Culbard’s art continues to be a problem when it comes to people. I spent half the issue wondering about the evil old maid lady who turned out to be some guy. Worse, there’s not enough of the scenery for Culbard’s strengths to make up for his weaknesses.

But this issue of Brass Sun reveals more problems than just the art. Once again, the format–a collection of previously anthologized short pieces–is severely hampering the narrative flow. It starts and stops all throughout and, by the end of the comic, which has maybe one page in thirty-some where Edginton spends any time on character development, it’s just too thin.

The concept isn’t particularly original; it’s not steampunk because it’s too grandiose with a mechanized solar system. However to describe it, Edginton isn’t spending time in the right places–like on his protagonists.

Sun is dwindling by the end here.

C 

CREDITS

Writer, Ian Edginton; artist, I.N.J. Culbard; letterer, Ellie De Ville; editor, Matt Smith; publisher, Rebellion.

Brass Sun is incredibly problematic. I don’t think I’ve read such a spotty first issue in a while, particularly one where the writer–Ian Edginton–just keeps going and going until he makes the narrative connect. And it takes this issue a long time, until the last fourth.

The comic is collected from 2000 AD, which probably explains a lot of the disjointed nature of the narrative. Then there’s the art–I.N.J. Culbard’s art seems more appropriate for black and white than color. I’m pretty sure AD is still black and white.

There’s too much exposition, not enough tone, Edginton awkwardly establishes the characters–the problems go on and on and they’re very obviously the fault of the packaging. So when Edginton finally gets to something effective and it’s good, it seems really good. It redeems the issue.

The plot itself is vaguely unoriginal but I’m hoping the uptick will continue.

B- 

CREDITS

Writer, Ian Edginton; artist, I.N.J. Culbard; letterer, Ellie De Ville; editor, Matt Smith; publisher, Rebellion.