See a ee oe nr Pee roar es [Pamphlets or third-rate book covers, or sign-painting. Only ime will tell... don't think I've produced anything that on eee ah eens Ea eee tes the heart and soul in physical terms. So many things get es Ne ence ek ee ea iy Ce See eg kee te un) soul in physical terms" remains as difficult a challenge ae ee a eee ee eae PO ea en eee se ker eR ee ee ‘exhaustively and definitely It runs up some strange paths and a few blind alleys; but, taken all together, it traces Ce eet ee eRe Ree cee ed Ce ee ear Pee eee ae RCS ‘duty with the Marine Comps. During World War Il, Robert Re a ee RN Su ee ORCS ee et cali ec Rt aes cone ‘The Crumb kids’ play ran to acting out stories rather Cr Mee ae et) factor, emerged as the leader. They collected marbles, ccanls, spools: “I would draw faces on them and give each spool-man a face and a personality of his own. .1 had Pea iene ese ssc aean eee ee ean a os ee Ce a a large part of my childhood. Then, of course, the com: cea For the Crumb kids, comies meant Walt Disney. Charles in particular was totally steeped in the Disney mythos, and at his instigation they acted out their own Disney-type movies and made their own Disney-type comic books. The model was Wilt Disney's Comics and Stories, which at that time had a circulation of to million and featured the classic Donald Duck stories of Carl Barks. The “home made comics” produced by the Crumbs ee ee Reed) ‘notebook paper (later on plain white typing paper), folded Cn a eo ee eee with string. Some comics would be produced entirely by rec eer ee cree ated drew Animal Town and Funny Friends, featuring Fuzzy the Bunny (who became a kind of alter ego), Blackie the ee an car Se emt nea ris Rober’ first complete comic (1950, age 7) was Dif in Shackiown, using a mouse character and obviously in- spired by Carl Barks. He turned out an issue of Brombo eae an ee aes the kids had their own books and characters: Fanny Funnies with Campfire Clown, Maxon STU a scan ny eat etre) Continued on back flep—ud COMPLETE CUNT:wba aOy Pia CUM 4 THE EARLY YEARS OF BITTER STRUGGLE ted by Gary Groth with Robert Fiore FANTAGRAPHICS BOOKSFANTAGRAPHICS BOOKS 1800 Bridpepate Sut, Suite 01 ‘Wiestake Vilage, CA 1361 Design aad art diestion by Dale Crain Production assistance ty Audu Paden and Coco Shinomiya 'y Linge M. Gorell Color separations by S°M Graphics Gary Groh and Kim Thompson, Publishers ‘Special hanks o Jy Lych, Doaald Pie, and Mery Pa Invoduction © 1987 Marty Pahl Back cover paintrg © Aline Kominsky ‘Repo from the Brosels World's Far” "My Encounter with Dracula” "Clod of the Month Avard.” “Khrushchev Visit US." and "Noahs Ark” © 1980 Ruiter and Charles Cromb ‘Cat Life" © 1978 Robert Cras All other contate © 198) Rober Orsmd. ‘All sights reserved. Permission to quote or reproduce material for reviews oF nates unt be obmine fom Fantagraphics Books, ne, in writing, a 1800 Brdgceste Se, ‘Suite MOI, Westlake Vilage, CA SGI First Fantrophies Books edition: October, 98. PPaas 67 89 0 ISBN (ott): 0-920199-4233 ISBN hard): 0-920193.431 Printed inthe US.A.CONTENTS Introduction by Marty Pabls .. Report from the Brussels World's Fair (Foo #1, September 1958) ‘My Encounter With Dracula (Foo #2, October 1958)... Clod of the Month Award (Foo #2, October 1958)... Khrushehey Visits U.S. (Foo #3, November 1958) Noah's Ark (Foo #3, November 1958)...... ‘Treasure Island Days (1959)... Cat Life (September 1959 to February 1960)... Robin Hood (March 1960)....... Animal Town (March to April 1960)... Fuzzy and Brombo (1960) Cover Section. . Letter to Marty Pahls (Jure 22, 1959) Letter to Marty Pais (July 9, 1959) Letter to Marty Pabls (uly 22, 1959) R. Crumb Almanae (August {, 195) Arcade #4 (May 1960) Arcade #§ (June 1960) Arcade #6 (July 1960) 83-90 A Christmas Tale (December 1960).. ‘One Page Strips (December 1960 to May 1961)..... cesscetsaneesense DS Animal Town (May 1961)... Animal Town (June 1961) 110 Animal Town (May 1961 to June 1961).....s.ecss ees cece ‘Mabel (June 1961). 123 A Sad Comie Strip (March 1962)...... oldRight Up To The Edge by Marty Pahis Sometimes I think 'm America’s wer 10 Leanarde da Vinei or Shake- peare. Then, when T'm in a sensible n00d, it stems 11) end up doing filler llustrations for pamphlets oF third-rate ppocket-book covers, oF sign-painter. Only time will tell. ..L don't think I've pro- duced anything that has expressed what ‘cel to the fullest extent yet. Perhaps [never will...1's extremely difficult to express the heart and soul in physical rms. So many things get inthe way." In fact, the high-school senior who wrote these words on February I, 1961, sent on fo be compared with immortals, well as (0 paint signs and do filler ilus- ations, And Robert Crumbs quest 10 ress the heart and soul in physical s” remains as difficult a challenge for fim now as on that long-ago day. ‘The struggle has taken some strange ‘wists and tums, and, as he foresaw: many 128 got in the way. The collection of rum’ work that begins here follow that il exhaustively and definitively. t runs some strange paths and a few blind lcys: but, aken all together, it races one f the most fascinating careers in Amer -'s popular ans, Robert Crimb was born August 20, 943-"the bloodiest year” he $338, “in fe history of mankind.” His Minnesota- bom Sather, Charles V. Crumb, was on ve duty with the Marine Corps dut- 2g World War Jt. Robert was born in his other's home town of Philadelphia, He was the middle child, Carol was born in 924 and Charles in 1542, and Maxon and Sandra would later complete the family. Charles Sts English and Pofish fore were “dirt farmers, . solitary