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The Maxx #4
The Maxx, Vol. 4
The fourth volume in The Maxx collection is a turning point, collecting issues #21-27 of the acclaimed series! Alan Moore kicks this volume off with dialogue for the first chapter as three secret agents pursue Mr. Gone, and Sarah traverses the Outback.
144 pages, Paperback
First published March 1, 2005
2 people are currently reading
200 people want to read
About the author
Sam Kieth
409 books269 followersKieth first came to prominence in 1984 as the inker of Matt Wagner's Mage, his brushwork adding fluidity and texture to the broad strokes of Wagner's early work at Comico Comics. In 1989, he drew the first five issues of writer Neil Gaiman's celebrated series The Sandman, but felt his style was unsuited to the book (specifically saying that he "felt like Jimi Hendrix in The Beatles") and left, handing over to his former inker Mike Dringenberg.
He acted as illustrator on two volumes of writer William Messner-Loebs' Epicurus the Sage and drew an Aliens miniseries for Dark Horse Comics, among other things, before creating The Maxx in 1993 for Image Comics, with, initially, writing help from Messner-Loebs. It ran for 35 issues and was adapted, with Kieth's assistance, into an animated series for MTV. Since then, as a writer-artist, he has gone on to create Friends of Maxx, Zero Girl, Four Women and Ojo.
Ojo comprises the first and My Inner Bimbo the second, in a cycle of original comic book limited series published by Oni Press. Loosely connected, the cycle will concern the intertwined lives of people with each other and sometimes with a supernatural entity known as the Mysterious Trout. Kieth has stated that other characters from The Maxx series will appear in this cycle of stories. My Inner Bimbo #1 was published in April 2006. Issue #2 was delayed past its original release date; It was finally resolicited in "Previews" in 2007 and hit the store shelves in November 2007.
DC Comics' Batman/Lobo: Deadly Serious, a two-issue prestige format mini-series that started in August 2007, was written and drawn by Kieth. This was followed by 2009's two-issue prestige format mini-series Lobo: Highway to Hell, written by Scott Ian and featuring art by Kieth.
He acted as illustrator on two volumes of writer William Messner-Loebs' Epicurus the Sage and drew an Aliens miniseries for Dark Horse Comics, among other things, before creating The Maxx in 1993 for Image Comics, with, initially, writing help from Messner-Loebs. It ran for 35 issues and was adapted, with Kieth's assistance, into an animated series for MTV. Since then, as a writer-artist, he has gone on to create Friends of Maxx, Zero Girl, Four Women and Ojo.
Ojo comprises the first and My Inner Bimbo the second, in a cycle of original comic book limited series published by Oni Press. Loosely connected, the cycle will concern the intertwined lives of people with each other and sometimes with a supernatural entity known as the Mysterious Trout. Kieth has stated that other characters from The Maxx series will appear in this cycle of stories. My Inner Bimbo #1 was published in April 2006. Issue #2 was delayed past its original release date; It was finally resolicited in "Previews" in 2007 and hit the store shelves in November 2007.
DC Comics' Batman/Lobo: Deadly Serious, a two-issue prestige format mini-series that started in August 2007, was written and drawn by Kieth. This was followed by 2009's two-issue prestige format mini-series Lobo: Highway to Hell, written by Scott Ian and featuring art by Kieth.
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Displaying 1 - 28 of 28 reviews
April 12, 2016
Ten years after the conclusion of Julie Winters's saga, Sara struggles with her relationship with her father, Artemis Pender, aka Mr. Gone. Dave, the former Maxx, is a plumber, while Sara's Maxx is a homeless guy named Norbert. Julie Winters is missing and there's a giant banana slug named Iago looking for her. Did I mention the past 20 issues might have been a dream and Mr. Gone might not be as much of a villain as we previouosly thought?
Volume 4 begins a voyage into Sara's (formerly Sarah) world and past, as well as the past of her father. Her roommate Steve thinks he's psychic. Her dad lives in a trailer park and runs a shelter for battered women.
By far the best part of this volume is the origin of Mr. Gone. Gone has a painful history of abuse which almost makes him a sympathetic character. Some poignant writing, especially for a comic book where one of the main characters is a humanoid horse in a makeshift super hero costume with a patchwork quilt for a cape.
Volume 4 begins a voyage into Sara's (formerly Sarah) world and past, as well as the past of her father. Her roommate Steve thinks he's psychic. Her dad lives in a trailer park and runs a shelter for battered women.
