NO/ONE #5: The Deductive Trinity

At the core of every investigation are three essential elements: means, motive, and opportunity. These form the basis of deduction when trying to solve a crime, as they help to narrow down the possible suspects. Means refers to a person’s ability to commit a crime, the motive is the expression of a want or desire to commit said crime and opportunity is when the suspect meets the circumstances of the crime. 

This categorical trinity helps investigators and sleuths rule out unlikely culprits and establishes a set of guidelines for who may have committed a crime. The trinity becomes vital as NO/ONE and its accompanying podcast, Who Is NO/ONE?, make a pivot to offering suspects in the current issue/episode. It helps to move the book from its superhero story back into a detailed mystery with issue #5.  

NO/ONE #5 – written by Kyle Higgins and Brian Buccellato with art from Geraldo Borges, colors by Mark Englert, and lettering from Hassan Otsmane-Elhaou – refocuses back on the journalist angle as the breaking news of Aaron Kern’s new insistence of innocence. The Ledger owners want Julia to start naming suspects on the next episode of the podcast, which is a clear ethical violation in her mind. Meanwhile, fellow reporter Alejandro Rios offers the theory that Michael Kern, the dead brother of Aaron, is NO/ONE. 

While Julia fights the paper’s leadership, Aaron and his lawyer discuss their plan going forward, using NO/ONE’s involvement to invalidate the original arrest. NO/ONE makes an appearance to try and spook the lawyer into dropping the case, which serves as a perfect distraction for the vigilante to raid the attorney’s office. An action sequence breaks out as NO/ONE is forced to fight his way through security forces to escape. It’s too late, and Aaron is released as it’s revealed no physical evidence tied him to any of the murders, and the confession was the only thing that pinned him to it. 

The scripting for this issue gives way to a returned focus on the media and its role in the community, highlighting the nature of the news’s influences on the thoughts of a community. Higgins and Buccellato’s writing is sharp and snappy, with dialogue that crackles like a peak Bendis book that emphasizes wit. The quality of writing makes the large blocks of text on the page feel short, creating a sense of urgency even as the bulk of the issue takes place in conference rooms and tiny offices. 

This gives way to a high-octane, almost silent action sequence as NO/ONE battles security guards in the office of Kern’s Lawyer. Higgins and Buccellato’s beats allow for the maximization of pulse-pounding action, which becomes an opportunity to expand into an instance of reinforcing NO/ONE’s skills as a fighter. This becomes a vital bit of foreshadowing to Julia and Teddy’s new podcast episode, reminding the reader of the means required to be the vigilante.  

Borges’s art and Englert’s coloring pick up this notion in the action sequence, building on the pacing by utilizing bright flashes of color and varying panel sizes. The layout moves from wider, cinematic panels to tight medium shots that give the illusion of quick cuts. The bright flashes of blue-white that originate from NO/ONE’s helmet serve as a blinding source of light in the sequences. The use of these effects gives a strobing effect as the panels go from bright to dark and back, giving a rhythm that feels quick and unforgiving. The alteration in hue also clues the audience into significant beats on the page, drawing attention to movements or attacks. 

The art is just as compelling in the Ledger scenes, as it provides an opportunity for expressive storytelling and an affirmation of the story’s personal elements. Borges employs a similar page layout as the action sequence but instead trades the six tighter panels for four larger ones, which swap from an action focus to a shot-reaction shot. The framing of a conversation like this makes for a dynamic rhythm that makes these quieter moments just as compelling.  

The energy of this sequence, which is filled with clashing ideologies and warm room tones, carries over into the podcast. This interjects the newest episode with the core tension of the sequence and gives the emotion in Julia and Teddy’s exchange a harder edge. Englert’s colors for the pages like neutral beiges and soft background blues convey a sense of false security, creating a foundation of mundanity that contrasts the chaos of the community. That feeling carries over into the podcast, as the sound design is minimized to underscore the core conflict in Julia’s voice. 

Speaking of the podcast, the tie-in show starts to live up to its name, as it narrows in on possible NO/ONE suspects. Not only is the episode an excellent use of the true-crime format and does an amazing job not only recapping the dense mystery, but it also guides the reader/listener through the investigative thought process. Structured like an investigating 101 crash course, Julia walks through the three most likely NO/ONE alter egos. She tackles the means, motives, and opportunities for each suspect, including a fellow Ledger reporter, brother to the key politician of the book, and heroic cop/former army ranger. 

The end of the episode, after Julia confirms she is offering these suspects against her better judgment, becomes an impassioned plea. Julia requests the listeners remember the difference between an accusation and a suspicion, making clear she does not want any of the targets vilified. It’s an excellent character moment that emphasizes one of the human elements of the comic and offers a blistering denouement to the issue.