Crumb, with a pair of female fans.
R. Crumb is a Underground Comics
creator best known for Zap Comix
, "Keep on Truckin'", Fritz the Cat
, Mr. Natural
and the album cover for Big Brother and the Holding Company's Cheap Thrills
. He began his career working for Topps and the American Greetings corporation; there, he drew several of the earliest Fritz the Cat
comics and the graphic novel Oggie and the Beanstalk
. He had some work published by Harvey Kurtzman in Help!
magazine, but experiences with LSD
led him to create some of his best-known comics, which he either published himself or submitted to other underground publications.
Some of this work earned him a lot of criticism from other underground cartoonists and social commentators. Works depicting Blackface-inspired
imagery and use of the N-Word
earned Crumb false accusations of racism, even though the comics were actually a satire
of racism, not racist work in of itself. Harder to deny, however, was Crumb's rampant misogyny
: his comics frequently featured women being beaten up and raped, and even enjoying being sexually assaulted. Crumb commentators have associated this viewpoint with Crumb's then-unhappy marriage, noting that after remarrying and having a daughter, Crumb has drawn significantly more feminist-themed material since the 1980s.
Became famous again in the 1990s as the subject of the critically-acclaimed biopic Crumb
, which is similar in many ways to American Splendor
, the semi-autobiographical adaptation of the life of fellow underground cartoonist Harvey Pekar, which Crumb also contributed to. Other artists heavily influenced by Crumb include Bill Griffith
, Larry Gonick
, and (early) Art Spiegelman
Crumb's earliest comics could also be considered an early example of Furry Fandom
, being that he and his brother mostly enjoyed reading Funny Animal
comics and drew these kinds of comics as children.
He also illustrated album covers, the most noteworthy example being Cheap Thrills
(Big Brother and the Holding Company
Most recently, Crumb illustrated a comic book adaptation of the Book of Genesis. In his notes in the back of the volume, the agnostic Crumb points out with some pride that his comic book version of the Book of Genesis contains the whole Book, while most Christian comic book versions heavily abridge it.
R. Crumb provides examples of these tropes:
- All Women Are Lustful: In Crumb's comics, anyway.
- Art Evolution: Crumb's art style has become more realistic over time.
- Art Shift: After Crumb began using LSD.
- Author Appeal: Crumb explains his ideal female body type here.
- Crumb's work is highly personal and deals with many of his own interests, including his love for 1920s and 1930s music and his own sexual fantasies.
- Blackface: This imagery is frequently satirized in Crumb's work, which was ironically accused of being racist itself, even though the intent was actually to satirize racism. Considering American Splendor and his more realistic portrayals of African-Americans (including portraits of blues musicians he admired), Crumb did not use blackface imagery outside of his satires (including "Angelfood McSpade" and the parody ad for "Nigger Hearts").
- Batman Gambit: Mr. Natural uses this, making people even angrier because they realize how predictable they are.
- The Bible: Adapted and drew The Book of Genesis Illustrated. Played straight throughout. Initially, Crumb planned to parody it but found the original text far more stranger, weirder and brilliantly written than he expected so he decided to illustrate it using the exact same words in the text, without alteration for narrative convenience.
- Born in the Wrong Century: Crumb is very fond of the 1920s and 1930s and generally hates almost any aspect of modern life after the 1940s. It's a theme that can be found in his work as well.
- Butt Monkey: Flakey Foont
- Angelfood Mcspade too, hell, most women in his work.
- And let's not forget Crumb himself.
- Creator Thumbprint: Among his non-sexual interests include classic cartoons and comics, blues and jazz music. He has an express dislike for modern-sounding music, recounting that he "fell asleep" at The Grateful Dead and Jimi Hendrix concerts, and thought that certain modern blues musicians would be more appealing to him if they played acoustic guitars, finding the sound of the electric guitar to be intolerable. Crumb also founded a retro-based band, the Cheap Suit Serenaders, which plays 1920s jazz, blues, country, Hawaiian and pop songs, although he hasn't played with them since the late 70s. (Another known member of the band, Terry Zwigoff, later directed the documentary Crumb, and some mainstream films like Ghost World, Art School Confidential, and Bad Santa.)