according to Crumb, but on his wher Bea's side they were typically can Irish and very much a part of the * Unless otherwise noted, all quotes are on Cromb’s letters 10 me, 1959 J962 | West Philadelphia neighborhood scene. Charles Sr's assignments took the family to such places as Ames, Iowa, and Albert ‘Lea, Minnesota, during the’ 1940s, but they always seemed (0 come hack 1 Phil adelphia, and it was the old brick streets, brownstone buildings, rating trolley cars, and colorful characters that frst impressed. Crumb with the richness and flavor of ‘America's vanishing past. ‘The Crumb kids’ play ran to acting out stories rather than sports or athletics, Charles Jr., a natural mimic and actor, emerged as the leader. They collected marbles, cards, spools: "I would draw faces on them and give each spool-man | a face and a personality of his own...[ | had a regular litle spoo! society going for bout four ar five yeas. . Charles did the same thing with blocks, making it up as ‘we went along. . This pastime dominated, a large parr of my childhood. Then. of ‘course, the comies came along...” ‘colored by erayon, sometimes bound with siting. Some comies would be produced | entirely by one child; others would be | collaborative efforts. Charles drew Animal Town and Funny Friends, featuring Fu- zy the Bunny (who became a kind of alter {f0}. Blackie the Crow, Donny Dog, Mar- duke [sic] the Monkey, and many others. | Rober'’s first complete comic (1950, age 7) was Diffy in Shackiown, using a mouse character and obviously inspired by Car Barks. He turned aut an issue of Bromo. ‘the Panda every month from 1952 0 1958, For awhile, the other kids had their own books and characters: Carol did Funny Bammies with Campire Clown, Maxon zy Wiczy with Jerry the Octopus, San- graBiac Eyed Suesan {sie}. But none of the others had the commitment, or obses- sian, of Charles and Robert,’ and their “Animal ‘Town Comics Club soon lapsed. ‘There was plenty of inspiration on every For the Cramb kids, comics meant Walt Disney. Charles in particular was totally steeped in the Disney mythos, and at his instigation they acted out their own Disney-type movies and made their own Disney-type comic books. The model was. Wal Dismes's Comies and Stories, which at that time had a citeulation of (wo million and featured the classic Donald Duck stories of Carl Barks. ‘The “home-made comies" produced by the Crumbs were one copy, generally ‘lack and white in pencil on lined notebook paper (later on plain white yp: ing paper), folded over ty S14" x 8°, newsstand to encourage two such budding. “eoinic moles” Neither Crumb was inter- ested in super-heroes, whose “Golden ‘Age” was at any rate a thing of the past by the late 1940s. But this was truly the sparkling era for children’s comies: be- sides Comics and Stories, and Barks's Donald Duck and Uncle Scrooge books, anima) funnies were cranked out by the millions from virtually every comics publisher. Charles developed an affinity for Terry Toons (Mighty Movse, Gandy Goose), particularly for the unintentionally bizarre characters of key Terry anitnator ArtBasch, Roben's special fivorite was Walt Kelly, whose “Pogo Possum” appeared monthly in Dell's Animal Comics, as well as in falllength one-shots several times a year, before siarting as @ newspaper strip in 1949. “have an annual that came out in 1953 with reprints of Pogo stories in it, and an Albert and Pogo comic that came ‘out in 1946, This is one of my best comics ‘The early issues were the best. ..Yes, the fact that Okefenokee isa unique litle society in itself contributes a great deal to the charm of Pogo, and ao the fact that this lake sociery represents the so-called ‘American way of life—such characters as BT. Bridgepon, the circus man, and Deacon Mushrat are representations of ‘American characters. ofan era and its ati- ‘des. ..This aspect of Pogo holds great appeal © me. ‘Crumb’s ultimate tribute o Kelly was hhis most ambitious project yet, The Hey Diddle Book. This was a real hardbound, blank-paged book—a convenience be uses. for his sketchbooks to this day. He also inked these drawings (using 4 fountain pen). The format, which alvernated comic strips, headings, and incidental sketches, ‘was similar to that of Kelly's Prentice-Hall paperbacks (Actually, we got the idea from the Pogo books"). Be fe Kelly, the young Crumb was instinctively anracted 10 an older, more colorful America, one whose traces were still plentiful in the late 1940s and early 1950s, but which was rapidly being pushed down or buried under by the post: ‘war chrome-and-gasoline Atomic Age. At some point he also discovered the earlier graphic styles: the elaborately detailed backgrounds. studied poses, and inmumer- able shading lines of the turn-of-the-cen= tury humor/political weeklies, such as Life, Judge, Puck. "God, these Pucks are beautiful! What I've always looked for in ‘cartoons I found in them. . The covers and centerfolds were always colored pol- itical cartoons. ..Some of the covers and ‘center spreads are beautiful... Mostly by ‘Opper or Keppler. ..Charles doesn't care rnweh for thera. He thinks they are gro tesqve: AAs the brothers’ skill increased, their tastes and styles diverged. Charley’ hard, confident pencil line was 2s clear and decisive as anything in ink. Roben’s approach was softer, sketchier, more wenta- tive, hesitant. (F something didn't come right, he crased and tried over ‘Then a new publication and a whole fnew approach, struck them both with equal force: Harvey Kortaman's Mad CROQUIEE PED so comic book. Like scores of future ca toonists all over America, the