the gun, which would mean he was reaching across his body or turning his back on Cable. Thanks to a silly gadget in his robot arm, this is impossible.
And unless Bishop has some sort of mutant healing ability (which he may -- I know nothing about the character), it seems that a big-ass knife stuck into his side should be much more damaging than it is played here. It also shouldn't disappear by the next panel without showing up on the ground in the following overhead shot or any scene thereafter.
The placement of enemies is spotty as well, as in one panel two of them are standing directly in front of Cable and then a moment later, there's nobody standing between him and Bishop for a tense glance between the two of them. I'd also like to know how Bishop cauterizes his wound without setting fire to his entire body, but I guess that's just dramatic license?
And apparently the one-armed Bishop overpowered Forge, stole a gigantic nuclear powered arm, modified it to incorporate Forge's time travel tech and then mounted it onto his own shoulder, before anyone anywhere could do anything about it. All with only one arm. Apparently, Forge is a tool. And is Forge's workshop on Muir Island? Or does the robotic arm allow travel through space as well as time?
So far, all of these issues could just be disconnects between the writer and the artist.
But is Muir Island still in Scotland? If so, then apparently there is a barge that you can take you directly from Muir Island to Sunken Newark, New Jersey that both Cable and Bishop utilize. That one's entirely on the writer. Or maybe the editor. Someone should have caught that.
Since this is only about the fourth or so script that Swierczynski has written, I guess I should cut him some slack. But it's not the fourth thing he's ever written. The man is a published author with a fanbase. But this story is sloppy and poorly written. There's no distinction between the voices of Bishop and Cable, and without the different colors for their captions, their dialogue would be interchangeable. Granted, they are both time travelling hard-asses with grudges, robotic arms, and huge guns, so maybe they do sound alike in their internal narratives.
If the visual problems are Olivetti doing his own spin on Swierczynski's script, then, even though the level of photo-realistic detail (ignoring, for a moment, the steroid nightmares that are our main characters) is as impressive as always, he's having trouble telling the story. That's just sloppy, too. If Swierczynski's script is this messy, then it doesn't bode well for any future projects he may be handed.
All in all, this is a huge disappointment.
Christopher Power: 3.5 BulletsI withdraw my criticism about the giant arm that Bishop had in the first issue: giant robot arms are all the rage in Marvel comics. Given that they are both time travelers who have often been defined by their mission in the past, giving Bishop a giant robot arm links him and Cable forever as two of the silliest characters ever invented in the X-Universe.
That being said, Swierczysk weaves a pretty convincing tale with two suspect characters. One is on the run, trying to protect his ward (I have this hilarious picture in my head of Cable and the teenage child running for a bookcase that folds away to reveal Bat-poles), while Bishop hunts him through time.
Most of the book is committed to reviewing why Bishop is hunting him and how he ended up getting out of the mess he was in at the end of "Messiah CompleX." Apparently, he lifted the giant robot arm from Forge when he wasn’t paying attention. This issue loses points for that; I just don’t see Forge letting that go. This scene is also where the book loses its major marks in the art department. Olivetti, who is usually fantastic at faces, puts the strangest comical look on Bishop’s face when he sees the arm. It looks cartoon-like and doesn’t fit with the rest of the art in the book.
After performing a five finger discount at Forge’s lab (yeah, I said it), Bishop jumps through time looking for clues at Muir Island for where Cable may have ended up. He finds a telling clue, which is a somewhat comically labeled can that says “MILK”, and only that. He then flips back and forth performing a poorly implemented binary search until he arrives at the diner where Cable is going to be. The trail that he follows through time is convincing, and I am happy to say that the timeline makes sense. I must give some credit to a writer who has put the time in to figure out the intricacies of time travel so well that someone can actually follow a trail through time and not become confused.
Honestly, there isn’t much more to say about this book. It is competently written, and gets an extra half bullet for successfully pulling off the time travel. Art is certainly well done, especially now that I know about the giant arm. Unfortunately, the book does not seem to carry enough in it to make me really love it. There isn’t enough that happens that is new, and we are still rehashing past events. Hopefully the next issue will carry the punch that I expected it to (okay … I’ll stop … I promise).
