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The Snoid
The cover of Snoid Comics (Kitchen Sink Press, 1979), artwork by Robert Crumb
Publication information
PublisherApex Novelties, The Print Mint, Rip Off Press, Kitchen Sink Press, San Francisco Comic Book Company, Fantagraphics
First appearanceYarrowstalks #2 (July 1967)
First comic appearanceSnatch Comics #2 (Apex Novelties, Jan. 1969)
Created byRobert Crumb
In-story information
Alter egoMr. Snoid
SpeciesHuman?
Place of originEarth
PartnershipsAngelfood McSpade, Mr. Natural, R. Crumb
AbilitiesAbility to squeeze into extremely tight spaces

The Snoid, occasionally referred to as Mr. Snoid, is an American underground comix character created by Robert Crumb in the mid-1960s. A diminutive sex fiend and irritating presence, the Snoid often appears with other Crumb characters, particularly Angelfood McSpade, Mr. Natural, and Crumb's own self-caricature.

Publication history

[edit]

Crumb created the Snoid in his sketchbook in the winter of 1965/1966;[1] the character first appeared in print in the Philadelphia underground newspaper Yarrowstalks #2 (July 1967). After more strips published in underground papers the East Village Other and the Chicago Seed, the Snoid's first true comics appearance was in Snatch Comics #2 (Apex Novelties, Jan. 1969), and from 1969 until 1973 he appeared in many Crumb comics, including Zap Comix, Motor City Comics, Home Grown Funnies, Your Hytone Comics, Big Ass Comics, Mr. Natural, and Black and White Comics.

The character was satirized by cartoonist Daniel Clyne as "Doctor Frigmund Snoid" in Bijou Funnies #4 (The Print Mint, 1970), in the story "Dr. Lum Bago" (where he appeared alongside the "shared" underground character Projunior).

The character finally appeared in his own one-shot title in Snoid Comics (Kitchen Sink Press, [Dec.] 1979), which featured six new stories; it was also his last major appearance. (Snoid Comics #1 also reprinted the celebrated Crumb strip, "A Short History of America" — which does not feature the Snoid.)

Many of the Snoid's adventures were collected in April 1998 in The Complete Crumb Comics #13 - "The Season of the Snoid", published by Fantagraphics. His stories have been translated into German, French, Dutch, and Swedish.

Characterization

[edit]

According to an early strip, the Snoid is from Sheboygan, Wisconsin.[2] Other stories portray multiple Snoids in existence. In one story, a "certain mountain" in Tibet is filled with numerous Snoids who sexually assault "Horny Harriet Hotpants"; she later ends up marrying Jesus.[3] Another story portrays Mr. Snoid happily living inside a woman's rectum, but ends with a plea to help the other Snoids "walking the streets, cold and lonely".[4]

In a story that appeared in Mr. Natural #2, Mr. Snoid has inspired a cult called The Snoidians, who cart him around on the shoulders of the "Giant Daughter of the Snoidvoid". The Snoidians battle with the "Mr. Naturalists", destroying the Snoid's conveyance and forcing him and Mr. Natural to escape the violence together.[5]

Underground comix writer M. Steven Fox wrote about the Snoid:

The ... character is, bottom line, a short-statured asshole, and many people believe that Snoid, with his fetishes, sex cravings and disdain for materialism, is little more than an alter ego for Crumb. One of those people is Crumb's own brother Maxon, who wrote about the Snoid's purpose in The Complete Crumb #13, "It was like with Carl Barks and his character Scrooge McDuck: Robert and the Snoid. With Barks it was money, with Robert it was sex".[1]

List of appearances (selected)

