In Vaughan’s New York City life is a bit more action packed than the real world, but this is just a device that Vaughan uses to produce a political dialogue rife with the standings of a true Independent.

Vaughan’s main character, Mayor Hundred, who was formerly a superhero of sorts called, The Great Machine, tows no party’s line. I am not sure if his views and thoughts are Vaughan’s per se; but whether or not he holds to them, he displays them perfectly.

This work is one of expression. The artwork, by Tony Harris and Tom Feister, is as full of expression as Vaughan’s dialogue. If you haven’t yet purchased the TPBs, let me recommend that you do. Not only will you be able to read straight through the story, but at the back of the TPBs there are photographs which show the unique process that Harris uses to develop his pages.

This is a brilliant book, and, unless you are a hardcore partyliner, you will find it produces arguments for all points along the political spectrum with an ease and perfection that is so uncommon it seems completely and utterly original. There are arguments for all points of view. If you love Bush or hate him, if you are for or against the war, if you are pro or anti war, if you are a gay marriage advocate or a traditionalist, you will find a place here. Hundred will make you mad, and make you cheer.

Vaughan, however impressive in Y the Last Man and Runaways, is his best in Ex Machina. This is a book that will outlast the rest, if for no other virtue than its apt depiction of post 9/11America.

-Peblee

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