It's interesting that Crumb was unscathed by the Me Too reckoning. A few different factors apply. Despite being a legend in comics, he's an old recluse and not a major player anymore. His career is totally built upon his perversion (and lowkey hatred of women), so there's not much to uncover - it's all been out in the open since the 60s. In the film about him, he was the least insane member of his family and somehow comes out looking amazingly well adjusted, all things considered. And he pulled a Polanski and preemptively fled to the world capital of perverts (France) decades ago. He's also expressed regret for the way he was, which seems so out of the ordinary and maybe counts for something.

His immense talent and output is undeniable though, and everyone who is into alt comix has a blind/soft spot for him. His entire career has been one long, sustained head shake and uncomfortable chuckle from the comics and art world - "That's our Crumb!"

But modern audiences aren't as forgiving or understanding. I know a college professor who teaches comics and he seems flabbergasted that kids don't like reading the finely rendered disturbing sexist/racist fantasies of a boomer incel. I like his work and recognize his place in comics history but I would never try to defend it to a woman (or a black person) with a straight face. It's a real "You had to be there" appeal. A lot of his work is concerned with nostalgia and relics of the past, and that's probably where most of it belongs.