By far the best part of this volume is the origin of Mr. Gone. Gone has a painful history of abuse which almost makes him a sympathetic character. Some poignant writing, especially for a comic book where one of the main characters is a humanoid horse in a makeshift super hero costume with a patchwork quilt for a cape.
May 21, 2015
I gave the last volume of The Maxx 5 stars because it started answering a lot of questions I'd had from the beginning. For this volume, I'm dropping the rating back to 4.
Make no mistake: 4 stars is still a great rating. But this volume doesn't seem quite as strong as its predecessor, and it's all because of the dialogue.
In previous volumes, Sam Kieth had outlined the story, but he'd had someone else translate that outline into words. For whatever reason, he took over full writing duties here. Unfortunately, I feel the book suffers for it.
I only have one complaint about Kieth's writing, but it's a big one: the exposition. A lot of times Kieth has his characters say or think what they're doing, which is something I've always HATED about comic books.
Chris Claremont is a good example of a writer who falls into this trap. He's known for coming up with some of the most well-known X-men stories of all time ( The Dark Phoenix Saga , anyone?), which shows that he has some good ideas--but in most cases, his line-by-line writing is downright painful to read. (The big exception is X-Men: God Loves, Man Kills : my favorite X-story of all time.)
To get an idea of how serious I am here, I recently tried to re-read Claremont's X-Men: Days of Future Past after seeing the movie again, but had to give up because I couldn't manage to power through that painful dialogue--and we're talking about a story that's only two issues long.
So why am I spending so much time talking about Chris Claremont during a review of The Maxx? Well, I once read a comment (possibly here on Goodreads, come to think of it) where a wise reader observed that Claremont just didn't trust his artists: he had his characters explain what they were doing because he wasn't confident the action would come through in the art. I always found that comment interesting, and while reading volume 4 of The Maxx, I couldn't help but think: does Sam Kieth not have faith in his artist? Does he not have faith in himself?
Maybe he's got some deep psychological trust issues with himself--an idea that sounds like something out of a Maxx storyline.
And speaking of Maxx storylines, despite the occasional moments of unnecessary exposition, this volume has some excellent content. Specifically, I loved the issue devoted to the origin of Mr. Gone; that alone is worth the price of admission.
Even though this may seem like a largely negative review, I'm still VERY impressed with this series. Sam Kieth takes his characters to some wonderful (not to mention dark) places and manages to write a story that breaks free of any molds comic books may have established over the years. His creativity runs wild with every page, always leaving me wondering what will happen next.
Make no mistake: 4 stars is still a great rating. But this volume doesn't seem quite as strong as its predecessor, and it's all because of the dialogue.
In previous volumes, Sam Kieth had outlined the story, but he'd had someone else translate that outline into words. For whatever reason, he took over full writing duties here. Unfortunately, I feel the book suffers for it.
I only have one complaint about Kieth's writing, but it's a big one: the exposition. A lot of times Kieth has his characters say or think what they're doing, which is something I've always HATED about comic books.
Chris Claremont is a good example of a writer who falls into this trap. He's known for coming up with some of the most well-known X-men stories of all time ( The Dark Phoenix Saga , anyone?), which shows that he has some good ideas--but in most cases, his line-by-line writing is downright painful to read. (The big exception is X-Men: God Loves, Man Kills : my favorite X-story of all time.)
To get an idea of how serious I am here, I recently tried to re-read Claremont's X-Men: Days of Future Past after seeing the movie again, but had to give up because I couldn't manage to power through that painful dialogue--and we're talking about a story that's only two issues long.
So why am I spending so much time talking about Chris Claremont during a review of The Maxx? Well, I once read a comment (possibly here on Goodreads, come to think of it) where a wise reader observed that Claremont just didn't trust his artists: he had his characters explain what they were doing because he wasn't confident the action would come through in the art. I always found that comment interesting, and while reading volume 4 of The Maxx, I couldn't help but think: does Sam Kieth not have faith in his artist? Does he not have faith in himself?
Maybe he's got some deep psychological trust issues with himself--an idea that sounds like something out of a Maxx storyline.
And speaking of Maxx storylines, despite the occasional moments of unnecessary exposition, this volume has some excellent content. Specifically, I loved the issue devoted to the origin of Mr. Gone; that alone is worth the price of admission.
