The first issue of Cable: Love and Chrome left Nathan Summers in the future where Techno-Organic Virus, the disease he fought for the rest of his life, took over the world. He also introduced a potential new romantic interest in him in the form of Avery Ryder. Avery Ryder led a resistance intended to combat the fear of an organization known as the Prime Conclave. Cable: Love and Chrome #2 makes things much faster in terms of both the appeal of cable to Avery and the threats that techno-organic virus poses to both.
The most interesting part of the book is the angle of romance. From the first page it is clear that Cable and Avery exist in each other. They trade frivolous barbs. They work together like oiled machines in combat. Every battle scene features artist Mike Henderson showing off their moves as part of a beautiful, brutal combat ballet. However, the moment of truth happens when she thrusts her head against them being in the field as the virus spreads throughout her body. It’s enough to say that one thing leads to something else.
It is these moments that David Pepose’s script shines. Avery may be facing the end of her life, but she is willing to stand up and fight as much as she can. Similarly, Cable has been around too many people for many years, so it’s natural that his more protective instincts kicks in. And it’s deeply romantic to another person.
Amazing
It’s also a story that gets turned for the scary ones, especially when Cable and Avery lead the raid party at one of the Prime Conclave facilities. The facility is just as protected by two techno-organic beings: Isac and Ishmael. Henderson clearly saw Akira when designing these two. They are a terrifying lump of flesh and metal that stretches out to either swallow cables or direct their own telekinesis towards him, making it a terrifying panel where his metal arms begin to pull apart.
However, this leads to another great battle scene and some great use of Arif Prianto’s coloured pieces. The print throws a bright blue burst across the page every time a cable fires one of its guns or uses its telekinetic ability. In contrast, the giant x-Avery uses crackles with bright red lightning. The use of Prianto’s colours is the same red as Avery’s x, whether it is slow desert terrain or the cold towers of steel that make up the Salvation Bay, especially when the cables use telepathy. If so, it extends to both backgrounds. (Details of what these two were intended.)
Cable: Love and Chrome #2 leaning firmly on the “love” part of the equation, offering comics that are part-time crossed romance and some cyberpunk rebellions. As far as Valentine’s Day is concerned, it will be harder to find a comic that fits the holiday spirit than this.
“Cable: Love and Chrome” #2 endures that name, and then some
Cable: Love and Chrome #2
Cable: Love and Chrome #2 leans firmly on the “love” part of the equation, offering a comic that is one partial time-crossed romance and a cyberpunk rebellion. As far as Valentine’s Day is concerned, it will be harder to find a comic that fits the holiday spirit than this.
The “love” part of “Love and Chrome” is fully on display, just in time for Valentine’s Day.
Pepose takes time to show how Cable and Avery are intended for each other.
Henderson is completely leaning towards a cyberpunk aesthetic, creating a new pair of terrors of twins that look like they’ve been torn apart from Akira.
Prianto’s colors bring personality to the environment, especially when it comes to Fihgt scenes.
