This anthology brings Pulitzer Prize winner Michael Chabon's super-hero creation to life. Actually, if I understand things correctly, it brings the super-hero creation of his creations -- Kavalier and Klay -- to life. I haven't had the pleasure of reading Chabon's award-winning novel, The Amazing Adventures of Kavalier & Klay... yet. Working on Alan Moore's Voice of the Fire at the moment. Still, I'm quite intrigued about it. The good news is that this comic book doesn't spoil anything from the novel for those of us running a bit behind, and it offers some fun super-hero action. But overall, the storytelling here struck me as being rather generic. It's capable super-hero fare, but little more.
Tom Mayflower was an orphan, stuck in a horrible facility that would have corrupted his soul, but thankfully, he was saved by a most unusual benefactor. The performer known as Mysterioso -- a reknowned escape artist -- took the boy under his wing and raised him as his nephew... and one day, as his successor. There was much more to Mysterioso than met the eye, as he was the keeper of the Golden Key, a champion for good, fighting against a secret society known as the Iron Chain. The key has been passed to Tom, who fights crime -- and delights audiences -- as... the Escapist, aided by his three cosmopolitan colleagues: Big Al, Plum Blossom and Omar.
The art throughout this volume is quite strong. It was a treat to see Eric Wight illustrate a complete story. His work strikes me as a pleasant mix of Jack Kirby's style and that of George Tuska. Jim Starlin offers up some interesting computer-enhance art of his own, but his depiction of a young girl leaves a bit to be desired. Her face looks like that of an adult. Kyle Baker's work on Kevin McCarthy's satire of the justice system is a hoot; it reminds me of Jack (Mad) Davis's comic art. Chaykin's script is a bit awkward, but it's clear what the intention is: to give the writer/artist a chance to titillate with his trademark sex-pop art. Lieber offers up what is probably the darkest work in the book, and it boasts a strong pulp feel that really sets it apart from the other artists' contributions.
Starlin's "Luna Moth" story certainly fits with the writer's more cosmic storytelling leanings, but it doesn't fit well in this volume. It's the only piece to explore the supernatural. What's worse is while it's still clear what's happening, the silent approach robs the story to a great degree of its emotional impact. Chabon's origin story is rather by the numbers, but given that he's trying to reproduce a Golden Age type of feel, the iconic and formulaic tone is an apt one.
My favorite story in the book is McCarthy's jury story, "Sequestered." The absurdist tone of the story makes for a biting criticism of a corrupt legal system. The other pieces are rather ordinary overall, though. The super-hero action is fun, but there's nothing new or edgy to be found here. One would think with such a blank slate, the storytellers would haev ventured beyond the status quo.