[edit]
  • "Hey Boparee Bop", Yarrowstalks #2 (July 1967) — with Gar, Jesus Christ (unnamed), Mr. Natural, and Angelfood McSpade
  • "The Old Pooperoo Pauses to Ponder / I Wanna Go Home! / You're Gonna Get There Anyway!", in East Village Other vol. 3, #2 (December 1–15, 1967) — with The Old Pooperoo, Flakey Foont, Mr. Natural, Goofy, Speed Freak, and Angelfood McSpade
  • "All Asshole Comics", Chicago Seed (Seed Publishing, July 1968) vol. 3 #1 — with Angelfood McSpade
  • "Zap Comics Tells It Like It Is!!" (promo (ad from the publisher), Zap Comix #2 (Apex Novelties, [July] 1968) — with Biceps Bunny
  • "Everyday Funnies with 'The Snoid from Sheboygan'", East Village Other vol. 3, #43 (Oct. 4, 1968)
  • untitled ["Can the Mind Know it?"], East Village Other vol. 3, #47 (Oct. 25, 1968) — with Mr. Natural
  • "Look Out Girls!! The Grabbies are Coming!!", Snatch Comics #2 (Apex Novelties, Jan. 1969)
  • Zap Comix #0 (The Print Mint, [Feb.] 1969)
    • "Freak Out Funnies" — co-starring Spacemen
    • untitled ["I'm getting tired of running around this ol' city!"] — with Angelfood McSpade
  • untitled ["Mmm... very tasty indeed I must say!!"], Jiz Comics (Apex Novelties, 1969)
  • "Night of Terror", Motor City Comics #2 (Rip Off Press, February 1970) — with Shuman the Human
  • "Backwater Blues", Home Grown Funnies #1 (Kitchen Sink Press, Jan. 1971) — with Angelfood McDevilsfood
  • Your Hytone Comics (Apex Novelties, Feb. 1971)
    • "Horny Harriet Hotpants" — with Horny Harriet Hotpants, Orra Lee, Recta Lee, and Jesus
    • "Pete the Plumber" — intro only (features Pete the Plumber and Plungo)
  • Big Ass Comics #2 (Rip Off Press, Aug. 1971)
    • "Anal Antics" — with the Landlady
    • "And Now, A Word to You Feminist Women" — cameo alongside Robert Crumb
  • untitled ["I am the greatest! Make way! Make Way!"], Mr. Natural #2 (San Francisco Comic Book Company, [Oct.] 1971) — with Mr. Natural
  • "The Nightmare", Promethean Enterprises #4 (Bud Plant / Al Davoren, 1971)
  • Black and White Comics (Apex Novelties, [June] 1973)
    • untitled ["Attention all personnel!!"] — with Will Shade, Ishman Bracey, Crazy Ed, Erton Snoody, and Bill the Pill
    • "Big Fine Legs"
  • "Once I Led the Life of a Millionaire", Carload o' Comics (Bélier Press, Dec. 1976) — with Mr. Natural
  • Snoid Comics (Kitchen Sink Press, [Dec.] 1979)
    • "Mr. Snoid: Meet the Snoid"
    • "This Cartooning is Tricky Business!" — with Robert Crumb
    • "The Snoid Goes Bohemian" — with Beverly Baumstein
    • "How Snoids are Born"
    • "One Foot to Heaven" — with Sweet
    • "Mr. Snoid Among His Fellow Humans"

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Snoid

View on Grokipedia
from Grokipedia
The Snoid is an American underground comix character created by artist Robert Crumb in the winter of 1965–1966, during a period of intense sketching influenced by his experiences with LSD. Portrayed as a diminutive, abrasive imp driven by unchecked sexual fetishes, material disdain, and base impulses, the Snoid represents Crumb's alter ego, embodying pure id without conscience or restraint. He first appeared in print in Zap Comix #0, Crumb's inaugural full-length underground comic. The character emerged alongside other iconic Crumb creations like Mr. Natural and Eggs Ackley, reflecting the countercultural of the mid-1960s underground scene. By the late , the Snoid had become a central figure in Crumb's work, starring in stories such as "The Snoid Goes Bohemian," where he manipulates his girlfriend as an eccentric artist, and "Mr. Snoid in One Foot to ," exploring his foot fetish through . His solo debut came in Snoid Comics (1979), a 36-page publication with an initial print run of 20,000 copies, which saw multiple reprints through 1998 due to its cult status among comix enthusiasts. The Snoid's mischievous and despicable traits—often involving crude humor, irritation, and social disruption—highlight Crumb's satirical take on human flaws and societal norms, cementing his role as a devilish archetype in history. He continued to appear in later collections, including The Complete Crumb Comics Vol. 13: The Season of the Snoid (1998), which compiles late-1970s material and underscores the character's enduring influence on Crumb's exploration of the subconscious.