Crumbs found something fresh and liberating the four-color parody of Amer! movies, comics, television, commercials and folkways. as delineated by artists Bil | Elder, Jack Davis, Wally Wood, and Joh= Severin (pls, occasionally, the oxrageos= Basi Wolverton). Part oft asthe super> art, part was the humor—these com swore acualyfnny-—but part oft had © be Med’ ativude. The Crumb brother ‘were approaching high-school age with their ingrained isolation, alienation fc their family and schoo suroundines, = Bxation on a pevate world of their ow Maas hilarious pu-down of 'S0s overs and conformism was something they tr imon at once. For the first time, it was not nou simply to draw replications or emblstions of Disney, Kelly or Terry Staring his School in Mitford, Delaware (whieh o> cm described as “jus like Kuramans Romtemville), the brothers decided 10 publi” By the late 1950s, Kurzman 204 cre= had split From Bill Ganes's EC Publice tions and were publishing 3 small, comic book-size, black-andawhite humor mace zine caled Humbug. Humbug emphasize the fineline shading and other old-time Cartooning conventions tat Robert ives with "their own Humbug.” Robert and Charles expected t0 sell enough copies within the high school to make a killine {ora least to finance contincing publics tion ona monthly schedule). Seed money tame from the brothers 1958 summer doing visual ais at Latex Corporation in Dover, where their father worked. Prin ting was done on an eady-model Xerox at Latex, and the ttle was eatchword from Bil’ Holman's “Smoky Stover comic strip: Foo ‘Then care the le-down. "Nobody at school would buy them,” Rober sid ‘We sold five copies” So, gathers armloads oftheir home-cooked stir. Crumbs headed for the housing. ts around Milford and sold them doort door, kiting dubious housewives that vas “a school art project" Even ai 1S Cents each, the sledding ws rou ‘Unexpected help came when the bot ¢rsand comics fandom, such a it was in 1958, discovered each othe. Through in temive correspondence ad. occasional pigs in EC comics or flumbuc a fox publishers of fanzines or ensata-Ktstzman Amateur satire magazines were discover ing each other's existence, and trading or telling minuscule press runs of Tre Con plete EC Checklist Fred von Bernewit2) Faamic Goel Mose), Ecch (Ken Winte Spoof! (Doug Brown), and. Farfarsnyself). Soon Foo was part of this net ork, and the “egoboo” and admiring let f= fiom other Mad-and Humbug-addicts not the nickels and dimes) encouraged Crumbs 10 go on Somehow they located a multilith press = a Milford garage and the owner turned wt Foo #2 and #3, 300 copies af each, S32 pee (paper free). Reproduction of had been marred when their heavy pen: ing buckled the light tracing paper they sed, resulting in white “bubbles” im the Seckaround. Multilith, plus careful ink sg, improved the way #2 and #3 came But nothing, it seemed, could im- ve sales at Milford High, and nobody connected with the enterprise had a taste = the door-to-door struggle. So #3 was Se final issue of Foo (1 stil have the un eblished covers to Ad and 5). Years later others burned unsold stacks of this sow-rare collector’ item in dispust. Wha’ already apparent in “Report som the Brussels World's Fais” Roben's Sest published story, is a motif that con wes in his work to this day: The familiar sespectacled figure of R. Crumb, at the ester of the things, speaking out 10 us Som between the panel frames, interact: with characters in the story, explain sg and reacting as events develop, and variably winding up the worse for wear however, more self-conscious “ in these earlier series, ooh in Crumb’ self-depiction and we Kellyesque “colorful characters” sho fill the backgrounds and make up the ling mass of figures in the mob ‘The influence of Nast, "Davenport #, Kemble, and the other artists from be carly politica/humor weeklies is sent, couched in the conventional anti- communism of the time, in the “Clod award” and "Khruschev Visits US” "My Encounter with Dracula” isa blend of the time approach to pen-line shading and Sortzman's own lessons in staging and soryielling. (Notice how each panels son and background serves as @ frame = the white face of the “Pcharacter: xy sophisticated handling fora Hyear areata imo thei selE-imposed isolation, semaining in touch with individaal com- + fans through letters and sporadic con butions t Frantic, Bech, Gam, e alia. Az the end ofthe 1950s, the ranks of fan om were few, isolated, and (seemingly) inking: nabody foresaw the "Silver Age” the retum of super-heroes, oF the cargence of interest in comics to come = the ‘606, "70s, and "80s, ‘With prospects so gloomy for any Kind publicly-published magazine, the broth- rs began collaborating on private “two~ man comics” one-copy, pencilled fe- tures. usally drawn’ into cardboard- backed composition books. Charles and Roben would leer dialogue balloons and draw their own characters each ofthese “cues” would be answered ty the other, draving a cferent character and respond ing with dialogue that coried the situa tion on from there, improvising a sory line as they went along. Re Crumb Almanac and Arcade were the umbrella tes for the books; “"Trestury Island Days” “Animal Town” and "Cick and Bob Comics” were among the story features General sory lines, directions of dix logue, and bils of “business” might be discussed briefly before drawing, and | backgrounds wold bs filled in later by whoever fel particularly. ambitious Sometimes the costal dialogue “cues stopped for awhile while Robert or Caries would spin out on & more oles “slo” passage involving one oF two of their