Even though this may seem like a largely negative review, I'm still VERY impressed with this series. Sam Kieth takes his characters to some wonderful (not to mention dark) places and manages to write a story that breaks free of any molds comic books may have established over the years. His creativity runs wild with every page, always leaving me wondering what will happen next.
August 30, 2025
I didn't expect The Maxx of all comics to be one of the few to successfully pull off such a large time jump, but Jesus. This might be the best volume of the series yet. It's incredibly disturbing and upsetting to read, but also pretty funny and has some really cool characters in the Faeries and Iago. I'm interested in seeing if Julie gets some sort of redemptive arch, as it don't like her character much at all. The issues explaining the life of Mr. Gone/Artie are really upsetting and interesting. It's a genuinely really interesting look into the creation of a villain, and a perspective I haven't seen before.
Between an 8 & an 8.5/10.
Between an 8 & an 8.5/10.
March 20, 2018
The Maxx is a decidedly surreal, emotionally challenging, utterly bizarre series. You open that first book, and you see a big purple guy with a giant claw on each hand battling for his life. You think you're in for a thrilling super-hero adventure. There are even some good jokes thrown in to keep the mood jovial. Then, you're in a story about abused people, mostly women, coming to terms with themselves, their attackers, and their loved ones.
The Maxx has two very clear arcs - the first three books tell the story of Julie Winters, freelance social worker, rape victim and all-around cynic. Her Maxx is Dave, and he fights for her soul in the real world and in Julie's mental "outback." And Mr. Gone operates somewhere between the villain and the wise mage who instructs our heroes. All in all, the first three books are extremely engaging - Emotionally real, and full of intriguing metaphysical and psychological notions.
The second major arc encompasses the final two volumes and deals with Julie's friend (and Mr. Gone's daughter) Sara's struggle to cope with feelings of abandonment (As Kieth points out, where do you think the name Mr. Gone came from?). Although Sara is a much more empathetic character than Julie, I still found the final two volumes less fulfilling than the opening books.
The early books have plenty of interesting digressions and stories detailing our characters' histories, but the side-plots in Sara's story seem much more numerous and constantly interrupt the momentum of her story. There is a point in the second half of Book Five when I wondered if Kieth was simply stalling for time because he didn't know what would happen next. And, in fact, the ending seemed almost tacked on. After all the time spent having these characters face up to what they'd done and what had been done to them, for it to end with a magic reboot struck me as an emotional letdown.
It's a very bleak series at times, and yet there is also genuine charm and funny humor throughout. Kieth's art progresses at an amazing rate. The earliest stories are filled with clumsy designs, many of which work, some of which don't. He also experiments with different styles more frequently in the early volumes, often creating a palpable emotional reaction by doing so. The later books eschew much of this complication and experimentation for a clearer sense of storytelling (without losing any of Kieth's quirky illustrations).
The first three volumes of The Maxx are smart, funny, emotional and imaginative. The latter two volumes are interesting and worthwhile, but not as fresh or challenging as Sam Kieth's first, clumsy steps into the world of Outbacks, lampshades, Isz and freelance social workers.
The Maxx has two very clear arcs - the first three books tell the story of Julie Winters, freelance social worker, rape victim and all-around cynic. Her Maxx is Dave, and he fights for her soul in the real world and in Julie's mental "outback." And Mr. Gone operates somewhere between the villain and the wise mage who instructs our heroes. All in all, the first three books are extremely engaging - Emotionally real, and full of intriguing metaphysical and psychological notions.
The second major arc encompasses the final two volumes and deals with Julie's friend (and Mr. Gone's daughter) Sara's struggle to cope with feelings of abandonment (As Kieth points out, where do you think the name Mr. Gone came from?). Although Sara is a much more empathetic character than Julie, I still found the final two volumes less fulfilling than the opening books.
The early books have plenty of interesting digressions and stories detailing our characters' histories, but the side-plots in Sara's story seem much more numerous and constantly interrupt the momentum of her story. There is a point in the second half of Book Five when I wondered if Kieth was simply stalling for time because he didn't know what would happen next. And, in fact, the ending seemed almost tacked on. After all the time spent having these characters face up to what they'd done and what had been done to them, for it to end with a magic reboot struck me as an emotional letdown.
It's a very bleak series at times, and yet there is also genuine charm and funny humor throughout. Kieth's art progresses at an amazing rate. The earliest stories are filled with clumsy designs, many of which work, some of which don't. He also experiments with different styles more frequently in the early volumes, often creating a palpable emotional reaction by doing so. The later books eschew much of this complication and experimentation for a clearer sense of storytelling (without losing any of Kieth's quirky illustrations).
