Brian K. Vaughan is my favorite comic book writer, and that’s saying something when writers like Alan Moore exist. BKV has received lots of positive attention for books like Y: The Last Man and Saga, but Ex Machina doesn’t get talked about much. Let’s change that right now by diving into the story of Mitchell Hundred, aka “The Great Machine.”
Ex Machina has one of the best comic book hooks I’ve ever heard – the world’s only superhero saves the second tower on 9/11 and thereafter becomes the mayor of New York City. Before the story proper begins, a mysterious object explodes in Hundred’s face, and he becomes a bumbling superhero who can speak to machines and control them to a certain extent. Though he’s a pitiful superhero, the publicity of 9/11 is enough to win him the mayor job (unless he rigged the election… it’s one of the lingering and intriguing questions of the story). Ex Machina follows Mitchell’s time in office, and it’s interspliced with flashbacks of his jetpack misadventures.
Tony Harris’s art is fantastic when depicting action scenes, and it makes the political conversations – of which there are many – much more interesting. More so than the art, the origin of Hundred’s powers and the reckoning they foreshadow are my favorite part of the book. Despite how often he uses them, Hundred is completely disinterested in his powers, but the more we learn about them, the more frightening they become. The flashbacks to 9/11 are also quite affecting. The tragedy of 2001 was a personal event for BKV, and the references to Hundred’s PTSD are haunting. Seeing a panicked Hundred trying his best to catch people falling from a crumbling building, knowing he will surely fail in catching everyone, are the kind of comic panels that stick with a reader.
The politics aren’t my favorite part of Ex Machina, but that doesn’t mean they’re not appealing in their own way. Sure, some of the political debates may seem dated now (e.g. gay marriage). But without the politics, we wouldn’t witness the political machine grinding Mayor Hundred into a worse version of himself throughout his time in office. I won’t spoil the ending here; suffice to say Hundred’s best friends are not campaign contributors by the closing issue.
Science fiction is one of my favorite genres, and the way it bleeds its way into Ex Machina is fascinating. I won’t say it’s “realistic” (that’s a bridge too far when a man flies around like the Rocketeer); the build up is gradual though, so the wild revelations make sense within the context of the story. There’s no Twilight Zone quick twist, more like gradual waves of uneasiness and nightmares preceding the demons. Ex Machina isn’t as fun of a romp as Y: The Last Man, and it’s not as addicting as Saga, but its well deserving of a read.