characters. And covers were geneal- ly pencilled inked, and colored by either Rober of Charles. But part of the 160- ‘mans fascination was the element of sr- prise: one brother spontaneously “top Ding" he other, palling a fresh plot wise Out of at and springing it wih dramatic effect. "Your ove, chu” There were few other outlets, “The school here has found out I can dea” | Roben reported in 1959, “and, lke a | every olher school I've gone to, they've | Nooded me with stuff they want done. Blletin board stuff, poster, paintings, drawings. After this Boes on fr awhile. they start thinking you're a drawing machine, and ean tur outst ike a Printing press firas out newspapers of Sumpin: «A thankless job, is, Bul good experience” |) without it we High school was daily agony for Rob- cet: boredom coupled with social and sex ual frustration. He had no discipline for for interest in academic studies that the grownups thought were so important, skidding along with a “C” average. And the gap between his four-eyed, skinny, uncoordinated, hypersensitive presence and the typical teen-ager of the American ‘Bandstand ers seemed unbridgeable “don't know where the teenagers get the idea that they are rebels. J often ‘wonder if many teenagers today stop and ook around and ask themselves. why [they] are doing certain things, asking ‘what makes them act the way they do. Don't they want to be individuals? I don't know hove it will affect the future of the ‘country. Easy (0 spot just below the surface was intense, barely-concealed sexwal need, jealousy, and rage: “the teenage fad is really reaching extremes. ..Songs like “Teen Angel’ (ruther), the magazines going completely sick over Fabian, Frankie Avalon, and the rest of those ‘puppets. ‘Thave a deep and sincere love for Fabian! says this girl in Sixteen magizine, ‘Would he ever date anyone ‘who was not world-famous and sho h never heard of? It's so stupid its funny’ Thinking about girls only led Cram into endless cycles of futility. He tried 10 | sublimate his feelings: ":.. ve never got- ten clase enough to any girl o judge what kind ofa relationship T want. Sometimes T think it is better to love them in your heart. It is sweeter, purer that way. Get ting involved drags in social obligations, conflicts in personality, and such. I think Lam learning to love froma distance and be satisfied with it, in fact, better off But, really, Robert was fooling no one with this line. least ofall himself, He andCharles trashed ou ther problems ané frustrations n endless picsopical, ren istic discussions. This ultimately ed toa teak with their Catholic past ‘Carls and Ihave dropped outof the Church. ak tk Tiva shame, tia Sinme, = esd tobe soch devout Cathe lis too! But, the time has finaly come then we ve decided to break off the Binds x tradivon anda. Tm Kind oF nine to fee ply bat ity bu realize t's Because al my hie its been drummed ine to me that fll anay fom the "ue Chutes is o go corrupt and become ste fe” ‘Nov only the gut, bat the whole scent ch rosewinduned raysique of Cao {Gsm clung to Cram evens he sought to escape it, and Hs aa wil clings ke 1 residue (6 much of his work. "= My memories of the hutch are pervaded withthe gloom and solemnity of 1 fad kindof fear for all the priests and nuns when Lvs aki, ‘Tey wete 30 pious, so solemn, someimes almoat not human, "went 10 « Catholi schocl in frst ‘grade that was extremely gloomy. . . It was. tn Philadephia. One of those typical fda, bg cy schools. All he nuns were mean. ..We had to wear starchy tie shirts and ies every dy. The fist grade had ts mass down inthe basement, Sith only wooden boards for pewt—my nes alas killed me afer mats. 1 Was always afraid some nun was going to ounce on me and beat me 0 death. “Cater on when I started to become avvare of all heir traditions and cere tonies, Iwas despressed, But yet fasc- ted, by the medieval atmosphere about Hall The songs, he pret ongan msi the old sutues, Ove desig on the res tf be press, the procession, the inense, the chan at high mass.” Much ofthe Complsivenss, parang, and laustro phobic atmosphere of Crumb’ more ob essed work comes stright fom this easly dod inmate exposure tthe Catholic Chureh Religious paranoia wasa' the only brand of paranoia around, The ‘Ss seem tohave ben some kindof American igh Sate nat for a sentain haunted pbc) desperation; and Crumb, antennae ever Sense, picked up on this too! Everybody around this towns runing around ikea chicken with ts head tof predicting the all-out war hat seems be fnthe nea fire, ana how millions wih Cie and weld eter wake op and the ter ible communists and the yellow horse- then’ ae going to kl all the women, old people and cildren, ad make slaves of the rest, of that civilization will be wiped om With input like this, the content of Abmanae and Arcade gradually changed fiom the light-hearted animal antics of carlice years to stories that flashed very smixed signals: one foot sill in the Disney/kelly camp and the other pointing towards what we now recognize as “irue Ceumb" “Treasure Island Days" is a prime ex- ‘ample of the direction the 1wo-mans were heading. Originally, this feature steramed from Charles’ fascination with the 1950 Disney live-action movie version of the Robert Lovis Stevenson classic, partic- ‘ularly with Robert Newton's performance as Long John Silver. During the Crumb ‘kids play-acting sessions in Oceanside, California, Charles woold improvise & three-cornered hat, strap up his leg in fair imitation of Newton's fake peg, and don ‘an old coat of his mother’s (0 lead the ‘others along the sand for buried-reasure routines ‘The Crumbs