Sam Kieth has passed away, but he has left so many stories. Both the ones he made and the ones you had to be there for. Sam was a one of a kind artist and a one of a kind character. Reading the countless heartfelt tributes to him, there’s a lot of both.
I first met Sam after he drew Epicurus the Sage for Piranha Press, a forward looking imprint of DC Comics that tried to be edgy and ended up publishing some really great comics below the radar. Epicurus was written by William Messner-Loebs and it’s a masterpiece, along with its sequel. Slapstick humor about Greek myths and philosophers all drawn in Sam’s incredible caricature style. I probably went up to him at a con to get my copy signed and tell him how much I loved it. I was already good friends with Messner-Loebs so we might have hung out, or I might have called Sam to interview him, but somehow we became phone pals, which was common with Sam. Like many artists of his generation, he could gab on the phone for hours.
When Image was heating up, selling unprecedented zillions of copies, Sam called me. He was doing a book for Image about a superhero named The Maxx – but he needed someone to help with the dialog. Would I like to co-write it with him?
As usual in my life, I went with my gut immediately. “I don’t think I’d be very good at writing a superhero book,” I said right away. “You should get Bill Loebs to write it.”
Of course Sam did, and the first issue sold literally one million copies and Sam and Bill were soon literal millionaires. My one chance at the jackpot and I turned it down! I do know it was the right decision, but I think Sam felt bad and that he owed me one. A few months later he asked me to write some dialog for an issue of the Maxx for a page rate, which is why I’m credited as “Feminist Consultant” for The Maxx #4. My only Image Comics credit!
Sam and I stayed friends after that, we’d talk on the phone or he’d stop by my office and talk for hours until I had to kick him out. He kept trying to do me a solid, but I never held him to anything. As many have said, Sam was a gushing fountain of ideas, some of them seemingly bizarre but they all made sense inside his head. He talked for a long time about wanting to make a movie and he ended up doing that with Roger Corman. Truly an over achiever. After I left DC and became a journalist we didn’t talk as much, and our friendship faded into “those days.” But I still treasure those times.
I’ve been frankly stunned – and shouldn’t be – by the outpouring of tributes to Sam’s work. He was such an original artist, both dark and fanciful in every panel, with storytelling that no one else would dare. Seeing so much of his art I’d really forgotten just how incredible his work was. I guess I took it for granted. The Maxx cartoon was a touchstone for a generation and his artwork influenced so many people. It’s so sad that he was suffering from a cruel degenerative disease for the last few years, and may not have known how loved he was. Maybe he never would have known that – Sam was his own harshest critic, but I think all of this praise would have touched him.
It’s also sad to me that we’re giving another giant his flowers only after he’s dead. We need to make more Mount Rushmores and tributes while our heroes and heroines are still here to appreciate it. Comic history has a kind of weird gap in the 90s – it was a much maligned decade for many reasons, but the comics were great.
Sam was great, a visionary, an artist who saw the world like no one else, and brought us into it to expand our own imaginations. Rest in peace, Sam.
I’m not the only person with tributes, so here are some of them, starting with Scott Dunbier’s official announcement from the family:
On behalf of Sam Kieth’s family:
It is with great sadness that we announce the passing of Sam Kieth on Sunday March 15, 2026.
Sam suffered from Lewy Body Dementia for several years. As per Sam’s wishes, there will be no memorial service. In lieu of flowers, his family asks for donations to be made in his name to either Hero Initiative, Comic Book Legal Defense Fund, or the Lewy Body Dementia Association.
Sam began his career as a teenager. His earliest notable work was as the inker of Matt Wagner’s Mage: The Hero Discovered. In 1989, Sam co-created Sandman with Neil Gaiman and penciled the first five issues. That same year, he co-created the original graphic novel, Epicurus the Sage, with William Messner-Loebs. The following year, he and his longtime friend, Kelley Jones, collaborated on a beautifully drawn issue of the Incredible Hulk. The stunning art in that issue lead to a memorable series of Wolverine stories and covers in Marvel Comics Presents.
In 1993, Sam created The Maxx at the fledgling Image Comics, scripted by Messmer-Loebs. A nervous sort, Sam was initially worried that the series would flop and Marvel would never hire him again. Thankfully, friends eased his fears and convinced him to go for it. The Maxx was a huge success, running for 35-issues plus a couple of spin-offs. Sam (and his wife Kathy) interacted with fans in the series’ letters page, which Sam felt was an integral part of the comic experience. The Maxx was also adapted (using Sam’s art) as a short-lived animated series.