Kevin Powers: 4 BulletsThe first issue of Duane Swiercynski and Ariel Olivetti’s Cable was a bit of a mixed bag for me. On the one hand, I thought Cable's inner narration was brilliantly written and did a fantastic job setting up Cable's current frame of mind. The action was minor but good, the pacing built slowly and came to a head by the end of the issue, but one of the flaws I found with the book was that it didn't seem to have a deeper meaning beyond a "Cable on the run" type deal. It was also a bit unclear as to exactly what timeline/reality Cable jumped into as it seems that this is a different future than what was seen during "Messiah Complex." The cliffhanger ending of last issue I both did and didn't see coming. Bishop is still on the hunt for the baby, and it would appear this is going to become a race through time. I'm curious as to where Swiercynski will go with this potentially limited idea, but I've got to say, this issue definitely improves on what was established last month.
Once again Swiercynski's strong point is the short but succinct inner monologue of Cable. It fits and flows perfectly with the action, which takes up the majority of the page and opening sequence. Olivetti's artwork is a bit hit or miss. I like the realism and painted style, but I don't like how massive certain characters are. However, Olivetti perfectly captures the action and manages to capture an intense level of suspense as Cable and Bishop battle in the first few pages. Eventually, the townsfolk get involved and break up the fight, and Swiercynski plants a few seeds as to the timeline that we are in. However, Swiercynski breaks from the main plot and answers what could be the burning question amongst every X-fan: how did Bishop get to where he is right now?
I'll be honest, the answer is rather simple, but Bishop's journey to the future following the end of "Messiah Complex" is compelling, almost solely because of its simplicity. It's also a bit graphic as we see the X-Predator rip off Bishop's arm, as well as Xavier catch the bullet to the dome piece. Swiercynski also proves that he can write distinct voices for the protagonist and the antagonist as Bishop's inner monologue, which is also fantastic, is more detailed and self-centered than Cable's. Bishop is angry, he's determined and he's managed to beat the odds to continue his hunt for the Cable and the baby. It's all rather simple, especially if you are an X-fan, but the simplicity of Bishop's actions are all logical and make sense. The explanation behind the biological arm and the ability to time jump makes perfect sense. I also love the detailed artwork and what must have been detailed scripting on Swiercynski's part when Bishop put on the bionic arm. The inner narration during this sequence is also very well written and really shows off the determination and conviction of Bishop in his new role as a villain. Swiercynski also chronicles Bishop's seemingly trial and error jumps through time until he finally figures out where Cable is located. Bishop has become rather compelling and Swiercynski is doing an excellent job creating an obsessive and almost psychotic criminal that will stop at nothing to accomplish his goals. One thing I am curious about is if the man who Bishop stole the bionic arm from will recruit an X-Man or someone else to hunt him down. I really feel that will add an extra layer of suspense and drama, as well as allow this storyline's life to extend beyond a simple "chase through time."
Swiercynski also does a great job leaving me on the edge of my seat as the action immediately picks up when Bishop's flashback concludes. He really shows off the difference in voice between Bishop's self-centered determination and Cable’s situation analysis. What occurs at the end of this issue is intense and definitely builds up a great deal of suspense heading into next issue. Swiercynski has my attention for sure.
Like I said, Ariel Olivetti’s artwork is hit or miss, but hot damn, those backgrounds and landscapes are gorgeous. It seems like a mix of his painted style and some digital work, and I really think it came together nicely. However, I still can't get over the sheer size of Cable and Bishop. They are just way too big. Bishop's new arm is understandably over-sized, and I understand that Bishop and Cable are the focal point of the story, but I don't feel they need to be the most massive guys out there. It's all a matter of taste really.
The second issue of Cable really improves upon the first, and the momentum is building. Swiercynski's writing is strong, and he definitely has enough material to cover a compelling first arc or two. I am still a bit wary about where this series can go in the long run, but depending on what the X-editorial squad is going for, they could have a lot of fun pitting Cable against Bishop on different eras before the idea runs its course.
What did you think of this book?
Have your say at the Line of Fire Forum!