Ex Machina #50 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher

The Story: Ex Machina concludes with glimpse of the years following Mitchell’s time as mayor.

What’s Good: I can’t recall feeling so sad after reading the final issue of a series, not only because of the fact that a favourite book is concluding, but due to the content of the issue itself.  Ex Machina #50 is an emotionally devastating and draining experience for long-time readers who have become tied to Mitchell Hundred’s journey.  It’s poignant to be sure, but it’s hard to see this as anything but a tragedy.

But it’s not “true” tragedy, which is perhaps why it’s so emotionally affecting.  Mitchell Hundred does end up in a good position, professionally anyway, at issue’s end.  He has more power than ever and, in a stunning final couple of pages, is revealed to have ended up very near the pinnacle of American politics.  Of course, it’s all bittersweet to the extreme, because while Mitchell Hundred the politician has flourished, Mitchell Hundred the man finds himself an isolated wreck, irrevocably ruined and alone.  In the end, it’s as though these two sides of Hundred were ultimately impossible to maintain simultaneously, particularly under the weight of superheroics and alien powers.  Mitchell gets his power, but he paid the price.  In that sense, it’s more tragic than Hundred just ending up dead in an ending that is completely dire; this situation sees Hundred trapped in his professional position and forever rueful for what he personally lost, or destroyed, in the process.

And it’s that sense of loss that this gives issue a retrospective feel that is absolutely perfect for a final issue.  In projecting into the years going forward from his battle with Suzanne and his term as Mayor, Hundred ends up dogged by his past, hounded by it as it grows increasingly rotten.  This is brilliantly personified by a dream where he’s visited by his other-dimensional enemies, who, of course, visit him in the form of a twisted version of himself.  Meanwhile, in the real world, this is shown in the form of Bradbury, who on the one hand finds himself in ruins, but also finally lets his feelings for Hundred be known.  It’s a wonderful representation of the old Mitchell Hundred and that “past life” in its current state; rotten and deteriorated, but still not barren of its sincerity.

Ex Machina #49 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: It’s the return of the Great Machine as Mitchell Hundred throws down with Suzanne, one last time.

What’s Good: Well, it finally happened.  In its second to last issue, Ex Machina finally became what no one ever thought it’d be: a superhero comic.  This makes for a really remarkable issue.  Ex Machina has been such a giant twist on the superhero genre that when it finally brings back some tried and true mechanics of that very genre, it feels shocking.  It also feels downright cool.

With the Great Machine taking to the skies once more, Vaughan and Harris hit us with some classic Superman imagery that is impossible not to smile and fist-pump at.  We get Mitchell Hundred doing the Clark Kent trademarked shirt-ripping.  Then we get onlookers on the ground pointing upwards, speculating on what some flying, and noisy, speck in the sky might be.  Seeing Vaughan turn Hundred into a bona fide superhero is awesome in ways that are indescribable.  The comic, by concept alone, has tried so hard to divorce Mitchell from superheroics that it’s really satisfying to see it all reversed, particularly given Hundred’s love for comics and superheroes.  For once, his efforts even see a grateful damsel in distress and an epic conclusion.  It’s a lot closer to the stories he was inspired by and certainly a far cry from his usual bumbling efforts as the Great Machine.

Ex Machina #47 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: Suzanne hits Mitchell where it hurts.

What’s Good: This is one of those issues that shows how gifted Vaughan is as a writer.  Despite the frequent scene changes and time-leaps, not a page or word is wasted.  Absolutely nothing feels extraneous.   Also, unlike previous issues, the politics are present, but subdued and never jarring.  Rather, they enmesh themselves with the rest of the book, fluidly emulating the desperation of the rest of the plot.

What we get is a book that is beautifully cyclical and linked.  The first “present day” scene of the issue, for example, is oddly reminiscent of one of the first scenes of the entire series.  Similarly, the flashback, depicting a child Mitchell’s disbelief regarding DC’s use of a multiverse, is an odd but comfortable parallel to the present narrative.  After all, his problems stem from his finding out about a real-world “multiverse.”  It’s wonderful stuff, and when Hundred meets up once again with his childhood friend Ray, Vaughan does an amazing job with the dialogue; it’s clearly the same two kids with a “childish” dynamic, but they’re now confined to the adult world.

