When I first learned of this spinoff limited series, I was at a loss to figure out why writer Brian K. Vaughan didn't just incorporate this two-part story arc into the regular series, even if it was to be illustrated by another artist. After having read the first chapter of this tale, I can see why it was pulled out of the ongoing Ex Machina series proper; there's a much more conventional, super-hero tone to this plot and far less of the politically charged storytelling we've come to expect. What's not lost in the process, though, is the grounded tone of the dialogue and a realistic take on impossible circumstances. Furthermore, Chris Sprouse's art is a delight, as always, but more importantly, he is a good choice as an alternative to regular series penciller Tony Harris.
A political issue brought up by a zealous broadcast journalist takes New York City Mayor Mitchell Hundred back to one of the most difficult times during his short career as a super-hero, and that was his first encounter with Jack Pherson. Pherson ended up becoming an arch-nemesis to the Great Machine, developing the ability to communicate with the animal kingdom the way Hundred talked to technology. But unlike Hundred, the experience that transformed and empowered Pherson left psychological scars, turning him from a regular guy into a menace.
Sprouse's style achieves a nice consistency with the look Tony Harris established for the regular series. Their styles differ significantly, yes, but there's still a smooth shift in the visual storytelling. Also aiding with that consistency is the fact that the same colorist, J.D. Mettler, is working on this limited series. Sprouse brings the animals that are an intgral part of this story to life incredibly well; he achieves an accurate, realistic look. I also like that he doesn't portray the Great Machine as having a typical super-hero physique. He's depicted as being rather boxy, not at all buff, which is in keeping with what we've seen of the character before.
Vaughan provides a thoroughly accessible introduction to Pherson in this story, but what's most important is that the reader is led to sympathize with the character. Jack is something of a tragic figure. He was a regular guy, working a regular job. He had a sense of humor, a libido. But he ends up warped by something he never chose or could have never predicted. We pity the villain of the piece rather than loathe him.
I like that Vaughan opens the book on a political note even though the plot is going to shy away from the office held by the protagonist and focus just on flashbacks. More importantly, the writer demonstrates that politics can be personal. We see that Hundred's beliefs about capital punishment are directly tied to his experiences with someone who could pay that ultimate price. The interviewer sees Hundred as being evasive of the death-penalty question because it is politically sensitive, but it's the subject's emotional response that has him avoiding it.
Vaughan offers a deeper glimpse into what makes Mitchell Hundred tick in this more straightforward script. His personality seems to be a study in contrasts. He's cocky and bossy, confident there's nothing he can't handle thanks to his power. But he's also in way over his head; he's making things up as he goes along, and more often than not, it doesn't work out. Ultimately, what makes him the hero of the book (and the regular Ex Machina) is that we get to know him as a regular guy who's flawed but whose heart is in the right place. We can't help but like him, and his circumstances -- either as a super-hero or the mayor of the Capital of the World -- are fascinating thanks to their extreme nature. 8/10