In the early 2000s, Sam wrote and drew Zero Girl and Zero Girl: Full Circle and Four Women. These were intensely personal works by Sam and he was proud of them. If you are a fan of Sam’s stories but are unfamiliar with these, go check them out.
Sam also wrote and drew the mini-series, Batman: Secrets, as well as the Batman/Maxx: Arkham Dreams crossover which, because of the onset of his illness, was his last major work. Sam’s blog, Trout-a-Verse, is still available online, though; go to samkieth.blogspot.com to see some of his art and his wacky sense of the world.
Sam’s family, friends, and legions of devoted fans will miss him dearly.
He is survived by his wife Kathy and his mother, Sammie Robertson.
Matt Wagner: Hey gang…I’m very saddened to hear of Sam Kieth’s passing. I can’t say Sam and I were particularly close but were certainly friendly and he was such a seminal part of my early career as the inker on MAGE: THE HERO DISCOVERED. After which, of course, Sam went on to a very illustrious career as a creator all on his own. In honor of his life and legacy, I thought I’d share this piece of his original art that I’ve owned for years–a rejected cover for THE INCREDIBLE HULK. It was rejected because you can’t see The Hulk’s face…as if there could be any confusion over who’s busting through that wall. We both agreed that this dynamic piece was a million times better than the one Marvel eventually approved. When he showed me this piece at a con and realized that I felt the same way he did about it…he gave me the piece, saying he wanted it have an appreciative home. That’s the kind of guy Sam was.
Michel Fiffe: Sam Kieth. His style was harsh, delicate, bizarre, it was all the things. So rich and unique you can spot it a mile away. He showed us that even when the world tells you otherwise, being different is okay. More than okay, it’s imperative.
RIP
My condolences to his family & friends.
Joseph Mendoza: I was fortunate to know Sam Kieth and to call him a friend. Even though our paths haven’t crossed in a while, the impact he left on me has never faded.
Sam was one of the most uniquely talented people I’ve ever met. His creativity was boundless. I had the privilege of working with him on a film based on his comic book OJO. The movie never made it to release because Sam kept pushing to make it better. Sam hated deadlines since they limited his pursuit of perfection. That was the Sam I knew and respected.
I will always treasure our conversations about dreams, the industry, i before e, future collaboration we wanted to do, and the amazing picture Sam drew for my birthday which will always hold a special place in my heart.
Sam, you will be deeply missed. May eternity give you all the time you ever wanted to create, explore, and perfect your art on the other side. RIP my friend.
Dave Roman: RIP Sam Kieth. His impact on my generation of comic creators cannot be understated.
As a personal aside, I had my first piece of fan art published on the back cover of the The Maxx issue #17. Sure, they got my name and hometown wrong…but for a comic-obsessed teenager from NORTH Babylon this was my first taste of being a published artist. I always thought it was so generous that Sam Kieth not only included a fan art section inside each issue, he also used the back cover to spotlight emmerging artists (whereas MOST comic book backcovers were used for advertisements). And taking things even further, Kieth’s The Maxx comic series also included a classifieds section called “Maxx Traxx” for fans to connect and send messages to each other. I made several penpals through this printed community hub, many of whom were other young cartoonists. I can’t understate how for a young depressed kid from Long Island how huge it was to be able to trade DIY comics with people in other states and even other countries in a pre-internet world! (I know the internet existed but I had barely used used it yet!)
And The Maxx comic itself felt so wholly unique. For a series published by Image Comics at the height of their superhero origins, it was so freakin’ weird! The story was enigmatic, often poetic, with raw, sketchy inked art that sometimes segued to fully-painted landscape that were in step with the masters of surrealism. Comic art that literally broke out of borders with endlessly creative layouys and design. Even the integration of the sound effects felt original!. Everything about it was clearly a singular, handdrawn vision. A topsy turvy fever dream with just enough muscles and punching to justify being shelved alongside the testosterone-superhero likes of Spawn, YoungBlood, and the Savage Dragon. #samkieth #fanart #themaxx #nostalgia
Read more about Sam Kieth on my blog post: https://yaytime.com/blog/rip-to-a-major-comic-influence/
OH God this one hurts. The Maxx was utter brilliance. Sam Kieth shaped a whole generation of comic book readers and retailers and creators, myself included.
