The Maxx #1 | First Mr. Gone and Isz Appearances

The Maxx #1 launched Sam Kieth’s strange and unforgettable ongoing series in March 1993. The comic immediately established a world unlike almost anything else on shelves at the time. Superhero ideas mix with surreal fantasy, psychological drama, and bizarre humor.

Sam Kieth created the series and provided the distinctive artwork. Kieth and Bill Messner Loebs worked on the story, with Jim Sinclair contributing inks. The creative combination helped establish the unusual tone that would define the series.

The story introduces readers to Maxx as a mysterious purple figure living on the streets. He sees himself as a heroic protector, although reality is far more complicated. His strange view of the world becomes one of the central ideas of the series.

Maxx attempts to rescue a woman from attackers in an alley. Instead of receiving praise, he ends up in police custody. The scene immediately establishes the gap between Maxx’s heroic intentions and the world around him.

Julie Winters soon becomes essential to the story. She works as a freelance social worker and helps Maxx after his arrest. Their relationship becomes one of the emotional foundations of the series.

Maxx also experiences another reality known as the Outback. In that world, Julie appears as the powerful Leopard Queen. Maxx struggles to understand which world is real. That uncertainty gives the comic an unusual psychological edge.

The issue also introduces Mr. Gone. He quickly emerges as a disturbing presence connected to Julie and Maxx. His first appearance is one of the strongest collector reasons to own this issue.

The bizarre creatures known as the Isz also make their first appearance here. They become some of the most recognizable elements associated with The Maxx. Their strange appearance perfectly matches Sam Kieth’s surreal visual approach.

Collectors should note an important distinction regarding Maxx himself. The character appeared before this ongoing series in Darker Image #1. The Maxx #1 is therefore the launch of his solo series rather than his first comic appearance.

That distinction does not diminish the importance of this book. It establishes the major characters, visual language, and psychological themes that made the series memorable.

The copy shown is the direct edition, identified by the absence of a newsstand barcode. Its original $1.95 price also captures the early 1990s comic market perfectly.

The bold black cover is instantly recognizable. Maxx crouches against the darkness beneath the explosive red title logo. Sam Kieth’s unusual anatomy and expressive line work make the image difficult to mistake for any other comic.

For collectors of independent comics and distinctive 1990s artwork, The Maxx #1 remains a fascinating issue. It represents the beginning of one of the era’s most unusual ongoing series.