The first three volumes of The Maxx are smart, funny, emotional and imaginative. The latter two volumes are interesting and worthwhile, but not as fresh or challenging as Sam Kieth's first, clumsy steps into the world of Outbacks, lampshades, Isz and freelance social workers.
November 21, 2017
The Short of It: It's getting darker, more complex, and I'm loving it.
Don't have much to say about this one, at least for now. This volume focuses on Sara(h), the daughter of murder/rapist/super-villain Mr. Gone. We delve into both of their backstories, when they were a family and when they were apart. AND there's a giant yellow slug on the loose!
This volume delves into some dark, dark themes surrounding abuse. I . . . don't know if I fully agree with everything the author says on the subject, but then again, it's being presented as a complex issue with no easy answers, so at the least The Maxx is not pretending to have solved the problem.
The first issue in this collection was co-written with Alan Moore! What a treat!
A couple of typos, skipped words, grammar errors here and there. This is not a well-polished comic, but it doesn't really need to be. What bugs me a little is the lack of world-building. Oh, sure, there's a world that's fleshed out for the central characters, but so far as the rest of the population? Up until this volume, the actions of the main characters (good and bad) have seemed rather inconsequential to the populace at large. Now that's opening up a little. And I think it's enough?
If you've read my other reviews, you know I'm going to recommend this volume, too. But like I said: there's some dark and disturbing subject matter in here, so read cautiously.
I checked out the first three (minus Volume 1) from the library, just to see if I liked it. I have now ordered the rest, eagerly awaiting what will happen next.
Don't have much to say about this one, at least for now. This volume focuses on Sara(h), the daughter of murder/rapist/super-villain Mr. Gone. We delve into both of their backstories, when they were a family and when they were apart. AND there's a giant yellow slug on the loose!
This volume delves into some dark, dark themes surrounding abuse. I . . . don't know if I fully agree with everything the author says on the subject, but then again, it's being presented as a complex issue with no easy answers, so at the least The Maxx is not pretending to have solved the problem.
The first issue in this collection was co-written with Alan Moore! What a treat!
A couple of typos, skipped words, grammar errors here and there. This is not a well-polished comic, but it doesn't really need to be. What bugs me a little is the lack of world-building. Oh, sure, there's a world that's fleshed out for the central characters, but so far as the rest of the population? Up until this volume, the actions of the main characters (good and bad) have seemed rather inconsequential to the populace at large. Now that's opening up a little. And I think it's enough?
If you've read my other reviews, you know I'm going to recommend this volume, too. But like I said: there's some dark and disturbing subject matter in here, so read cautiously.
I checked out the first three (minus Volume 1) from the library, just to see if I liked it. I have now ordered the rest, eagerly awaiting what will happen next.
July 25, 2020
Holy crap, this isn't your grandfather's Maxx! First of all the actual Maxx doesn't make an appearance in his superhero guise. There is a new Maxx who looks kinda different. The story is less surreal and more comprehensible.
This comes with a "Suggested for Mature Readers" on the back in small letters, but really it should say "TRIGGER WARNING - FOR PREVIOUSLY MOLESTED READERS". I was never molested, but I can see this getting REALLY FREAKING HEAVY and not fun for someone who was. Or it might help them, who knows, but at least a warning that the topic is dealt with EXTENSIVELY along with references to rape. Don't get me wrong, I didn't get the feeling that Mr. Kieth was glorifying any of this or writing it to sell more comics, it was just soooooo dark and realistic that it made me uncomfortable while keeping me captivated.
Finally this ends with a cliffhanger and I don't own volume 5, so that's not fun either.
This comes with a "Suggested for Mature Readers" on the back in small letters, but really it should say "TRIGGER WARNING - FOR PREVIOUSLY MOLESTED READERS". I was never molested, but I can see this getting REALLY FREAKING HEAVY and not fun for someone who was. Or it might help them, who knows, but at least a warning that the topic is dealt with EXTENSIVELY along with references to rape. Don't get me wrong, I didn't get the feeling that Mr. Kieth was glorifying any of this or writing it to sell more comics, it was just soooooo dark and realistic that it made me uncomfortable while keeping me captivated.
Finally this ends with a cliffhanger and I don't own volume 5, so that's not fun either.