began by embellishing on the movie's established characters (partc- ularly on Silver) for their stories. The squite, the dactor, Jim, George Merry gradually became typical products ofthe brothers’ skewed imaginations, with all the digressions, asides, mugging, confu sions, chieaneries, and mendacities of their animal eeations. Then Raber added a character tothe “Treasure and Days” ang who was 100 percent pure Crumb. | ‘Mabel, sometime prsttue, barmaid at Miss Puriy’s inn, and litle Jim Hawkins delight and torment, has to take pride of place us the fist "R. Crumb girl” As time ‘went on, Rabeet grew less and Tess inter- sed in the pirate aspect ofthe strip and mote and moe interested in concentrating on Mabel’ atsibutes. The stores became “©. Jim and Mabel, modecn-day...The fpemat i now this: Miss Purity is busy in the kitchen. . Jim sees the image of his dead mother, who died when Jim was only ‘our oF five, in Mabe | “Jim goes to a Catholic school called St, Christopher's. His main childhood fiends are Eizabeth Strong, the daughter of @ wealthy businessman, and Jeffery Malcolm, who comes from a lower- middle-class family. Elizabeth is in love ‘with Jim, mach to Sim's bewilderment So far my comic stories about these char- ‘acters have been rather ineffective, but, Tike Tsay, iF T tick ati, 1 think it wll improve." The sketchbook drawings of Mabel are evidence that he di stick ati, and seems to have gotten lot of pleasure out of the practice, Frequently Charl ‘would pick up the completed Arcade and | pencil in a frther drawing of Jim Hav: kins cavorting ever, under, or around Mabel’s beloved bulk. ‘About the time the Crumb fami moved 10 Dover, Delaware, in 1959, anothes familiar denizen ofthe R. Crumb constellation makes his first appearance — under encther name. “Cat Life” was & “ealistc” treatment of the comings and goings of the family’s and neighbors’ troops of cats; part of its rationale was to entertain (and also tesse) Sandra. Robert based the story around Fred, but as the character evolved, began walking upright, and assumed his perennial con-man stance, the name of another eat, Fritz, attached itself 10 him. In “Animal Town (March 22 {0 April 3, 1960):" Fritz is stil @ long. way from being “X-rated and animated: but he's already a match for the bucolic likes of Charles's Puzzy ("Harry") (“One hundred bucks or th’ sheriff") and frav. Their ‘encounter moves much like a Lave) and Hardy short, with pleny of time 0 takes, oublevakes, and doubleeress, and a fr midable no-nonsense Miss inthe offing, Midway the story switches to an adven- tore plot, with Fritz completely heraned inby Blacky Crow and Charles's other ev characters, The robot array, activeted by 8 burton you carry around in your pocket snd programmed to tip enemies ino sinall pieces i atypical Charles touch—portic- ularly wheo the perpetrator of mayhetn winds up the victim through his own brutal stupidity “Cat Le," which is all by Roben, also changes in tone halfway through, leaving high-jnks to presenta wild and threaten- ing landscape when the sun goes down: “Now's the time when vs cats lose our tame, human-traned ways and go into our own cat world, which humans aren't a part off Snicker! This same air of stating out innocently on an adventure, falling into 1 threatening background, and finally running in panic from the uncontrollable forces let loose is a constant in Cramb’s later, longer Fritz tories, right up to the famous moment when he's offed with the icepick. ‘Toward the end of the brothers’ two-man collaboration on animal comics, inspirs- tion began wearing a bit thin. “Robin Hood" looks like it was conceived hope- fully asa grand production number. Fritz as Errol Flynn as Robin Hood suggests ‘endless possibilities for satire, pratfalls, and adventure on many levels. But the story goes nowhere and falls apart after relatively few pages. Note how Charles begins by doing the cues for his characters Fuzzy the Bunny, Blacky Crow, and Nero the Pig but, by the last page of the story, he has lost interest and given up, leaving Robert to draw Charles's characters and we, PAY Wim NO MIND, ICcone ON, we{ Wei, ENOUGH FoR INTERVIEWS... “| HERE COMES THE STREETCAR. THAT “TREES US TO THE WORLD'S FAIRY EVERY BoDY (5 STARTING TO BOARD THE ST— (volt! >... TH THERE'S fA BIG CROWD HERE, FOURS... (mone UNE A m8! > ase ic SOME PEOPLE ARE STRUGGLING > XO GET OFF THE STREETCAR.... } AS YoU _CAN SEE, THINGS ARE i = See {SS SUE S'S QUITE & STATE oF Con; fered SY — TO SEE THE FAIR, BIT “WIS STIUANION 1S BEYOND FUSION} Good LORD ! THE PUSHING, CRUSHING moS HAS WEIGHTED Down’ OW THE STREBTCAR OO MUCH, IT Feu ovegy OoThe Complete Crumb Comics wen , 32 GUESS \wE'tL PAVE TO WALK To THE FAIR NOW, SY EIFAL TOWER, THe GRAT- 0dPS? WeoNG WORLD'S FAR 2 ANYWAY” THERE'S TH GREAT aTomIym , WE FIRST “THING, ne cee AS WE Bate wo 4 1S NDOT OF MANY LANDS? a F NES (CRN SEE IT now, TED 1 | SYMBAL oF THE car | E YW | “3 ” etal is, THE ote eee EPP ATOM UM, THE SYMBALS os Eapetsn]( of what THE ATomic wi] | ASE OF THe FUTURE HioLos, | WAR YAK ETC. ETC.) aesTHERE'S hk HUNGRY SORT OF A CROWD AROUND INE RESTAURANT OR WHATEVER, (Owe wigm AS WEL | go OVER AND TRY. TRY,S SAYe+- | 7D GET SDMETHING \ +o EAT! oT oY Sd ANT (eu) seem.) 40. GET, THROUGH. THIS.. Cuck > HANDS OFF BUSTER! acThe Complete Crumb Comics aS ON FARB % AN a wey WER om here's Weest— EGKDS? > | Wee, THCROWD Has LEFT TH RESTAURANT, A HOTROG GO NOW WE CAN TAKE A PEER INSIDE ! PHeTDOGS! { HOTDOGS.! ONLY TWO ¢R. Crumb Ga AS WE TERI THIS. WIS LOCATION AT THE WORLD'S [UE ? WER. SIR, fows BUSINESSD )] FAIR IS, wert Seng 2 SEU THOUSANDS OF HoT- DOGS A DAY, RichT Now T Coup RETIRE AND UE UKE A MLICNAIRE ? Zines BSS avernt ,AE=ISM, POTRTEBIE|) FUSTAKD 5-00 | | : Ts | aaa AS WE APPROACH THE ATOMIUM, “THERE SEEMS TO BE A MERGING’: (CROWD IN THE ROAD \ GETING THIMER Now, Whi TORE aw VOID ME. SER OF HUMANITY EET yunt sso, EVEN IP WE \_ 1S GETING (NR FRENZY? Dipw'T GET TO SEE THEHORROR. DEPT. = AS THE STAFF OF “FOO WAS SEARCHING THROUGH AND OLD. DESERTED WOUSE THE OTHER. DAY, LOOKING FoR OLD MAGAZINES TO Copy IDEAS OUT OF WE CAME AcEROSS AN ANCIENT AD DIARY, DATED |{1085,, Alo WE Onin BRS ABE WAS O-0-8.S- (moRnison Ans WE. READ THE | LORRY TE TROUBLES IN WHS STORY... 