Originally published in the early nineties, on the onset of Image, “The Maxx” took comics by storm with its innovative and layered storytelling, and with an even more experimental style by Sam Kieth. Years after, it remains groundbreaking.
Written by Sam Kieth (story) and William Messner-Loebs (script)Cover by Sam Kieth
Illustrated by Sam Kieth
Colored by Ronda Pattison
Lettered by Mike HeislerSam Kieth’s own quirky brand of brilliance has been wowing fans and inspiring cartoonists for more than 25 years. As one of the earliest creators for Image Comics, Kieth created The Maxx–a homeless superhero who lives in a box. Both Maxx and his social worker friend Julie share adventures in both the real world and in “the Outback,” a fantasy realm inhabited by their jungle-inspired totems.
Multiple realities coexisting. A protagonist as flawed as he tries to be noble. A supporting cast that is just as nuanced and developed. And an art style that will likely surprise readers on every turn of a page, even to this day. “The Maxx” might not as easily be connected in the collective consciousness as one of Image’s first books, but it was as groundbreaking – and arguably far more – than some of their peers.
Designed and developed by Sam Kieth, with the partnership of William Messner-Loebs on script, “The Maxx” was not afraid to tackle some taboo topics at the time, from social class clashes, the abandoned homeless, feminism… and some really far-fetched reality representation that many could associate with perception-altering trips. Both script and art are unique, and should be explored in more detail to better appreciate its context and relevance.
Getting the most obvious out of the way first: Kieth’s art style is excellent, especially when examined through a composition lens. Pages and drawings blend together, as tall building become the frame of some sequences, punches and battles escape through panel borders, and panels themselves become part of the action, especially in terms of movement lines and sequencing. The pages truly feel alive and part of the narrative, as much as the drawings they contain.
His characters are very distorted, pushing the boundaries of correct anatomy in favor of a different interpretation of reality. It is not that it crosses the line into cartoony, but it flirts with that line often. This is even truer when looking at the Maxx himself, and on Julie. The former is a hulking behemoth, more bulge than man, taking pretty much all of the panel space whenever he is featured. Julie is portrayed as over-sexualised as possible, but that is taunted so heavily in-story as something of a criticism, that her very appearance seems critical on how female characters are portrayed in comics.
Talking about that for an instant. Reading it decades after it was published, “The Maxx” was very progressive in topics that are very much in vogue today. The important of women, how they are abused, how their role in society can become pre-determined and unfair: those are all discussion very open and debated on this first volume of “The Maxx” and it was refreshing to see it so vividly with today’s eyes.
In term of plot (and mild spoiler warning ahead), “The Maxx” deals with appearances being deceiving, from a literal and metaphorical perspective. Literally, as Maxx and Julie exist in more than one plane of existence. Initially, that seems like something of a mental by-product of the Maxx, but is later revealed to be a true connection to a dual-dimension. Metaphorically, because roles and attitudes often have more than one meaning, and the style of narrative played heavily into that. Similar to what Moore does in “Watchmen,” what is happening on the background is often as important as the foreground, leaving readers in a rush to find hidden details that will later obtain prominence on the story.
Something should also be said about reading “The Maxx” through single issues and on collected volumes. Not a lot is lost on the collected edition, and although some of the individual cliffhangers lose their potency, the volume more than makes up for it in terms of pacing. The story simply flows better on a more continuous way, especially on how readers get familiarised more quickly with the alternating realities and settings Maxx and Julie go through.
Provocative. Innovative. With an art style that is as beautiful as it is dynamic and unique, “The Maxx” was a highlight of the original Image publishing line then, and it remains that much relevant and compelling today. The blend of quirky characters, one-of-a-kind situations and dialogue that is written as sharp as the titular’s mask, this series is well worth revisiting… or reading for the first time.
Final Verdict: 9.0 – “The Maxx” was great then and it remains great now. It should become obvious to new readers why it has such a cult following and appreciation.