Nick Barrucci: Sam Kieth has passed away. It’s a huge loss for the comics industry, but a greater loss to his family. There’s been so much said about Sam from many people in the comics industry, so I’ll just tell some quick stories. I knew Sam going back to his Adolescent Radioactive Black Belt Hamsters work, and then Sandman. He was a great artist. But he really hit his stride with Marvel Comics Presents #85. I was at a Great Eastern convention in Detroit I think, and there was a line going around the corner. I had seen lines for Jim Lee on X-Men #1 and Rob Liefeld on X-Force #1. It was another time that got me thinking, if people are waiting to stand in line for signatures for hours at a time, and this was rare back then, then people might want to pay for signed books through mail order. It was another example and eventually in 1992 I started National Comic Book Services. The precursor to Dynamic Forces. When The Maxx came out from Image Comics I called Sam about signing copies. He was so polite. He said that he would love to, but if he did that, he would lose money because of how well The Maxx was selling, and apologized, which he did not need to do. Another time I was raising money for charity, and I asked Sam if he would be up for donating anything, and he told me sure, and within a week he did a Batman commission.
One of the nicest guys in the industry, and considering his talent, he did not need to be as nice as he was. I know it’s an odd thing to say, but it’s true. And we’re blessed in the comics industry. There are so many great creators, and Sam was one of the greatest. Prayers for his family through this tough time.
Godspeed Sam. You will be missed.
Kelly Jones: Sam Kieth has passed and I’m heartbroken.
Sam’s the guy who got me to go to DC. He got me to do Sandman. He got me to do Alien.And best of all he introduced me to my wife.
I met Sam when we were both 16 years old at a mutual friends house. I knew his cousin from an art class and she said to Sam,”I know a weird guy like you, you should meet him!” and so we did. The first thing he said was I know my stuff is weird, but you might like it because your stuff is too.
I instantly loved his work and him.
Sam was as different as his art.
Utterly unique.
Sam was a shy person who could speak his mind. He had solid opinions yet they were so grounded and well thought out.
Sam and I once a few years later when we were both in comics professionally had a deep talk on how to ink and the philosophy of that craft. It completely changed my approach and outlook .We said on many occasions that talk was a turning point in both our careers.
One of the best times I ever had was doing an issue of the Hulk with him in my kitchen for about a month.We did it as an audition to be the art team on the book. Sam said we would draw and ink together and make something new, but well, we didn’t get it.
But I had pizza,drawing and great discussions that I’ll never forget..
I marveled at this quiet sensitive man attacking a panel or page and I took that to heart.(Sam took scissors to a panel cut it out because it bugged him!)
We then vowed to do Swampthing together, but that to didn’t happen, we were turned down for that as well, but it was ok, we went on and did ok.
I can say this about Sam and I told him this often, no matter what issue of a comic he drew there would be something of genius in that book, something no one else had done before. He cringed when I say that but I believe that to be true.
God rest your soul my friend.
Alex Sinclair: Every collaboration I had with Sam Kieth was an absolute joy for me. He brought so much emotion to each project. He cared. He also was a creator and artists who allowed their fellow collaborators to have freedom and explore. We had wonderful conversations about his technique and approach to each project and what it meant to him. His art!!! SO much energy. SO much emotion. PURE inspiration. I couldn’t help but feed off of it. I am sure all his fans did as well. I will miss you dearly, Sam. Rest in peace, bud. 
Joe Rubenstein: Sam Kieth was doing a multi-part wolverine story where at some point Wolverine got naked. When Sam handed in the pages, there was no effort to cover anything up. The editor pointed out that it was a comic book and he had to hide the genitalia with shadows or something, Sam’s response was, I wish they had made that clear in the script.
Richard Friend: Like a lot of you in the comics community I am deeply saddened and in shock over the passing of Sam Kieth. Sam is one of those rare artists that has such a unique voice you can’t help but be inspired by it. His creativity, freedom, and energy was so uniquely his own. When I would find myself trying to make my own art better (and normally that’s by gathering a small batch of comics or art books with things your own work lacks.)
Sam was always one of those artists for me.
He still will be.
Rest in peace Sam Kieth.
Derf Barkderf: Sad news. Sam Kieth, creator of The Maxx and co-creator of Sandman, one the most unique and fascinating voices in comics, has passed away.
The Maxx was essential reading in the 1990s, a bizarre story about dreams, repressed memories, and buried trauma, disguised as a sort-of superhero comic. Honestly, I can’t explain what it was about or what it meant, but what a ride it was.
Sam died of Lewy Body Dementia, a degenerative disease. This explains why his comics output dwindled to a trickle. He leaves us a modest, but incredible, body of work. What a talent. What a loss.
Safe travels, comics comrade.
