Ex Machina #43 – Review

Brian K. Vaughan (writer), Tony Harris (pencils and inks), Jim Clark (inks), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: With his political career teetering on the edge as the threat of Jack Pherson looms, will Mitchell Hundred don the helmet and jetpack one last time?

What’s Good: The greatest thing about this final story arc has been that it always leaves you craving for more.  This month’s comic is no different; with a cliffhanger ending that’ll have you chomping at the bit.  In fact, so potent is the ending that it legitimately feels as if next month’s issue will be the last in the series, despite there being six more after it.  Also, it makes Mitchell come across as a total badass, which is pretty cool, given that he has spent almost the entire series as a self-deprecating, likable, wisecracking everyman.

Considering how deep the mystery was last month, I didn’t think that Vaughan could ratchet up the tension any further.  Regardless, he does so this month by dropping these little hints that, right now, are unintelligible and yet promise so much.  What the heck happened on “November 6, 2001?”  What’s with “Jack Pherson” (if that is him) and his biblical language?  Who is he talking to and where did he come from?  And once again, though we actually see it this month, what in God’s name is the white box?  The mystery borders upon unbearable, showing that Vaughan is doing something right.

Not content with merely creating a thoroughly engaging final arc and conflict, however, Vaughan shows himself to be tireless in his development of Mitchell as a character.  His relationship with Kremlin deepens and softens and we finally, out of nowhere, get an answer regarding Mitchell’s sexuality in a manner that is sure to hit home.

Drawing this all up, of course, is Tony Harris who, despite a rocky start in issue 41, has really started to hit his stride again.  I didn’t spot any flagrantly static, “posed” frames this month, which is often a problem for him.  Furthermore, I really, really liked how dark the colors and how heavy the inks were.  It delivered a shadowy feel that really fit the sense of impending doom and enshrouding mystery.

What’s Not-so-Good: Despite a really cool ending, there are no revelatory moments this month and though those afore mentioned unintelligible hints are dropped, nothing is made sense of or explained.  Vaughan, while not at all treading water, doesn’t give you any answers this month.  He’s clearly working to suck you in, but this also means that he’s moving at a relatively leisurely pace; though the ending promises next month’s issue will be, at the very least, action-packed.  Though great, this month’s comic is a clear set-up issue.

Conclusion: Yup, this is definitely an Ex Machina comic.  A smart blend of the everyday and the weird with fantastic character-work and one hell of an ending.

Grade: B+

-Alex Evans

Ex Machina #42 – Review

by Brian K. Vaughan (writer), Tony Harris (pencils), Jim Clark (inks), JD Mettler (colors), and Jared K Fletcher (letters)

The Story: The mystery of the white box deepens as preparations are made for the Times Square New Year’s Eve celebrations.

The Good: This issue is “slow-burn” at its finest. Vaughan knows how to thicken the plot without frustrating the reader by writing a comic that is incredibly engaging. My curiosity regarding the “white box”– what it is, and the history behind it,  is reaching a fever pitch. Vaughan, through the suspense he delivers in this issue, really caused me to become invested in the mysteries surrounding this arc. I need next month’s issue and I need it now! From the veiled dialogue to the hints of how incredibly high the stakes are, this is build-up at its finest and an ideal example of how to get one’s readers sucked into a story arc.

Speaking of that “veiled dialogue,” the conversations and dialogue in general in this issue are incredibly well done. As always with Ex Machina, every character has his or her own unique voice. That said, what makes the dialogue so strong here is the mystery, weight, and/or foreshadowing that Vaughan makes every exchange carry. Every conversation elicits a strong sense of foreboding, either hinting at horrific things to come or at dark deeds of the past. Of course, this is only further aided by Ex Machina’s continual delivery of some of the smartest writing in comics today; especially when it comes to things conspiratorial or political.

Art-wise, I’m happy to say that Harris and friends have gotten it back together after a rushed misstep last month. The static and “posed” feel of Harris’s pencils are gone, as are the strangely bright colours. This issue returns to the Ex Machina we know and love. Also, it needs to be said that I really do like Harris’s Bioshock-esque design of Pherson version 2.0. Well, that is if that ominous figure at the end of the issue really is Pherson.