8A SO NOW WE'RE TELLING y ENCOUNTER, With THE CASTLE OF -OUNT DRACULA AND NOT ONLY THAI (oS Rent GIN WRE T INTENDED “WaT 10 - A FRIEND HAD TOLD ME A- NIGHT I WouLD Loon GouT,AND T was Gowwe MY VERY BEST# To MEETHER. AT THE Ba. = CA) 4EFOOTNOTE : MORRISON US A BRAIN SURGEON. THE INITIALS 0.0-R.S. STAND FORODPS!""R. Crumb | Twa? FROZEN COLD al CAUTIOUSLY L APPROACHED THE DOOR... Gupoemy... A noon IAT THE DOOR / “ QUICKLY 1 SWUNG OPEN THE DDPR, No ONE: JTHATIS, EXCEPT MY AND PEEREDOUT INTO THE DARK. FRIEND BENTLY FLVD, WHOM wy THERE « WAS», NOONE... THERE... L_WAS GOING To THE BAL WITH KI | ae) | SENT AnD I HAD BEEN LONG \ j TIME CLOSE COMPANIONS. THE COACH HAD ARRIVED TD CARRY US ROYALY TD TRE BALL, THIS BALL WAS ONE OF THE EXLUSIVE EVENTS OF THE SEASON... ACTUAWY, ME AWD BENTLY WERE LUCKY To BE INVITED, A HIGH CASS FRIEND @oT US THE INVITATIONS‘The Complete Crumb Comics SUDDENLY I WAS FILLED WITH dUST THEN THE COACH ROUNDED FEAR AND @ROKE INTO A PANIC, =A SHARP CURVE... TE ONLY THING T COULD THINK OF WAS TO HOVER FOR HELP! AFTER ALL WAS QUIET. 1 GOT A pITcH ? UP, LOOKED AROUND AND FOUND MYSELF ALONE, THE HORSE HAD RON OFF.,,AND THE DRIVER HAD MYSTERIOUSLY DISAPPEARED. | THEN ovT OF THE sTILWeSs ‘AND A HUGE, MONSTOR. oF A SPINE-TINGLING, HRIR-RAISING, A BAT CAME SAILING OUT oF SWRILL SCREAM SaVNDED OUT THE Mist!R. Crumb ONE LOOK ATTHIS HORRIGLEBAT ...APRAID To LOOK GACK EVEN OME AND ZL WAS OFF RUNNING BACK X COULD FEEL TE MmonsTROUS OOWN THE ROAD FASTER THAN cREAWRE GETING CLOSER, CAINING Z_HAD EVER THOUGHT 2 COULD RUM. AND GAIWINGr SUDDENLY 1 FELT TWO COLD, SHARP SLOWLY I TURNED AROUND, CLAWS GRIPPING MY SHODLDER: EXPECTING ANY MUNUTE FOR THE THEY PULLED ME To A STOP.., HUGE BAT To TAKE A BITE OUT OF MB... BVT INSTEAD, THERE STOOD... DRACULA! 2 KNew Ir was HIM = Faaet Rerinns P HAD SEEN IN ( = one = YY av aT 7 y > g f oY i \& 4 a SS F as (TALL COME BACK To ME NOW, WHAT X HAD READ ABOUT VAMPIRES » AND OPACULA... THAT THEY CAN CHANGE WTO THE FORM OF A BAT, AND THE HUGE BAT THAT WAS FOLLOWING ME WaS DRACULA! I WAS TOTRLY HORRIFIED, J CONSDLED MYSBLE THAT THIS WAS ALL A OREAM, HOR- RIGLE WIGHT MARE, AND % WOULD WAKE UP ANY MINUTE... BUT NOW DRACULA CAME CLOSER .... AND CLOSER... THEN ossThe Complete Crumb Comies THE NEXT THING 1 REMEMBERED SEEMED TO BE IN A CONTAINER WAS DRACULA'S FACE.HE WAS oF SOMEMIND . J GOT UP QUICKLY LIFTIING A LID OR HATCH OF SOME gut I FELT COLD AND EMPTY.,, KIND,.7 WAS LYING DOWN AND = DRACULA GAME ME HIS HAND... X SAW THAT X HAD BEEN LYINGIN x DIDN'T TRY To ESCAPE DRACULA, A LONG BOX... THE BOTTOM OF THE. MY MIND WAS CONSENTRATED ON Box WAS FILLED WITH EARTH.THEN © ONE THING,..Z. WAS THIRSTY... ~ COFFIN’ ¥. eAND THERE WAS ONLY ONE war AFTER MY TRANSFORMATION,T TO GET THE LIQUID I WANTED. FLEW OFF INTo THE MIST TO | tees HUNT Cown A VICTIM.R. Crumb a Geeks Qinfuiny- ____presiveat 7.0.8. . SFOTURE cov0s OF aMteRicg 13© Complete Crumb Comics CURRENT EVENTS KHRUSHCHEV VISITS U.S. !! YES, IT WON'T BE TOO LONG BEFORE NIKITA KHRUSHCHEV, PREMIER OF RUSSIA, WiLL MAKE A VISIT JO THE UNITED STATES. TO ASSURE SAFETY FROM ANY FANATIC WHO WOULD TRY TO ASSASINATE. HIM, THE SOVIET LEADER PLANS To BRING WITH HIM A HOST OF WELL-TRAINED ANO EFFICIENT BODY GUARDS DURING HiS VISIT, WHILE PARADING DOWN BROAD STREET OF NEW YORK, KHRUSHCHEV'S BoDY GUARDS WILL BE POSTED ON EACH SIDE OF THE STREET IN CONSECUTIVE LINES To PREVENT ANY MOB RAIDS OR LUNATICS FROM APPROACHING THE CAR THAT OCCUPIES THE PARTY GOSS, KHRUSHCHEV WILL BE SURROUNDED BY A_BULLET- PROOF GLASS SHIELD To ASSURE DOUBLE SAFETY.R. Crumb WARUSHCHEY WALKING UP To HOTEL «AY DUNERTIME HMRUSHCHEV 1S SUITE ESCORTED BY SoDY GUARDS. PROTECTED BY BODY GUARDS | << : MHRUSGIEV HAS AFTER- DINNER. EVER. WATCHFVL GUARDS STAY with SMORE UNDER WATCHAUL EYE OF BODY- RRAVSUCHEY DURING REFRESHING HOT KHRUSHCHEV AND PRESIDENT EISEN- BODY GUPRKS KEEP CONSTANT VIGEL- HOWER. TAKING PEACE - AND ANCE OVER RHRUSHCHEV WHILE HE Boavy GUARDS } SLEEPS. ONE GUARD, EXHAUSTED AND i! H WEARY, PAUS FUT ON is FACE — GETS FIFTY venns HARD LABOR} Pri)‘The Complete Crumb Comics BE KO To ANIMALS DEPT: YES, THIS IS"BE RIND TO ANIMALS" WEEK . 1OV GOT THE WRONG IDEA IF You THINK WE MEAN CATS, Doss, BIRDS , COWS, OR THAT SUCH ,,, WE MEAN VS EDITORS HERE AT FOO! GE KINDE BUY OUR MAGAZINE ! — AND NOW,TO CELEBRATE THIS WEEK , FOO BRINGS You JACK WEBB‘S NUMBER ONE FLOP... Wy SOMERS ATS WEL, HERE WE ARE STARTING, DIRECTED BY JACK WESB THE DAY OFF BRIGHT MANE- wes! B- BARLY AT YOUNG DOCTOR re eR ° NOAH'S CHEERFUL, GAY LITTLE OLD VETENARIAN HOSPITAL! MMM? 3 WONDEE WAT DING 50 ie. YOUNG DOCTOR. NOAH 1S WONDER WHAT E'S PP vote IN THAT Back ROOM. BY “Back THERE ! VER SINCE 1 CAME TO WORKHERE YOUNG Oo NOAH HAS BEEN SPEN- MIS TIME WN THAT]R. Crumb ‘ARMA — You CHEAP BUM — SHOULE SA Oe EN ol eGR 60 ts GIVE SOFT SDAP ADVICE TO THE MASTERS WHO BRING THEIR. ANIMALS] IN HERE — jf I WASN'T SUCH A WARM HEARTED , KIND "N'GENTLE VETENARIAN, UD OF THROWN You OUT OF HERE A Alia LONG TIME AGO,YoU SWPMER USELESS OL CRIPPLE! } Weil, Tu BE BUSY IN THE al BACKROOM WITH MY PROJECT AU DAY — You TAKE CAREOF J JHE PATIENTS + AF x af B Youn. PARDON 4D HE ASHING WHAT fis THE PROJECT 2 WAVE. NEBREY W— tN LTE TIME You SHALL SEE IT! z‘The Complete Crumb Comics What CAN 00 FOI Nou, sin > WT curs ME DEEP TO SEE MY DOG IN PAIN, SIR? tl GIVE You A MILLION HE'S IN TERRIBLE Pain ! (soe!) THERE MUST BE SOME Way y0C,~ SOME WAY YOU CAN HELP ROVERI| l PLEASE DO SOMETHIN'] [J ND DOC— You CAN'T DO THAT! DOC? soB!sos! sor: -NOT TO MY ROVER? zIT'LL BE ASTOUNDING? IT! ans me RICH Famous! 