Eric Powell: I’ve been a fan of Sam Kieth for a long time. In a world of imitators he was an original. He was one of the creators who gave me hope that you could do your own thing in a 90s comic market that was pretty formulaic. Rest in peace #SamKieth
Erik Larsen: Saddened to hear of the passing of Sam Kieth, a brilliant artist, writer, and all around human being.
One of the earliest artists to jump aboard Image in its infancy. Sam used Mako and Savage Dragon in the Maxx and I used the Maxx in Savage Dragon.
We only collaborated once—on a short story intended for Savage Dragon #100, which Sam bailed on in the nicest way, and I was left with a few unfinished pages that I printed in #101.
He will be missed.
Mark Wheatley: I met Sam Keith when we were all working for Comico. I was working on Jonny Quest with Marc Hempel and Sam was inking Mage for Matt Wagner. We would all get together for parties at Matt’s place in Philly. Sam would ramble on about wild ideas, and I would attempt to understand how he intended to actually turn those ideas into viable projects. It was a challenge. He was better at just drawing the comics than explaining them. But we had fun.
A few years later, Sam started working with Neil Gaiman on Sandman. Sam is really the co-creator of Sandman as we now know it. But he was not happy working on that series. One San Diego Con party, Sam spent a lot of time telling me how Vertigo was trying to turn him into a Bill Sienkiewicz clone. And that just was not who Sam was. The next day, Sam found me at my artist alley table and worried at what he should do. I asked him if he had pushed back on his editors. And he had. They had a good artist inking him, but the two of them had very different styles. The inker was essentially transforming Sam’s work into his own. And the editors were all for it. I pointed out that Sam sounded very unhappy. He seemed surprised to realize that he was unhappy. “What should I do about it, Mark?,” he asked me. I told him he had to figure that out for himself.
About an hour later he came back to the table and told me, “I just quit Sandman!” He looked stunned. “Now what am I going to do?”
Well, he went on to become a very creative and unique voice in comics. And he seemed to be much happier.
A year or two later, he phoned me. He had been asked to work on Batman. They wanted him as artist. But he did not want to draw Batman. He wanted to write Batman. And he wanted me to draw it. Sam was only known as an artist. At that time, I was mainly known for writing comics. In fact, I was writing Tarzan and The Black Hood. “Sam, does your editor know about this?” No, his editor did not. “I don’t draw anything like you, Sam. I can’t see your editor going for this.” Sam offered to ink it. And write it. I told Sam I thought he was crazy. But if the editor went for the idea, I would try to work something out with him. And that evaporated.
Sam did a nice cover for me for Blood of Dracula, and an 8 page story.
At a later San Diego he had a hit TV show on MTV. And he was in line to direct some live action shows. He was hanging out with me and complaining that they would not let him direct the series he liked. They were asking him to direct a Hercules or Zena episode. I pointed out that he had never directed anything. He had to start somewhere. But he wanted to hold out for a plum assignment. This was pure Sam.
Sam was unique. He was laid back, intense, anxious, confident, funny, spacey, passionate, unexpected – all at the same time. He was my friend. He will be missed.
J. Scott Campbell: I join my fellow colleagues and comic book fans in our community in mourning the loss of the immensely creative artist Sam Keith. Sam had a distinction he was probably never aware of. That of being the very first working comic book professional I ever met and talked with. It was at a small comic con held in a Holiday Inn ballroom in Denver, Colorado, with a handful of dealers, and he was the talent flown in to anchor the event. I was thrilled to go meet the up-and-coming superstar, hot off his explosion in Marvel Comics Presents, drawing Wolverine. He couldn’t have been more gracious and accommodating of a young guy like me talking his ear off about what pens he uses, what it was like drawing for Marvel Comics, and who knows what else. It was only a short year or two later that I was in the comics business myself, but early interactions like these were monumental in giving me the confidence to pursue a career in drawing comic books.
I, strangely enough, don’t remember ever running into Sam again after becoming a working artist myself, and I doubt he was aware that that kid who chatted him up in Denver actually did break into comics and did quite well for himself. But I continued to follow Sam’s work as he transitioned into his personal creation, The Maxx, over at Image. I always loved Sam’s combination of strange whimsy mixed with hyper detail. His work also served as an inspiration to create art and ideas that were true to oneself without having to follow any rigid rules. That you could get a little out there and even crazy sometimes, and the audience will come along.
It’s been many years now since Sam has been actively drawing, but I highly encourage you, if you haven’t been exposed to Sam Keith’s work, to find his brilliant run on Marvel Comics Presents and his creation, The Maxx. You’ll be so happy you did.
*I included my artwork of The Maxx from Gen 13 #13, which was a thrill for me to do at the time