Creation and Background

Origins and Inspiration

Robert Crumb conceived the character Snoid during the winter of 1965-1966, a period marked by personal turmoil as he grappled with the aftereffects of his initial experiences. Living in , , where he worked at , Crumb entered a "perpetual " following his first encounter with the drug in June 1965, which he later described as inducing a "fuzzy" that persisted for months. This altered perception, stemming from what Crumb called "fuzzy acid," fueled his intensive sketching sessions, during which Snoid emerged as a direct expression of repressed subconscious urges. The character's inception was deeply tied to Crumb's immersion in the burgeoning countercultural scene, even from his Midwestern base. Through correspondence and emerging publications, Crumb encountered psychedelic influences and underground art that resonated with his growing disillusionment with mainstream society and commercial illustration. , still legal at the time, amplified these exposures, transforming Crumb's creative output into explorations of the id—raw, instinctual drives that mainstream culture suppressed. Snoid, in particular, manifested as a pint-sized embodiment of libidinal chaos, reflecting Crumb's navigation of sexual fantasies and psychological undercurrents amid the era's psychedelic experimentation. Crumb first sketched Snoid in his personal notebook during this introspective phase, conceptualizing him as a diminutive sex fiend whose irritating, impulsive nature served as an for the artist's own unfiltered impulses. This initial visualization captured the essence of Crumb's id-driven reveries, born from the mind-expanding haze of psychedelics and the countercultural ethos filtering into his daily life in .

Development by Robert Crumb

In the mid-1960s, developed the Snoid character through an iterative sketching process, beginning with spontaneous drawings in notebooks during a period of intense creative exploration in 1965–1966. These initial sketches, rendered in ink or pencil on simple paper, evolved over months as Crumb refined the figure's diminutive form and abrasive traits, adapting it for printed by emphasizing exaggerated line work to convey grotesque, dynamic poses. This refinement incorporated surreal scenarios, such as the Snoid's obsessive pursuits in seedy, fantastical environments, which highlighted Crumb's emerging style of blending humor with discomfort. Crumb integrated the Snoid into his broader ensemble of characters to heighten satirical interactions, often pairing it with figures like Mr. Natural or to contrast the Snoid's crass desires against more archetypal or exaggerated personas. These combinations amplified dynamic tensions, allowing Crumb to explore themes of frustration and absurdity through the Snoid's disruptive role in ensemble narratives. The character's placement alongside such companions underscored Crumb's technique of using interpersonal clashes to drive visual and thematic intensity. In reflections on his work, Crumb has described the Snoid as an embodying his own sex-obsessed impulses and personal , born from a visionary state influenced by experiences that freed his drawing from conventional constraints. This self-referential quality infused the character with a mix of self-loathing humor, positioning the Snoid as an irritating, fetish-driven presence that mirrored Crumb's introspective struggles during his early career.

Characterization

Physical Description

The Snoid is depicted as a diminutive, devilish imp-like figure in Robert Crumb's , embodying a and comedic form that emphasizes and . This lewd dwarf character, with his short stature, serves as a visual symbol of unrestrained id, often rendered in Crumb's signature exaggerated style to heighten his irritating and intrusive presence. Recurring visual motifs in Snoid's design include his propensity for squeezing into impossibly tight spaces, such as bodily orifices, which underscores his impish, boundary-violating nature across various panels and stories. Foot fetish elements are prominently featured in his portrayals, with detailed illustrations highlighting his obsession, as exemplified in sequences like those in Snoid Comics where feet become focal points of his leering gaze and actions. The character's visual conception emerged from Crumb's psychedelic experiences in the winter of 1965–1966, influencing the surreal and distorted features that define early depictions. Over time, Snoid's rendering evolved with Crumb's artistic development, transitioning from the raw, sketchy lines of underground works to the more intricate and polished ink work of 1970s publications, while retaining core exaggerated proportions like elongated limbs and a prominent, bald head.

Personality and Role in Stories

The Snoid is portrayed as a lecherous, selfish, and irritating "sex fiend" originating from , whose actions are propelled by primal urges including and mischief. As a diminutive and perverse figure, he embodies unchecked desires without remorse, often manifesting as a devilish driven purely by the id. His misanthropic traits amplify his role as an obnoxious disruptor, frequently inserting himself into situations to sow chaos and annoyance among other characters. In Crumb's narratives, the Snoid functions primarily as an and source of , serving as a satirical embodiment of human flaws through exaggerated, absurd escapades. He disrupts the lives of protagonists by pursuing his base instincts, such as in scenarios where he assumes the guise of a leader commanding followers in bizarre rituals or takes up residence as an improbable rectal inhabitant within a landlady's body. These antics highlight his function as a chaotic force, poking at societal taboos with irreverent humor. The Snoid's interactions often underscore power imbalances and forbidden themes, particularly in encounters with Crumb's alter egos or authoritative figures like Mr. Natural, where his persistent meddling leads to confrontations that expose vulnerabilities and absurd hierarchies. For instance, rival cults led by the Snoid and clash in street brawls, amplifying the Snoid's role in critiquing authority through his relentless, id-fueled provocations. This dynamic positions him as a foil that propels the story's exploration of instinct versus restraint, all while providing grotesque, taboo-laden relief.

