Broken Frontier

This article is part of a series of spotlight articles on the winners of the Broken Frontier Awards 2005.

The year draws to a close and we move one step nearer to godforsaken 2005.

No, I haven’t forgotten to flip my calendar.  I’m referring to Ex Machina, the comic relating the tale of Mayor Mitchell Hundred’s three years in office (2002-2005).  With the inevitability of that godforsaken year ever looming, Brian K. Vaughan has scripted a tale that’s been compared to a puzzle.  We know where it ends, but the mystery and suspense comes in finding out how it reaches that point.

The series is actually told as a mosaic of flashbacks – currently primarily set in late 2002 – interspersed with earlier times in which Vaughan conservatively fleshes out the backstory.  The focus of Ex Machina is on Mitchell Hundred, a former civil engineer and life-long comic book fan who met with a mysterious accident back in 1999.  Gaining the ability to communicate with machinery, Hundred took the identity of “The Great Machine”, the marginally successful protector of New York City.  Following his failure on September 11th, 2001 – when he only managed to prevent the destruction of one of the World Trade Center towers – Hundred realized the futility of his mission.  Laying aside his costume, Hundred accepted that he could best protect his city, not as “The Great Machine”, but as mayor.

In Mayor Hundred, Vaughan has created an incredibly strong and increasingly complex protagonist.  The use of flashbacks allows readers to see the sharp contrasts in the man Hundred was, is and will be.  When laid out in a linear manner however, one can see the evolution of Hundred as he moves from the well-meaning, naïve superhero to the more broad-minded politician he becomes.  Through this, Vaughan never loses sight of the core principle that Hundred is a good man concerned with trying to find the best way to take care of his city.  As recent issues have taught Hundred some dark lessons (man or machine, sooner or later, everyone lies), readers are reminded that in some way, Hundred’s naiveté may be what leads to that godforsaken year.  We know in a general sense how the story will end.  Vaughan makes us need to know how to connect the points between beginning and end.

In terms of story, Ex Machina immerses readers in a world where events move at a breakneck pace.  Vaughan treats us to the sense that Hundred must feel, as events constantly move at their own speed, each one equally important.  Each one demands complete and immediate attention, whether it be the gay marriage issue, a killer stalking the subways, jury duty or a phone call from a long absent relative.  While each of these “real world” challenges provide for interesting drama, there is always constant suspense in the awareness that there is something “more” out there.  Hundred’s assailant in issue #10 says, “You didn’t spread the gospel.  The words of the prophet are written on…are Witten on…”.  As pointed out previously by Broken Frontier staffer Tommy Marx, we know what these cryptic remarks refer to.  The fun is waiting to see what they mean.

Artistically, penciller Tony Harris hasn’t lost a step from his last regular project, Starman.  Harris’s work retains a distinctive stylized look, yet remains firmly grounded in reality.  His intricate line work gives New York City a sense of age and history, while each character has strong body language and facial expressions.  Along with inker Tom Feister, Harris provides Ex Machina with an impressive and cinematic visual style.  As that duo provides the artistic groundwork for the series, colorist JD Mettler has selected a unique palette, which wraps each scene in a distinctive tone that accents the mood of the story. 

It’s a testament to the skills of Vaughan, Harris, Feister and Mettler that I can’t wait for godforsaken 2005 to arrive…