The Maxx #5 | The Crappon in the Hat Dream Sequence

The Maxx #5 is one of the strangest and most imaginative early chapters in Sam Kieth’s celebrated series. Released in September 1993, the issue moves away from conventional superhero action. Instead, it dives directly into the surreal psychology that helped make The Maxx so distinctive.

The story begins with Mr. Gone and the Isz secretly observing Maxx. Meanwhile, Maxx is asleep on Julie Winters’ couch after watching Saturday morning cartoons. His sleep quickly carries him into a bizarre dream inspired by his favorite cartoon, The Crappon in the Hat.

What follows is a playful but unsettling journey through Maxx’s subconscious. The dream uses exaggerated imagery and rhyming dialogue that recalls classic children’s stories. Beneath the humor, however, the story begins asking serious questions about Maxx and his identity.

During the dream, Maxx removes his mask and discovers seeds. Those seeds grow into the mysterious Outback, a place that becomes increasingly important to the larger series. Maxx then encounters a child version of Julie. She tells him that he represents a deep part of Julie’s subconscious and should not be there.

That revelation gives the issue more importance than its unusual presentation first suggests. The boundaries between Maxx’s reality, Julie’s memories, and the Outback become even less certain. When Maxx wakes and describes the experience, Julie believes the Outback may simply be something he invented.

The Crappon also makes its first appearance in this issue. While not a major first appearance in the traditional collector sense, the character represents the wonderfully strange storytelling found throughout the series.

Sam Kieth provides the story and much of the artwork. William Messner Loebs contributes dialogue, while Dave Feiss handles artwork during the extended cartoon inspired sequence. Jim Sinclair contributes finishes, with Steve Oliff and Olyoptics providing colors.

The creative shifts inside the issue help separate the dream from Maxx’s normal world. That approach gives the comic an experimental feeling that still stands out decades later.

The striking Sam Kieth cover is another major attraction. Maxx is almost completely swallowed by darkness, with only carefully chosen colors defining the figure. The large neon style logo gives the cover unmistakable early 1990s personality.

For collectors of The Maxx, this issue captures exactly why the series developed such a loyal following. It combines surreal comedy, psychological storytelling, unusual artwork, and growing mysteries surrounding Julie and the Outback. It is an excellent early issue from one of the most visually distinctive independent comics of the 1990s.