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| ==Critical reception== | ==Critical reception== | ||
| Daniel Worden notes |
Daniel Worden notes that in both endings, male figures assert dominance over each other as well as the females, lessening the difference of both endings. "Crumb projects himself as a countercultural, outsider hero who does not conform to traditional standards of masculinity," writes Worden, but this image is an illusion. Edward Shannon writes that "Crumb positions himself as a lone (and often impotent) defender of the oppressed—a victim of the fascists he just as often wishes to emulate". This image is described as an example of "geek masculinity" by Anastasia Salter and Bridget Blodgett, where "relationships between men and women within geek media are defined according to deeply gendered beliefs despite existing as a response to traditional masculinity". Seen in this light, Worden notes that the nontraditional masculinity espoused by Crumb is based on regressive gender norms which can't escape its traditional masculinity.<ref name="word"/> | ||
| ==Notes and references== | ==Notes and references== | ||
Revision as of 05:43, 27 July 2023
| "Point the Finger" | |
|---|---|
| Story | Robert Crumb |
| Ink | Robert Crumb |
| Date | November 1989 |
| Pages | 6 |
"Point the Finger" is a 1989 comic book story made by Robert Crumb for Last Gasp. The story appeared in the third issue of the four issue series of Hup. In the story, Crumb goes after Donald J. Trump, and with the help of two women, gives Trump a swirlie.
Plot
Crumb addresses the reader to explain that he's "going to point that merciless finger at one of the more visible of the big-time predators who feed on this society..one of the most evil men alive...real estate tycoon Donald Trump". Trump is brought into the panel by two women while Trump and Crumb trade barbs. Two endings are presented to the reader. In the first ending, Crumb loses as Trump uses his wiles and charisma to attract the women and invites them to a party as the police appear and arrest Crumb. The second ending has Crumb winning, as Trump is escorted to the restroom by the women and given a swirlie in the toilet.
Critical reception
Daniel Worden notes that in both endings, male figures assert dominance over each other as well as the females, lessening the difference of both endings. "Crumb projects himself as a countercultural, outsider hero who does not conform to traditional standards of masculinity," writes Worden, but this image is an illusion. Edward Shannon writes that "Crumb positions himself as a lone (and often impotent) defender of the oppressed—a victim of the fascists he just as often wishes to emulate". This image is described as an example of "geek masculinity" by Anastasia Salter and Bridget Blodgett, where "relationships between men and women within geek media are defined according to deeply gendered beliefs despite existing as a response to traditional masculinity". Seen in this light, Worden notes that the nontraditional masculinity espoused by Crumb is based on regressive gender norms which can't escape its traditional masculinity.
Notes and references
Notes
References
Bibliography
- Hock, Stephen (ed.) (2020). Trump Fiction: Essays on Donald Trump in Literature, Film, and Televsion. Lexington Books. ISBN 9781498598057. OCLC 244482651.
- Worden, Daniel (ed.) (2021). The Comics of R. Crumb: Underground in the Art Museum. University Press of Mississippi. ISBN 9781496833808. OCLC 1244620552.
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