There are too many comic-book projects out there that languish in forgotten back issue bins, just crying out to be collected in the more durable and long-lasting trade paperback format. And while The Maxx might not have been at number one on my list, it certainly was near the top, especially given Sam Kieth's revival of popularity in the last few years thanks to works from a more mature talent like Zero Girl and Four Women. Like many, I read the early issues of The Maxx but gave up when it changed setting and characters and the weirdness just overwhelmed me, and also like many, I regret that I never got to see how the book eventually ended. Thankfully, DC has picked up these stories and is going to reprint them as six volumes. This one is the first, and it's every bit as strange but beautiful as I remember it being.
In his introduction to this book, Kieth says several things that are evident upon reading the book. Some of his rougher, earlier work is to be found here. He and Messner-Loebs didn't have a grand plan, or a series of arcs, but were basically making it up as they went along. But above all, this is pure work, untouched by editorial fiat or marketing directives, coming straight from an unusual and creative mind, tempered by the scripting of one of the great writing talents of the time. As I read it, I had a certain nostalgic attachment, remembering how vivid and powerful I thought the visions of The Outback were, or hearing the voices from the MTV cartoon or the audio tape (Maxximum Sound, I think), but I was also surprised at how well the book holds up. There's an intriguing mystery about the identity of the three main characters and the nature of their reality, a delightful sense of fun even amidst the darker moments of Mr. Gone and his cannibalistic Isz and of course the powerful, raw and unusual art of Sam Kieth painted over the whole thing.
Though it's been done, before and since, one of the things that sets The Maxx apart is that its protagonist is severely damaged. He's actually crazy, delusional to the point that he lives in two worlds, one or both of which may be fictional, that he can't remember who he is, and that his weighty super-heroic monologues are often delivered out loud without his notice. He can be a bit of a goof, a pathetic character, a homeless guy who has to be bailed out for fighting or who does good mostly by accident. At the same time, there's a nobility to him even now, one that we'll see more of later in the series, due largely to his connection to Julie and his fierce devotion to protecting her.
What really drew me in to The Maxx originally, though, was the mystery. As I recall, and I look forward to revisiting and seeing if I recall correctly, Keith and Messner-Loebs didn't quite explain everything to my satisfaction, and so I couldn't quite get the closure I was wanting from The Maxx, but at the beginning, the mysteries being set up were enthralling. Who was creating the fantasy world of The Outback? Or was it the "real world" that was the fantasy, and the Outback was real? What was Mr. Gone's real story, and how come if he was the villain he actually seemed like the one most in touch with reality of the cast? What did Maxx look like behind his mask, and who was he before he became The Maxx? What exactly happened to Julie? Lots of questions, lots of hints about answers, and certainly enough to draw a reader in and make them keep reading to find out what happened next.
Then there is the artwork. Comparing the painted and even more exaggerated approach that Kieth takes to his work now, The Maxx does look a bit rougher, and it's clear that Kieth has improved by leaps and bounds from his early work. But that doesn't mean there isn't some beautiful work in these pages. Kieth's somewhat twisted, imperfect world, with crumpled up trash, rippling muscles and women who were attractive because of their realistic larger bellies and hips, really comes to life in his artwork. Though his characters often dress in bizarre clothes that wouldn't be out of place in Mardi Gras, there's a certain harsh reality to his city work, and a contrasting naturalistic beauty to be found in his portrayal of The Outback. In addition, there's a sort of Dr. Seuss-ian vibe to his work on The Outback and indeed on his lead character The Maxx, and Kieth is one of those artists whose work you can always spot a mile away. Whether you're a fan or not, you have to admit that Kieth has perfected his own style rather than simply aping another or going for a strict realist approach.
I confess that at $18 for 6 issues, all of which I still own, I was at first a little wary about picking up this trade paperback. And I still wish that DC could have managed to keep the price down or at least provided us with some nicer paper and production values for the $3 an issue that they're charging, especially since there was no need to re-color or adjust thanks to the excellent color work on the original issues. For that matter, surely they could have included a few extras, such as sketches or the Darker Image story where Maxx was originally introduced. But I don't regret picking this up, and I look forward to putting all six volumes on my shelf, because The Maxx is a truly original and unusual work with a remarkably wide appeal.