1S 0 LIFE OF A VETENANIAN! Mf oar Se‘The Complete Crumb Comics ed (T's_ FINISHED, DOCTOR —. ¥ " (T'S FINISHED # AFTER Au Ae TH’ HARD WORKIN TOIL, I'VE. Nh FINISHED IT? ayR. Crumb Aye chCTOR UNESOY = { YouR viceR BEEN ce { genivaine vou ocr oS / THESE DAYS, SQUIRE | auinns 3 Keep A VACATION. Ly 2 WAVE IT] 1 swab Tare A UOUANEY BY SHIP TO aE WEST spies Ft NEED To GET Away" Fram THE — UOHN SILVER'S SHIPMATE PIRATES AoAM ABOUND IN PARTS OF INE GEST INDIES — AND THEY VE 3 SCORES Td SETTLE WITH YOU ow ACCOUNT OF HATING, 50, ACTUALLT, 17 REALLY WloULD'VT ge “100 HEALTHY TO GO DowN THERE — SUSSEsy 1 OO, BOCTOR, IF Ll NOT A TRIP TO THE INQIES,The Complete Crumb Comics YES,MY DEAR Sauike, THINK GF IT YOUR ULCER Witt DISOLVE LIKE SOFT BUTTER IN THE WARM SOUTH PACIFIC SUN fRRCTOR> Tm sttoch ED/ BE THE IIDEAL seoT_ AH, Yes THE BEAUTIFUL faim -tAcE's THAT SWAY IN THE COOL DELIGHTFUL BREEZES IN) RYTHM Wit CHARMING, Lover, PANING HULA GoiLs— [FE S00TH PACIEIC \sLANDS WouLd a ee \TING FOR) lf ¥E5- BEING AS 1 AM YOUR PeRssner\ UT WHAT ARE WAITING FOR) PHYSICIAN ANO YOUR HEALTH Must ce / SAFEGVAADED CONSTANTLY (Tas ED) OP INEVITABLE THAT ( GO ALONG CZ 2 g — >. VA Ro ky OU'VE GOT A pRospeRUS © | TAKE IT FOR GRANTED You AAE acres, you CAN WELL PAY PAYING ALL TRAVELING _ Squiké — SaNarER. Crumb Don't vay my 1 —— REFUSE To GO, AND iF GO WHO'S GONNA TAKE we OF YOU AND YOVR A PLAGVE WOULD OVERCOME ‘You AND ‘TOU'D ALL (EVER OWE) DIE LIKE DOGS ON THE SANDY SHORES OF AN UNKNOWN /SLAND IN THE SOUTH PACIFIC — WITH NO ONE 70 rSZ BURY You, THINK OF How UNSANITARY THAT WOVLD BE— a COMPANY Jif ONE SHOULD GET WELL, LONG JOHN, ‘SQviRE 1S TAKING Me wit HIM WHEN HIS. STP SAILS FOR IME SOUTH PACIFIC & C NERY WE Wu PAY MoU SWAY, CONFOUNE You SiR... CV MAKE PLANS “re pur CV AGCARD A FRIGATE AT GRIG— RW!) y=] 1 weiowT A et oe OR cA A r) yee face x 5 Wee NOW, WHAT DO YE SuPpOsE FER 4s % (ou, ER 4s “EALTH ING TO OL’ SaviRE GE GoIvG TO THE "E SAYS MAN TAM, SOUTH PACIFIC ISLANDS FER , vIM2 | wr Nuc, Ed ; SS SS} TO DG uP SOME BURIED “GouD’ N° UBWELS Su Er? Fee 1s NA reser HE (lb: ae 23‘The Complete Crumb Comics HIN’ TELLS OL’ UNCLE JOHN ESQUIRE GOT “IS ON YE MAP OF YE BURIED 7AEASUAE. BUT OL’ SQUIRE, ~E DON'T WANT TI LET ON, - _ MAINLY, CAUSE HE'S AFAAID ) THAT A BUNCH O° WASTY OL’ PIRATES LiKe us < WILL WANTER BEAT SAY WE TARE QIER “HIS GEORGE, PUT THAT KNIFE DOWN , | HIP NW , gokN PO AFORES | PUT YE’ pown~... -. TREO ot wearin | wee ON THE FLOOR THE an aN EARN QU ) ji =A VSG & y ‘ UX Sl SE as, ts \ RA UsNates ee |W SO BE IT, GEORGE, IF THAT BE THE WAY YOU" WANT IT guT IT QUST ME ‘EART wipe OPEN T- SEE MB owN CREW TURN AGIN’ ME_ am DHA FR YoU LONG [ENOUGH , JOHN SILVER, >FROM NOW! oN, 1M TH! LEADER Sa, OMS ERE CREW J 5 &‘The Complete Crumb Comics ALL TH’ WANDERFUL TIMES WE SI BUT, REGUARDLESS , } Love SAD TOGETHER. ALL PHBStISWEET FS) ALL MY OL’ sHipmates, MEMORIES ]OF KILLIN N’ STEALIN’ | AS CAPIN I'VE ALWAYS THAT 1 CHERISH. THAT MEMAIN IN ME | DONE WHAT | THOUGHT NEART FOREVER BE BEST (soe) S For “eM l =| AVON THe AS New “en 2 7 1) GONNA” MAKE A” PEW CHAN = ){SREAL ERE BE es NURE IND NOW y FiRsT MATE FROM DN VE CHANGED MY MIND I'VE DeciDED|T’ REMAIN CAP‘N HERE — 1 pow? THInn YoU. GARE To ARGUE WITH THis BADE “CAP'N”1 giess | BETER Co TEL CAPTAN SMOLLET pity SQuiRE THrt (ONG) gon AYO HIS MEN pun 0 uring 1 —The Complete Crumb Comics Sener NOT OVT THERE GEORGE — SHO WHAT AM 1 at po ABUT 1 NESSIR 6 AN LONG SOHN US THEIR UBADER AN’ THEY Ke SVER AN -AN a ane SHIP AlR. Crumb FOR WiLL WE KNOw, THIS BRAT couLD Ge LYN. YOU KNOW Hdl LITILE KIDS ARE THEY DEUBRITLY MAKE VP some LIE TO STIR UP EXCITMENT. Lo | KS | & & ow Yr) = ) \A pte Kfez YES) SQUIRE, THERE SHE Ts Took AT ALL THE NATIVES LINED UP WouR BEAUTIFUL SOUTH ALONG TRE SHORE THEY VE come hy PACIEIe ISLAND — ( ALING Ther use / z — 7 es, | as a 1/1 FUAR THe Natives Have AN | acoResive AMiTupe — l/ 38The Complete Crumb Comics WAT ARE WE SUING To pod NoW v. [HE NATIVES ARE HOSTILE, AND THER WON'T LET Us CoMe ATS KOT So MUCH A QUESTION oF ME GEMNG mY HEALTH BACK < BY GOING of THE 1SLanip. BUT WE FACT THAT WE'RE NEARLY oO SF pRovIsioNS AND we ALL DAE aT SEA \e WE DoWT pice Wr SvPPLIES HERES id ~~ THIEN THE NATIVES ON THESE SOUTH PACIFIC ISLANDS WERE aFRIEWDLY- “THERES SOME GIAITING oN THE BACK ~ IT SAYS; REDICORTS, GO HOME, BuT BEFORE You DO WHY NOT STOP Ww ouR HA, WHAT A SNEAKY Why TO ADVERTISE _ FINE SELECTION OF GIFTS AND MEMENTDES TO HELP MAKE YOUR VisiT 36R, Crumb | CAPTAIN, WERE READY TD GO ASHORE NOW J | z SSS | 1M GOING To TARE TEEN THE CooL TROPICAL Bae ib CUTE in A BATHING. SUIT‘The Complete Crumb Comics ve ROCEED, ) WHADDAYA KNOW AE ecto, ee Pea cen } AND GIRLS. ive DINNER READY SOON- A BIG AppETITE- SONG SWIMMING, AND ME. WITHOUT & BAWING surf — RR, sats AND If THE DOCTOR GET. on AuNcaY TELL ‘em we GOT DINNER READ? SOONs » SOME DELICOUS BISCUITS LEFT OVER IN THE GALLEY, AH, AHR. Cremb va a Ve | ust TH! a te cae JHA eave WELCOME VTE MAN ee | Stine’ WARM GREETIN'S IN cr THE ISLAND OF PERLOO We GREAT CANOZ,,. WL BRING HE Te engLANO, (SesThe Complete Crumb Comics ase, MED COST %Y wsy, aT THEN, SS NOTHINGS FREE ANMORE UIT / = UES’ WAITLL SQUIRE COMES \ ASHORE, THEY Yavin MAKE Oo! BIG weLIN’? 