Publication History

Early Appearances (1960s-1970s)

Snoid's initial appearance occurred in the underground newspaper Yarrowstalks #2, published in July 1967 in , where the character debuted as a minor sketch alongside other early Crumb creations like in the full-page strip "Head Comix." This marked the character's first printed manifestation, emerging from Crumb's sketchbook experiments during a period of psychedelic influence in the mid-1960s. The publication, edited by David Auten and Brian Zahn, circulated within the nascent scene. The Snoid's first full narrative story appeared in Snatch Comics #2, released in January 1969 by Apex Novelties, a short-lived anthology featuring explicit, fetish-oriented content by Crumb and contributors like S. Clay Wilson and Rory Hayes. In this issue, the character was portrayed in a brief, humorous strip emphasizing his lecherous tendencies as a diminutive sex fiend. Shortly thereafter, the Snoid featured prominently in Zap Comix #0, published in late 1968 by Apex Novelties, an all-Crumb one-shot that served as a precursor to the ongoing Zap series and included early strips like "City of the Future" involving the character. During the early 1970s, the Snoid recurred in several underground titles, often in short, satirical one-page strips that highlighted his mischievous and obsessive personality. Notable examples include Motor City Comics #2 (Rip Off Press, February 1970), where he appeared in the story "Shuman the Human's Night of Terror," a chaotic narrative blending horror and humor. Similarly, Home Grown Funnies #1 (, January 1971), a Crumb solo anthology, incorporated the Snoid in vignettes amid tales like "Whiteman Meets ." These appearances exemplified the character's role in Crumb's prolific output between 1969 and 1973, typically spanning 2-4 pages per issue in anthologies. The Snoid's early publications unfolded amid the booming movement of the late 1960s and 1970s, a DIY scene centered in where creators like Crumb bypassed mainstream censorship to explore taboo themes through self-published works. Distribution relied heavily on head shops—counterculture retail outlets selling paraphernalia and periodicals—allowing comix to reach niche audiences without traditional newsstand channels, with initial print runs often limited to 5,000-10,000 copies sold directly by artists or small presses. Crumb's collaborations with fellow contributors, including , , and , fostered a shared aesthetic of irreverence and social satire, integrating the Snoid into this collective's influential output.

The Snoid Comics One-Shot

Snoid Comics is a one-shot comic book published by in December 1979, serving as a dedicated showcase for Robert Crumb's character Mr. Snoid. The 36-page black-and-white publication, priced at $1.25, features a glossy cover and newsprint interior with saddle-stitched binding, compiling selected stories from earlier anthologies while introducing new material. The issue includes several Snoid-centric tales that highlight Crumb's evolving style, characterized by denser and intricate environmental details. Key stories encompass "The Snoid Goes Bohemian," a 10-page depicting Snoid as a manipulative bohemian artist exploiting his girlfriend, with her diminutive grandparents exposing his facade; "Mr. Snoid in One Foot to ," a 9-page adventure centered on Snoid's foot fetish-driven pursuit in a seedy scenario; and other pieces like the 4-page Bearzy Wearzies story exploring illusory couple dynamics. These bizarre escapades build on Snoid's prior anthology appearances, expanding his role in absurd, taboo-breaking scenarios. Additional content features non-Snoid works such as the 12-panel "A Short History of America," originally from Quarterly, and "Those Dharma Bhums," a 4-page existential romance, reflecting Crumb's mature thematic depth. Produced with a first printing of 20,000 copies, the one-shot represented a significant, standalone culmination for the character amid Crumb's output. Subsequent printings occurred in , , and , each with at least 10,000 copies, but the original edition marked Snoid's prominent dedicated publication in the late .