The Not-so-Good: This issue does a fantastic job of doing what Vaughan wanted it to do in crafting a clinic in foreshadowing and heightening suspense. However, that does by definition mean that not a lot of plot progression takes place. While it does ensure that what will come will be all the more impactful, if you’re the sort of reader who demands brisk action and development in every $3.00 purchase, you won’t be gratified by Ex Machina this month.

Conclusion: Ex Machina readers will enjoy this very solid build-up issue. If you weren’t interested in this story last month, you definitely will be now.  The biggest crime of this issue is it’s making you rabid for answers as it sucks you into its manifold mysteries.

Grade: B+

-Alex Evans

Ex Machina #41 – Review

by Brian K. Vaughan (writer), Tony Harris (pencils), Jim Clark (inks), JD Mettler (colors)

The Story: After a long wait, the final arc of Ex Machina begins.  Mitchell Hundred has a shocking announcement regarding his political career, dark secrets from Hundred’s past are hinted at, and an ending you won’t want to miss suggests the possible return of a character from Hundred’s past.

The Good: Though I do wish we’d see more of his writing in comics, Vaughan is still razor sharp.  Writing-wise, this is the Ex Machina we all know and love: tight and witty dialogue, enjoyable action, and great plotting.  The “conversation” between reflecting panhandler and comically “out of it addict” is great, as is Mitchell’s declared love for NYC and its people.  Vaughan’s cast of characters is as enjoyable as ever.

With this issue, Vaughan has crafted a first chapter that really does its job as the opener of a new story arc.  Several hooks are planted and several mysteries are suggesedt that will all leave you salivating for issue number 2.  What is this dreaded “white box?”  What is Hundred’s coming announcement?  It’s not all merely hooks and hints though, as Hundred’s press conference and the “uh oh” ending of the issue move the plot along, with the latter in particular introducing what will no doubt be a central conflict in this arc.

With so many hints of things to come, the only fault of the writing is that it’s left me wanting issue 42 so very badly, and that’s exactly how it should be.  It got me hooked and despite revealing very little, I’m sure curtains will begin to drop next month.  I also really enjoyed the concerns of economic crisis.  Indeed, it is only 2004 in the comic, but, as Vaughan no doubt intended,  it plays very nicely with the current recession.

The Not-so-Good: While Vaughan hasn’t missed a step, Tony Harris sure has.  Unfortunately, this issue reeks of an artist cutting corners and rushing it through.

For those that don’t know, Harris is an artist who uses photo-references.  Regardless, I’ve always been a fan of Harris’ work.  He captured the series’ tone and delivered a high degree of realism and detail.  I’ve always liked his stuff.

However, things are just off here, as some frames are just flat out rushed and end up looking sloppy (see the press conference, particularly the reporters).  At other times, the issue shows the worst of photo-referencing; characters come off as static and posed (the conversation with January), a problem I’ve rarely had with Harris before.

Even Harris’ storytelling/plotting is off-kilter.  The crucial scene between Bradbury and Suzanne Padilla is just a mess, feeling as though each character was a separate image, all of them shoved into the same frame with the subsequent interactions feeling unnatural and forced.  It’s very disconcerting, particularly when some of these characters feel reproduced from previous frames with only minor adjustments.

It also appears that Harris is having some difficulties drawing eyes.  Several times, with Hundred and the panhandler, a characters sports one eye that is freakishly larger than the other.  Even worse, the panhandler starts his scene looking exactly like Mitchell Hundred, only with a beard.  Then by the scene’s end, this is halted, leading to the poor panhandler looking like two entirely different people.  It’s a damned shame considering how great Vaughan’s writing/dialogue is in this scene.

Lastly, Mettler’s colours also are a bit off, coming across as weirdly and incongruously bright during a brief portion in the middle of the issue.  It’s almost as though he had someone else take over for a few pages.

The Bottom-line: The same great writing we’ve come to expect is accompanied by a parodic, slapped together version of the art we’ve also come to expect.  Considering how long this took, it’s a bit shameful.  Vaughan’s always excellent writing saves this from being a total disaster and makes this issue still worth picking up if you’re an Ex Machina fan, but I pray to God that Harris pulls himself together.

Grade: C

-Alex Evans