Back in Florence, the city is shaken up by the siege of Venice and the reveal of Da Vinci’s Monstro Mechanica. The Medici’s have designs on using the automaton to their advantage, but Da Vinci has other plans. He is loyal to neither the Medici’s or the Church, and he is waiting to see which side comes out on top of the conflict.
Monstro Mechanica #5 takes a slower pace than the previous issues which focused on the siege. This comic is focused on establishing the new status quo in the aftermath, and it succeeds in keeping things interesting.
Leonardo da Vinci, who frustrated me in the first two issues of the title, becomes far more compelling. We finally see what he is, which is a man of talent and intelligence caught in a war over which he has no true control. This frightens him, but he wants to make sure that he still has backing when the fighting is over. Plus, the duplicity is an intriguing trait.
Isabella still steals the spotlight, and the decision to give her as much, if not more, of the comic than Da Vinci was still a great decision. She’s funny, interesting, and ambitious.
The comic is still slow at times and heavy on the dialogue, but the plot is interesting enough that it only bothers a couple of times in the book.
Chris Evenhuis’ artwork continues to provide a light and textured style which often gives much-needed levity to the comic. Plus, the style is distinct and generally looks quite good. Sjan Weijers’ color art is similarly light and uses pastel-like colors. This looks quite good too, and it fits the visual style well.
Monstro Mechanica #5 deepens the plot in the shadow of recent issues, and it succeeds in being a compelling read with solid leads. Evenhuis and Weijers’ artwork continues to bring Paul Allor’s story to life well. This book earns a recommendation. Check it out.
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