Sam Kieth

Like, it's such great.

I really wish that American animators... would take a tip from fucking anime people in terms of adapting comic books and shit for animation because it's all right there yeah it's like what sam keith did with the max which we talked about a couple episodes ago i think rip sam keith very sad yeah i was gonna say years ago

started and then i told you he died and then it just yeah and then it tapered off i got sad

but But yeah, so the Max was just exactly like taking the comic and animating around it.

Dude, it was so like you couldn't it would be hard to complain about that adaptation other than the fact that the ending is so different than the ending in the comic.

That story arc.

It's like the show makes so much more sense that the way that the show ended the arc makes a lot more sense than how Sam Keith ended that first 20 issues of the comic.

In One Piece, there's a lot of fights where I'm just like, man, I can't wait to watch this be animated because I have no fucking clue what's happening in this manga.

And so not that there wasn't creative stuff.

I remember Trencher, Sam, Sam Keith had done Trencher and I mean, Sam Keith had done the Max and, you know, there was a lot of really cool kind of second wave books that had come through and So, you know, that was kind of done.

But from my perspective, it was like, could a guy that's never really done anything like this before do it? It was kind of a challenge for myself.

And so that was the goal.

Great anthology that Kevin Gardner puts out at 12 Gauge Comics.

Every story is about this 1968 Camaro.

Same car has to appear in every story.

That's sort of the rule.

Mm-hmm.

Sam Keith was doing a lot of the Wolverine ones at the time.

Uh, Sam Keith at the max.

Yeah.

Uh, and s-

Okay.

And she originally pitched this idea to a couple of artists, one being Sam Keith.

Okay, Max Crater.

Yep.

If you ever...

There's by Sam Keith, Art Spiegelman, Daniel Klaus.

I mean, if you ever find these in a baggage you've been...

It is totally worth it.

You go first.

Sam Keith.

He did

Wolverine?

But, you know, but besides Alan, you know, Warren Ellis really, you know, did what I consider to be his best work ever, Planetary.

And then Sam Keith, you know, Ed Brubaker on Point Blank and Sleeper.

You know, so much great stuff went on at Wildstorm.

I mean, It's remarkable to me looking back how much wonderful stuff there was.

If you're a new listener, the way this works is I pick out three DC titles for a given month, and then I invite two guest hosts, one to pick three Marvel titles, and one to pick three indie titles for that same month.

The only rule is the titles we pick must be comics that we actually pulled off the rack in that given month no back issues years later but comics that helped to shape our comic book collecting all the way through to the comic book collectors that we are today now sometimes you may hear an episode where i'm not the dc guy once in a while i will fill in the marvel slot But I definitely can't really fill the indie slot, probably not for a number of years, because I was still getting my comics, especially in 1983 and 84, from my local corner market, which was called Sam's, and they had an amazing spinner rack, but it was all Marvel and DC, as far as my recollection goes.

So yeah, so I am primarily the DC guy and then I'm always looking for a Marvel person.

and then an indie person as well.

The Marvel selections this month of September 1983 are Fantastic Four 261, The Search for Reed Richards by John Byrne, Power Man and Iron Fist 100 entitled Soul Games by Kurt Busiek and Ernie Chan, Inks by Mike Mignola on that one, And What If 42, What If the Invisible Girl Had Died, written by Peter Gillis and Ron Friends, under a Michael Golden cover.

And finally, the indie picks off the racks this month.

Comico Primer No. 5, featuring the first artwork of a very young Sam Keith.

Mars No. 1 from First Comics by Mark Wheatley and Mark Hempel.