I've read The Victorian only sporadically, starting with the first couple issues and then checking in again about a month ago. My impression at first was that the series was a little dull... my impression now is that the series is overly complex, and doesn't seem to be going anywhere fast. There's some sort of mystery about a voodoo shrine that disappeared (a confusing proposition all by itself), a heroic legacy that is intriguing but doesn't really get any development and a whole lot of characters, none of whom are really fleshed out that well. On the upside, the book looks great. St. Aubin, Moussa and Chuckry turn in some very flashy art that has solid storytelling... I just wish it was in the service of a more compelling story.
When the "Previously" page begins to confuse, you know that the book is overly complex. There's a lot going on in this issue, and the result is a story that moves forward only incrementally in about six different distinct ways, and a whole lot of characters who don't really get any time to shine. Fifteen issues in, and I still don't have any sense what this book's identity is meant to be. Is it a conspiracy? A super-hero book? A crime book? A high-tech espionage book? A book about personal relationships? It seems that Wein is trying to make it all of the above, and he has succeeded instead in creating a book without any kind of central identity or focus.
Perhaps most frustrating is the amount of potential in the book. I'm intrigued by a voodoo shrine that has been stolen, and wondering how someone stole such an elaborate setup without anyone knowing, and why they would do it. The visual of the Victorian is undeniably compelling, and I have a soft spot for heroic legacies going back for a hundred years, which reminds me pleasantly of pulp characters like the Phantom. And the odd mixture of technology and magic and training that seems to define the Victorian's role is interesting as well. Unfortunately, there are mere hints in this issue about all of these elements, while the overall shape of the plot or the personalities of the character remain out of reach.
The Victorian does not disappoint where the art is concerned, though. Claude St. Aubin and Mostafa Moussa have a style that is reminiscent of Stuart Immonen, with strong human features and attention to detail where normal clothing and background elements are concerned. Chris Chuckry's colors are bright and vibrant without being garish or too loud, and he's perfectly capable of handling the shadowy meetings in a briefing room at the White House as well.
Basically, this book has a strong visual identity, but the writing isn't there to back it up. Too many characters, an unfocused plot and an unclear concept make for a somewhat boring read. In order to keep my attention, the cast would need to be pared down severely or at least given more interesting personalities and dialogue.