1 BE BUSTED BROKE - SAVEN'T GAT of SHILLING ON ME — | Bre wien Ww wy easy , CHIEF MATEY Knew, LIKE THEY @URIED DeON'T WANT’ WO TROVBLE — SOMETHIN. Y' Ste, Mate, — \ JoMe ASHORE T’ ASK YE IM AN’ ARCHOUGIST, AN’ ME! | OGEN AECOADED ON THIS ISLAND | HopBY is DIGGIN’ UP OL! IN THE PAST Roo YEARS IF ANY RELICS a WE nm LOOKIN CHARACTERS WITH pp NAW YES Sgr. Ti pook in | =™. eae THE RECORDS/ pVR. Crumb WPM MERE wes bas OSL Tue TREASURE ,OOHN,, TH! A sMau [BOAT CAME to THELHORE FRom ir [TRE MEN WERE CARRYING TREASURE | BELAT, GEORGE— ys WEAVY EMEsT AND BURIED IT CALM ‘OVA SELF an As THE SAND BESIDE THE SUA o = Cm HERE WE ARE... IN 1 Fue THE cuest ... ple’ MINE! NOW FOR THOSE DUBLIONS IN CROWN) | JEweug., At HAH 41The Complete Crumb Comics ? BNDES eT ENG HO0-BOH, NS” WONDER 1 \o ENR To He Yeo THESE LETTERS J NE INS WIPE HAMERINEY gupta, Lisrey emis | pue's WE ONE WaT AcrurE » — OTe. ° V/ ) C = Aut E: A eS Z ao Sot Po, WEY, You'RE ) Qip/4e / No TREASURE || BRING ME CHEST OvEA Vo, BITY ‘PANSY - ae FEW One I seae, sang ts” OVER dm ew wiar |) Shutney P 5 ; e acie€ OUTA ME WAY, GEORGE — | GoT THEE Discus | MADE SOMETHIN’ | WAN INA BVRRY ~FAE, | BACK THERE IN THE Q TOO! GALLEY, BURAY SEM FOt Nie “Wey “PistN Somebody - Ry EEEH YAR! -—R. Crumb EEE NG Cat = Ss ecu ee % —S, ©seor's9 terete ogee MA eS, A CT's com eS Wem aSIe B | MEASILY BIRD MEANT NY THING MUNANS THINKS (T'S TERRIBLE oomeaneD myThe Complete Crumb Comics WERE KRY mT, «TY, wry WE-ERE watt Kitty? a ne FFE Worn WHO Gwes out TH) OP 3 7R. Crumb 080%) [No OTHER GATS IN SIGHT!) THAT MEANS 1 GET Au | THIS FOOR FoR OY SEW? oe 8H NO/ HERE CONES FRirz, W PEST UT MDOCHER/ ed <5 aS Ciet 4ERE COMES CHOTTAT ~ 2 °‘The Complete Crumb Comics WERE COMES THE WHOLE CWoTA FAMILY } AND SIAMESE KITS» In! INIT, 'N" AAPPY IN CHoKe | ™ SLURP cwstF HOME | SKE ny THF » "By \ fis, \) crore RAY, 08 > cS, o>) a S MS Ca as em ear) O~S RPL E Wwerta euncté HOGS / AM 7 Got was MALE OF -_ 2 cure 4 wow!) SNoAT x SNORER. Crumb COMIMMY'S BEEN CAUGAT.., 4 PIT AM! BUT, 4S, CW GET ANS! pylt BEFORE THEY Gi” THERE HANDS oname / we wes [ONE Of TH GRATY EVERY CAT FOR, UND 7 a BE SAF. — e!) ——— CTO WW // aM@usteD C Lets GO FRED, UPSTAIRS, FRED! WEeTTSA maT WIT YOU FRED? Th WW FOR A COUPLE oo Tax 1D 47The Complete Crumb Comics mw WERE FRED! ow m'Beb FRED HELLO, FRED! Howl ) yl ME ee BB i THERE'S YIMMY 7 WE'S WD IT NOW?R. Crumb sammy GEITIN sick 2° 1 oR CAT CAN STAND SS C4 MMW'S sr By THE DOOR... “HHINKS FE'S GONNA GET OUT out HA, oor cuOd)The Complete Crumb Comics Conor, Apo BRAT HUMAN WANTS wan y oT mF FEEL bIeE soy pornes 8) YLOW, MY Paw? NeR, Crum 1 NOT AGAIN, PLEASE vet REAR ~ Seweesae Wy te Haus AGE SOMEONE‘The Complete Crumb Comics \ X EO = w aba eRe MICE OL FECTIONATE \ os cat | ot 8 ee omy! ITs mH — Ward jew AN IMeLS CaN Nowe CBtE. RIGHT, sauora) L KE NREATS us GTS MCE Not Like TSE BRATY AVRANsS > e)R. Crumb Foust loot FeO ak hour, et) ye DERM core / mer WEL, NOW WaT us ws LOSE ovR TAME, nee, “SvESS WL ie HUMAN: TRAINED ACS AND | Go : wre ode “cen exe “wom tc Pp TO HE, CHOTA Gane'S, Place 0! WOME) WREN'T ON PART OFF! a SUICKERThe Complete Crumb Comics Wt HY BEY (HE BLN) sas TWEY'S PLN 8 BIS FIGHT UP In MTOWN FRED? gow To TH MEETIN' 2 se LOTSA TUFF «GTS BRE V1 MAYBE | SKIP NG THIS WEEK. You GoW’ ro EETUG TONIGHT, AIN'T Re Gonna WE AY GHT UPN JiMTOWN BN NIT WANT ORME TAR. THUNK SWINSON Was Savery. NOW WOULD 54R. Crumb = tT" GO MEN - 7 ( id = he a oe oes \WWT DO WE GET OTA THIS 0 stat . youngest _ IF OWE WIN 7H) FIGHT, INKY 2 awe 7 WE TAKE vg HEIR. NEIGAGOR — LEZ YER? wee 's we THERE'S JLATOWN rene, cris. ur MIR oy ccm PROBE WONG BIND A RE LOSING 2 Feet o® 4 uw NERVE | FRED! Guar pacuT = “ ¥ i Sa Goren How FEA 1 GuARDS icThe Complete Crumb Comics wen] merae out oF sicnr ) re int WGRTAIL 1T BACK To whUWT STREET (WN OUR NEIGH- BORHCSD , WHERE IT'S SAFE / oop! WEY ‘TURNED A * CORNER UM NOT BAACKY IN TW Moo FOR FIGHT), MAGINE THAT IWR CAULIN' ME CHICKEN © UD UAE TO CLAW y WM OWE FOR mT) ) AS GARI Ts GETER IN NEleneoRHaOD ANYWAYS! WEY, MEN J FRED'S CONE HE Took oFe/ HUH? wel, iF 4, any HE At Mike WEAK) Mp ck SteaNe® sure TT THAN TAT, wit 0ONT aT WANT Hig) “Pine WREST OF aL) SCAREDY ATS ‘SOMEPIN' w) THE ROAR) / ghee wy He. aT worvpR. Crumb “WATS MY UNCLE ORSON, OU) GUYS... GEN AS I'm TH LEADER OF TAT gwmrowes Gallen | UNVTED aw as REMATIVE: IN ON THiS c CMON 1. LET'S CET CHA ARSE ! na aL UAT); = om ? ii‘The Complete Crumb Comics Jomer! A OT OnKHs 1 ACHE AIL OVER, COULD yse A SAUCER oF MILK! } St PuatinG prod IN aie THERE | ING PLAN Ul eS SES eno Va) & SNIFF. pil) WHAT AN MAs. TUNA, SALMON, Now IF 7 eet oNE OF THESE BOXES, od S(ams tm Gemnc if) ONERLOOKED ) < BCH, x DOGSThe Complete Crumb Comics Mm done sTRMHT HOME! we\CATERY om nome at casts wp | ENOUG) POR ONE WIGHTY [ZF 7 YEOWT HE sre “leaneey WAS ENGULFED MEY me” NEXT MORAING PO Le 5, OL AT, FRED! WAT AN enSY LiFe HE WAS. AL HE 7 EVER 9OES 1S EAT AN' SLEEPY ——— i —— : F VAAL + {R. Crumb: Conn # Per isst wan | oT) \ caaseD eT OF RDNT RAVE KY | JN LS Tend TS 8G “eR SR EVEN AMWAY TO OSACE CONNECTIONS F RAIL” ) tino gate 2 RAD HERE 1AM, 100 2 Sp BH way Te FAME NY FORTUNE. (oN NeW oR CX, WALKING om SHE DUSTY Hon yy THE HOT SUN! CF Foo AND DAIWK,, wouLD Yo BE DO RIND AS fo OBLIGE, FoR a SHAW BIT oF ENTERTAINRENT 2 , 1D BE MIGHTY GLAD 730, BROTHER THAT 1S 1B "You HOE MY GARDEN FoR ome. Tee TAKE SaouT aH. 1D SAY. Gur THMer aR FIYR HaVRS. SUEPLR “Avent 1" BE READY py GY THAT Time. HEAL 's Hor gi 7! WORK. - DWNT THINK WAS Gana FELD ¥¢ FER wotHin pio *¥.- 1 1