December 28, 2025
Following the summation of the previous narrative, a guest issue from Alan Moore (which, to judge from Kieth's comments in the letters pages, had little input from him), and a ten-year timejump, we now catch up with Sara, her own Maxx, and some jumbled storylines (I know, it's The Maxx—what can you do?) with Julie's grown son, Mr Gone resurrected and uncomfortably redeemed, and the distinct sense that Kieth—following the series essentially coming to a close with the previous issue—has no firm idea of what he's doing and where he's going with all this (a surmise possibly reinforced by the concurrently published Friends of Maxx series, which shows Kieth pushing into new and more interesting territory, while unable to leave the success of The Maxx behind).
None of this is much helped by the absence of co-writer Messner-Loebs, who clearly brought far more of a filter and a polish to the story than might previously have been obvious.
None of this is much helped by the absence of co-writer Messner-Loebs, who clearly brought far more of a filter and a polish to the story than might previously have been obvious.
August 7, 2018
More surreal stuff, but it's starting to get more grounded in that what it's all about is slowly developing from Mr. Gone. Julie sleeps and steals her way around the country for a while and comes back pregnant to see Sarah and Maxx becoming closer, including with an odd dream sequence in Sarah's head. It's weird and confusing as a whole but it also makes an interesting bit of sense. Very hard to explain.
July 2, 2018
Again, great art but the story is flagging. Too often, characters announce in thought bubbles what they are doing in detail rather than letting it be obvious through the art. The treatment of sexual abuse is, of course, problematic. I'm glad Kieth tried his hand at writing more of this, but he works better in a more collaborative fashion; great artist, unsteady writer.
October 27, 2018
Very hard book to read all about abuse and how people deal with it but with a supernatural twist. Being abused shouldn't be used as an excuse to abuse. Very well done artwork and disturbing dialogue. Thunderpig.
February 14, 2018
This is it — three previous volumes were just the preface to this rich and painful climax. That the main characters don't even matter anymore and the focus of the story shifted while retaining the dream logic and fantastical phycological backstory gives it all the more merit.
Astounding.
Astounding.
May 6, 2016
Out of all the books in the original Image Comics wave, none stood out more than Sam Keith's The Maxx. While most of his compatriots went off to make sometimes successful, but in all honesty mostly by the books, superhero comics, Keith went off to make out what may be one of the oddest superhero comics out there.
I have to admit that it's been a while since I read the first three volumes collecting Keith's efforts, and it was consequently something of a task to get back in the saddle, remember all the relevant character and situate everything in relation to the sudden apparent time jump (by which I mean to say that it is probably preferable not to wait too long between the volumes). However, when I things started falling into place for me again, I really enjoyed the ride.
This fourth volume, collecting issues #21–27 (which include some additional dialogue by Alan Moore in #21 and Kieth's regular partner in crime, Bill Messner-Loebs, in #22-23, skips ahead into the future and leaves Julie Winters and the Maxx we know behind for the most part, and instead focuses on Sarah and the mysterious Mr. Gone.
With ideas heavily invested in psychoanalysis and the Aboriginal concept of dream time, this is unlike any other superhero comic out there, and I warmly recommend you to try (although, start from the beginning, you know).
I have to admit that it's been a while since I read the first three volumes collecting Keith's efforts, and it was consequently something of a task to get back in the saddle, remember all the relevant character and situate everything in relation to the sudden apparent time jump (by which I mean to say that it is probably preferable not to wait too long between the volumes). However, when I things started falling into place for me again, I really enjoyed the ride.
This fourth volume, collecting issues #21–27 (which include some additional dialogue by Alan Moore in #21 and Kieth's regular partner in crime, Bill Messner-Loebs, in #22-23, skips ahead into the future and leaves Julie Winters and the Maxx we know behind for the most part, and instead focuses on Sarah and the mysterious Mr. Gone.
With ideas heavily invested in psychoanalysis and the Aboriginal concept of dream time, this is unlike any other superhero comic out there, and I warmly recommend you to try (although, start from the beginning, you know).
September 30, 2009
Sam Kieth creates such a twisted, darkened vision of the world we live in, yet it is wholly accurate. Injecting The Maxx with equal degrees of realism and fantasy, the story comes to life magnificently. The fragmented, fragile states of the characters is mirrored in the fluctuating artistic mediums used throughout the comics, to create an entirely magical hallucinatory trip for the reader.