Hundred’s “dream” sequence, which sees him visiting the other dimension, is terrifying and surreal thanks to Harris’ efforts.  It’s also interesting how Vaughan uses his trademark Ex Machina issue structure to embody the “weirdness” of it.  It’s between the flashback and the present day portion of the issue, as though it exists in some liminal space beyond standard time.  Seeing Vaughan break the chronological structure he’s adhered to for so long only makes this scene more uncomfortable.

The real newsmaker though is Suzanne and the major character death in this issue.  It’s a serious gut punch and it ensures that Mitchell and Suzanne’s collision course will be highly personal. It’s a merciless move by Vaughan and it’s all the more shocking thanks to Tony Harris.  The murder is rendered in uncompromisingly violent, gory fashion that will definitely drop your jaw, especially considering how sudden it is, being the only action in the whole book.

Ex Machina #45 – Review

by Brian K. Vaughan (writer), Tony Harris (art), JD Mettler (colors), and Jared K. Fletcher (letters)

The Story: Newly evil Suzanne Padilla makes her first move while Mayor Mitchell Hundred begins to plan his future.

What’s Good: The newly super-powered Suzanne Padilla makes for an utterly fantastic villain.  Vaughan has established a great voice for her that, after what we saw last month, is surprisingly very human and all the more successful for it.  Padilla sounds not at all like the sewer-dwelling robot of the past arc, and despite her appearance, even the lettering remains the same for the most part.  In this sense, she works better as a foil for Hundred.  Essentially, Vaughan has maintained the integrity of Padilla’s character; this new villain essentially sounds like her, with the confidence and arrogance cranked to the max.  The result is a villain that is more subtle, complex, oddly likable, and easily capable of carrying an entire arc.

Beyond this, we get from this issue what we’ve always gotten from Ex Machina.  The opening Great Machine flashback is, as always, both funny and poignantly appropriate, while all three of Hundred’s conversations with his various associates showing Vaughan’s complete mastery of his characters, each of them having the same distinct voices that we’ve come to know, with the interplay between personalities feeling natural and life-like.  The best of these was Hundred’s short conversation with Bradbury, which added well-placed humor to the book.  Vaughan has the two friends discuss some truly heavy subjects (Hundred even accuses Bradbury of murder), but all of it is done in such an affable manner.

Tony Harris meanwhile puts out some very strong work this issue.  In particular, he gets a little more creative this month with his panel layouts, which was a welcome surprise.  One dialogue scene at a firing range is especially well-done, with Harris pulling off some really slick layouts that manage to be both abstract and cinematic, the entire scene feeling very fluid.  I also love when artists use the spaces between panels to convey additional information.  I also loved Harris’ work on Padilla’s new look.  When disguising her new scars, she looks like a mysterious femme fatale straight out of a Raymond Chandler novel.  However, once exposed, she looks very alien, monstrous even.  The transition from 20s noir to the menace of modern science fiction is seamless and impressive on both ends.

What’s Not So Good: There’s a longish scene early on in the book where Wylie brings up the abortion issue, essentially trying to push Hundred into making a stand on the issue of unwanted pregnancies.  It’s too early to tell where this’ll go right now, but within this single issue, this subplot really felt out in the cold and detached from the rest of the book.  In fact, were it not for the date, I’d have believed the entire scene to be another flashback.  Ex Machina has always done a great job of combining its kookier superhero/sci-fi themes with more mundane hot-button political issues, but I’m starting to worry that as we head into this final arc, the crazy stuff has gotten a little too crazy to support this juggling act.  As a result, this political aspect of the issue felt a touch out of place and a little too low-key, and all the more surprisingly placed given that the entire series is ending.

Conclusion: Another issue of Ex Machina doing what it does best.

Grade: B+

-Alex Evans

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 #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