Collections and Later Publications

Following the 1979 Snoid Comics one-shot, the character's stories were compiled in The Complete Crumb Comics Vol. 13: The Season of the Snoid, published by Fantagraphics Books in April . This volume gathers all major Snoid material from the late , including the imp's debut appearances and key adventures, alongside Crumb's annotations and commentary providing context on the character's creation and satirical intent. In the and , Snoid stories gained international reach through translations by European publishers. French editions included Histoires de Mr. Snoid from Artefact in 1981 and Snoïd from Éditions Cornélius in 2002, the latter compiling select tales with the character's signature mischief intact. A Dutch version, Robert Crumb's Mister Snoid en wat andere verhalen, appeared via Drukwerk in 1981, adapting the narratives for local audiences. Post-1979, the Snoid featured in minor cameos within Crumb's broader oeuvre but inspired no new dedicated stories, establishing the character as largely dormant by the 2000s.

Themes and Interpretations

Satirical Elements

The Snoid serves as a central vehicle for Robert Crumb's , embodying the repressed desires lurking beneath the surface of American suburbia through its grotesque and exaggerated form as a diminutive, lecherous dwarf driven by insatiable urges. This character parodies the stifled impulses of middle-class , portraying Snoid's predatory antics as a hyperbolic manifestation of unchecked that disrupts the facade of polite domesticity. Crumb employs Snoid to mock by situating its escapades in banal suburban settings, where material comforts and social norms amplify the absurdity of hedonistic pursuits, such as obsessive quests for gratification amid everyday mundanity. In critiquing sexuality and authority, Snoid's interactions often lampoon power structures, including cult-like scenarios that ridicule religious and hierarchical figures through the character's manipulative schemes and alliances with con-artist archetypes like Mr. Natural. These narratives highlight Snoid's exploitation of others, subverting traditional authority by exposing its fragility to base instincts and thereby satirizing societal reverence for order and piety. Crumb's satirical devices further include grotesque humor centered on taboo subjects, such as foot fetishes—evident in Snoid's fixation on exaggerated, oversized feet as symbols of fetishistic obsession—and bodily functions, depicted in crude, visceral detail to dismantle conventions of and . Rooted in the counterculture, Crumb intended Snoid to provoke discomfort and challenge establishment values, using the character's irritating presence and moral ambiguity to force confrontation with the underbelly of American ideals. By amplifying these elements without restraint, Crumb transformed Snoid into a mirror for the era's ethos, emphasizing shock as the core of his satirical approach to reveal hidden societal hypocrisies.

Cultural and Psychological Aspects

The Snoid serves as Robert Crumb's avatar for the , manifesting as a chaotic embodiment of Freudian impulses driven by unchecked and . In Crumb's comix, the character emerges from hallucinatory visions induced by , representing a "tawdry carnival of disassociated images" that bubble up from the without the mediating influence of the superego. This lack of restraint allows the Snoid to indulge in grotesque sexual assaults and violent escapades, as depicted in stories like those in Head Comix, where his diminutive, phallic form pursues desires with relentless, unrestrained fervor. Such portrayals align the Snoid with the Freudian id, channeling raw psychological drives that Crumb himself described as emerging from his "own yearnings." Within the cultural milieu of the and underground comix scene, the Snoid reflects the era's psychedelic experimentation and its confrontation with repressed societal norms. Crumb's creation of the character coincided with the counterculture's embrace of mind-altering substances, which dissolved barriers between conscious and unconscious realms, enabling explorations of surreal, taboo-breaking narratives. Interactions involving the Snoid often highlight fraught gender dynamics, portraying women as both alluring objects of desire and victims of his aggressive pursuits, thereby underscoring tensions between male entitlement and female agency. Feminist critics, including , lambasted such depictions as "sexually hostile," while Deirdre English critiqued them as stemming from an "arrested juvenile vision" that perpetuated misogynistic tropes amid the rising . These elements positioned the Snoid as a vehicle for challenging—and inadvertently reinforcing—the psychedelic era's ambivalent attitudes toward sexuality and power. Interpretations of the Snoid extend to a broader of and in America, where the character exposes the fragility of traditional male ideals amid cultural disillusionment. By embodying impulsive, hedonistic behavior without consequence, the Snoid satirizes the escapist fantasies of a conformist society transitioning into countercultural cynicism, as seen in Crumb's strips decrying suburban repression and existential . His form and predatory actions the undercurrents of and sexual confusion lurking beneath the veneer of , reflecting Crumb's own anxieties about hegemonic . In this way, the Snoid functions not merely as but as a psychological mirror to America's collective neuroses, highlighting how unchecked id-like impulses fueled both personal and societal breakdowns.