As far as storyline, Kieth tugs at heartstrings, bringing the reader to a place not dissimilar to that of Julia Winters or Maxx, or even Sarah. Through the occurrences and lessons the characters must undergo in the book, Kieth does nothing short of forcing the reader to ruminate over his or her own life and hurts. It really brought me to a point of tears multiple times throughout. It's just a beautiful narrative, and the art only works to boost that quality.
As far as storyline, Kieth tugs at heartstrings, bringing the reader to a place not dissimilar to that of Julia Winters or Maxx, or even Sarah. Through the occurrences and lessons the characters must undergo in the book, Kieth does nothing short of forcing the reader to ruminate over his or her own life and hurts. It really brought me to a point of tears multiple times throughout. It's just a beautiful narrative, and the art only works to boost that quality.
November 12, 2012
3.5
This has to be the graphic novel featuring the largest swing, from eh to amazing.
Mr. Gone steals the show. Sara/h I never found too compelling. Interesting, sure, but not always a page turner. The slug was fascinating, and perplexing. New Outbacks allow for new opportunities and interpretations of reality.
As a warning, the Mr. Gone story is not for the faint of heart. It is deeply disturbing, but told well and in a way that can open doors for difficult conversations amongst friends, family, and loved ones. I both recommend it and suggest it be approached with caution by mature audiences.
This has to be the graphic novel featuring the largest swing, from eh to amazing.
Mr. Gone steals the show. Sara/h I never found too compelling. Interesting, sure, but not always a page turner. The slug was fascinating, and perplexing. New Outbacks allow for new opportunities and interpretations of reality.
As a warning, the Mr. Gone story is not for the faint of heart. It is deeply disturbing, but told well and in a way that can open doors for difficult conversations amongst friends, family, and loved ones. I both recommend it and suggest it be approached with caution by mature audiences.
November 28, 2008
I really have no idea what's going on with this one ------ issue 21 starts ten years after issue 20 wrapped up the initial 'Maxx' storyline: the one with Julie and Maxx and Mr. Gone and the Outback, etc.
This new storyline deals with Sara, Norbert (her own Maxx), Artie (Sara's father and maybe Mr. Gone), a giant banana slug, and exploding pink fairies.
Every time Sam Keith answers a question or reveals a secret, he twist the story back around and takes it in a different direction. It gets damn annoying, but can be a clever plot device from time to time.
This new storyline deals with Sara, Norbert (her own Maxx), Artie (Sara's father and maybe Mr. Gone), a giant banana slug, and exploding pink fairies.
Every time Sam Keith answers a question or reveals a secret, he twist the story back around and takes it in a different direction. It gets damn annoying, but can be a clever plot device from time to time.
January 16, 2017
There's a big time jump in this one and I really enjoyed that. Though this volume left me with a lot of mixed feelings. There's some backstory for a certain character that makes me feel uncomfortable. It's really sloppy, but aware of it. Which actually makes it feel more real and believable because it's not perfect and it's not excusing things. It's a mess. But I think that's what makes it work. In other hands, this could have totally turned me off of the series, but it's handled nicely in this comic.
September 24, 2013
I totally adored this. It's one of the best comics I've read in ages. I randomly started with volume 4 not having read any of the series before because that was what the library gave me when I reserved it. The art work in this was just beautiful. The story was surreal and strange and very sad and wonderful. I felt a little confused about what was going on and that was fine. I really want to find the rest of these and read them all.
July 27, 2009
This is so far beyond what went on in the animated series. Every time an answer is revealed, it's a clue to another layer of answers and backstory and vile, twistedness hidden within each of the characters.
Dug this book. Going to the CADL tomorrow to snag the next one.
Dug this book. Going to the CADL tomorrow to snag the next one.
Read
February 19, 2009I really wanted to like this series. I loved volumes 1-3 which was what the mtv series was, but 4, 5 , and I am sure 6 are just too psych 101 for me. And not in a good way. Oh well, it was nice to remember one of my favorite comic book characters.
December 25, 2012
The last volume explains a lot, and then brings up more questions. A truly bizarre trip from the mind of Sam Keith. The origin story of Gone was quite demented, but tidies things up nicely. Things end rather abruptly and disjointed in the last few issues, but all good things must come to an end.
December 4, 2013
2.5
Weirder and weirder
Weirder and weirder
April 23, 2016
More coolness buried in the confusion...
February 25, 2016
i tried reading the next one, and just lost interest......
October 11, 2016
still the best !!!!!
May 31, 2009
Wow. This was a surprise.
July 21, 2012
Review aqui.
Displaying 1 - 28 of 28 reviews