- Dysfunctional Family: As seen in the documentary Crumb, Robert Crumb is easily the most normal, socially gifted, and level-headed of the Crumb brothers. Think about that for a moment.
- Everybody Must Get Stoned: Many of his best-known Underground Comics were created under the influence of LSD use, which significantly affected his art style.
- Follow the Leader: Though not the first adult comic strip artist, nor even the first underground comics cartoonist, Crumb did become the most famous one in his field, inspiring countless graphic artists and cartoonists to draw whatever they damn well pleased. An entire industry of sex comics, politically subversive counterculture comics and autobiographical graphic novels can be directly attributed to them.
- Franz Kafka: Crumb drew a graphic novel about him, combining comic book adaptations from scenes of his most famous novels and short stories, with analyses of Kafka's own life.
- Furry Fandom: Mostly enjoyed and drew only Funny Animal comics when he was younger; later in his career, he became less interested in this genre, and rarely draws anthropomorphic characters these days.
- He-Man Woman Hater: Many of Crumb's comics were blatantly misogynistic, depicting abuse, assault and rape of women. His portrayals of women got better in the 1980s, however.
- Hermit Guru: Mr. Natural.
- Hey, It's That Guy!!: Crumb sometimes gave characters from other franchises a cameo in his own work, including Goofy, Alfred E. Neuman, Bugs Bunny, The Marx Brothers, Little Helper, Pud from the Dubble Bubble bubblegum comics,...
- Incest Is Relative: One of Crumb's most infamous stories, "Joe Blow," depicts this in father/daughter mother/son variance.
- Jesus Was Way Cool: "Cheezis K. Reist in: Hamburger Hi-Jinx", in which an Angel Unaware learns about the Circle of Life from a talking hamburger and relish.
- Journal Comic: Dirty Laundry, which he co-wrote with his wife.
- Matzo Fever: Frequently references his love of Jewish women in his comics.
- My Country Tis of Thee That I Sting: Criticized the U.S.A. several times, most notably in "Why I Hate the U.S.A."
- Mushroom Samba
- New-Age Retro Hippie: Mr. Natural and his friends are the ur-example. Especially as they were stereotyped as such in R. Crumb's comics before anyone outside San Francisco knew what a hippie was.
- Nonstandard Character Design: Aline Kominsky-Crumb would draw herself in Dirty Laundry, while almost everything else was drawn by Robert. This led to an in-comic argument over her art skill. In a few Dirty Laundry stories, their daughter Sophie drew herself as well.
- Parody: Often, due to the MAD influence.
- Pop-Cultural Osmosis: Even if you've never heard of his work, you've seen "Mr. Natural" and his famous motto, "Keep on Truckin'!!" and other big-footed Crumb characters on the mudflaps of hippie truckers and bikers everywhere. Fritz the Cat is also well known to many people, mostly thanks to the movie adaptations which Crumb hates to these day.
- Rape as Comedy: Another controversial theme in his comics.
- Real Life Writes the Plot: Outside of his parodies, LSD-inspired comics and Funny Animal work, Crumb is best known for autobiographical material drawn people and events in his real life. Crumb also drew some of the artwork for Harvey Pekar's American Splendor, which is in the same vein, although not quite as grotesque as Crumb's often-disturbing depictions of his sexual history and fetishes.
- The Sixties: Icon of the 1960s and 1970s, but broke into mainstream attention again with the movie Crumb.
- Underground Comics: Considered by many to be the Trope Codifier.
- Value Before Reason: Crumb has refused many commercial offers, despite sometimes needing the money, because he detested "selling out" and only took illustrating jobs he personally liked.
- Zeerust: Many of Crumb's early comics are drawn in a style deliberately imitative of old 1920's-1930's era comics and advertisements, right down to the racial caricatures.