Reception and Legacy

Critical Response

Critics have praised Snoid's stories for their bold, unfiltered humor and innovative contributions to , capturing the raw essence of human flaws through . In a detailed review, underground comix historian M. Steven Fox lauds Snoid Comics for its "brilliant writing" and "exceptional art," rating it 9 out of 10 and highlighting its timeless adult themes and sharp dialogue in tales like "The Snoid Goes Bohemian." Similarly, a review of The Complete Crumb Comics Vol. 13: The Season of the Snoid describes the character as a manipulative, childlike embodying Crumb's darker impulses, contributing to what is deemed one of the finest volumes in the series for its stylistic variety and depth. The character's portrayals have also sparked controversies, particularly accusations of and offensiveness arising from fetishistic elements, such as the foot obsession in "Mr. Snoid in One Foot to Heaven," where Snoid pursues exploitative encounters. Feminist readings from the and frequently critiqued Crumb's oeuvre, including Snoid, as promoting sexist stereotypes through the diminutive fiend's vindictive and sexually predatory behavior toward women, positioning such work as fodder for broader debates on in comix. These elements, seen by some as Crumb's , amplified perceptions of the stories as despicable yet provocatively compelling. Audience reception reflects a polarized cult status, with dedicated Crumb enthusiasts appreciating Snoid's raw energy and satirical bite, evidenced by the one-shot's four printings from 1979 to 1998 and its enduring presence in collections like The Complete Crumb Comics. However, the character's limited mainstream appeal stems from its niche, provocative nature, appealing primarily to aficionados rather than broader readers.

Influence on Underground Comics

The Snoid, as a quintessential embodiment of Robert Crumb's grotesque and id-driven aesthetic, played a pivotal role in popularizing autobiographical within the movement of the late and 1970s. Through the character's manipulative, neurotic persona—often depicted in exaggerated, bodily-focused scenarios—Crumb explored personal neuroses and cultural hypocrisies, setting a template for raw, confessional storytelling that blended humor with discomfort. This approach influenced fellow contributors like and , who adopted similar elements of visceral exaggeration and social critique in their own works, contributing to the genre's shift toward unfiltered explorations of the and countercultural rebellion. The character's legacy endures through comprehensive collections that preserve Snoid's contributions to id-driven narratives, notably in The Complete Crumb Comics Vol. 13: The Season of the Snoid (1998), which reprints key late-1970s stories and underscores Crumb's evolution in underground satire. By compiling these tales alongside Crumb's broader oeuvre, the volume positions the Snoid as a touchstone for the movement's emphasis on psychological depth and taboo-breaking humor, ensuring its accessibility to subsequent generations of creators and scholars. In modern retrospectives and indie comix, echoes of the Snoid persist in works that revisit autobiographical themes, such as explorations of and societal taboos in the alternative scene. Crumb's influence via characters like the Snoid has informed artists tackling similar id-centric motifs, maintaining the underground tradition's DIY ethos and provocative edge in contemporary graphic novels and zines.

References

  1. https://comixjoint.com/snoidcomics-1st.html
  2. https://www.fantagraphics.com/products/the-complete-crumb-comics-vol-13-the-season-of-the-snoid
  3. http://comixjoint.com/snoidcomics-3rd.html
  4. http://rcharvey.com/hindsight/undergroundcomix.html
  5. https://www.pixartprinting.co.uk/blog/robert-crumb-comics/
  6. https://www.encyclopedia.com/media/encyclopedias-almanacs-transcripts-and-maps/crumb-robert-1943
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  9. https://www.lambiek.net/artists/c/crumb.htm
  10. https://www.comics.org/issue/580424/
  11. https://comixjoint.com/snoidcomics-2nd.html
  12. https://onmilwaukee.com/articles/kitchentalks
  13. https://newrepublic.com/article/194673/robert-crumb-cartoonist-life-book-review-lewd-influential
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  15. https://www.comics.org/issue/264240/
  16. https://www.comics.org/issue/134379/
  17. https://www.comics.org/issue/370712/
  18. https://www.ebay.com/p/4056902365
  19. https://comics.ha.com/itm/original-comic-art/complete-story/robert-crumb-motor-city-comics-2-shuman-the-human-1-page-story-original-art-rip-off-press-1970-/a/7163-91034.s
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  29. https://www.theatlantic.com/magazine/archive/2025/05/r-crumb-dan-nadel-cartoonists-life-review/682118/
  30. https://www.chicagotribune.com/1992/06/02/still-a-crumb/
  31. https://www.goodreads.com/book/show/25682586-snoid-comics
  32. https://ohiocenterforthebook.org/2018/07/25/crumb-robert/
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