List of Comic Book Writers Who Smoke Weed

• Silence pervades the industry – Cartoonist Box Brown has observed that while cannabis use appears common among cartoonists, public discussion remains rare, making these creators valuable voices breaking the stigma
• Underground comix pioneers faced real risks – In the 1960s-70s, creators like Robert Crumb and Gilbert Shelton faced obscenity enforcement for their work and legal jeopardy for cannabis possession during prohibition
• Modern creators bridge advocacy and art – Contemporary writers like Box Brown transform personal experience into educational works like “Cannabis: The Illegalization of Weed in America”
• Cannabis fuels diverse creative processes – From Shelton’s stoner humor to Myers’ political horror, cannabis influences range from comedic relief to social commentary
• International perspectives enrich the narrative – UK creator Jim Stewart and Canadian Verne Andru demonstrate cannabis comics’ global reach despite varying legal landscapes
• The creative process often intertwines with consumption – Several creators describe cannabis as supporting focus, inspiration, and entering the creative “flow state”

For readers inspired by these creators’ cannabis journeys, Herb’s Products Catalog offers a curated selection of cannabis products that might support your own creative endeavors.

Box Brown stands among the most publicly vocal contemporary cartoonists about cannabis, transforming personal experience into both educational content and advocacy. A New York Times bestselling author for “André the Giant: Life and Legend,” Brown later created the graphic novel “Cannabis: The Illegalization of Weed in America” through extensive research into cannabis history.

• Career achievements: New York Times bestselling author for “André the Giant: Life and Legend,” plus “Tetris” and “Cannabis: The Illegalization of Weed in America”
• Cannabis advocacy: Created “Legalization Nation,” a syndicated weekly comic strip about cannabis policy
• Personal history: Arrested at age 16 for cannabis possession, later becoming a vocal advocate
• Creative approach: Has discussed how cannabis supports his creative focus and work sessions
• Strain exploration: Has mentioned preferences including Lemon Haze and Silver Haze for work; AK-47, Hindu Kush, and Cookies family for relaxation

Brown’s openness represents a significant shift in creator transparency, as he noted, “I decided a long time ago to be open about it on the internet, because I think it’s important. It’s like coming out of the closet.” For those seeking strains that might enhance focus during creative work, Herb’s Strain Guides offer detailed information on sativa-dominant options.

As creator of “The Fabulous Furry Freak Brothers” in 1968, Gilbert Shelton is widely regarded as a foundational figure in stoner humor comics. His characters became international cult icons, translated into multiple languages and maintaining enduring popularity for over 50 years.

• Historical significance: Created “The Fabulous Furry Freak Brothers,” among the most iconic cannabis comics of all time
• Cultural impact: Characters maintained cult status with enduring popularity spanning decades
• Underground roots: First appeared in The Rag, an underground newspaper in Austin, Texas in May 1968
• Contemporary relevance: Recent animated adaptation features Woody Harrelson, Pete Davidson, and John Goodman
• Legacy: Part of the underground comix movement where cannabis use was openly depicted despite legal risks

Shelton’s work emerged during an era of significant legal risks, as underground publishers sometimes faced obscenity charges for distribution, while cannabis possession remained illegal—creating dual legal jeopardy for creators who both depicted and used cannabis.

Robert Crumb’s Zap Comix #1 became a key catalyst for the underground comix movement in 1968. Early copies were sold in San Francisco’s Haight-Ashbury district in February 1968—with accounts describing Don Donahue and Dana selling them from a baby carriage. His work, including Fritz the Cat and “Mr. Natural,” directly reflected his psychedelic experiences.

• Historical impact: Zap Comix #1 (1968) became a foundational model for the underground comix movement
• Drug influence: Biographical sources document his use of both LSD and marijuana as creative catalysts
• Cultural timing: Arrived in San Francisco in early 1967 after years of greeting card work and psychedelic experimentation in Cleveland
• Iconic creations: Fritz the Cat, “Mr. Natural,” and the ubiquitous “Keep On Truckin'” comic strip
• Legacy: Became an underground superstar whose work defined the countercultural era

Crumb’s arrival in San Francisco coincided with the height of psychedelic culture, where cannabis and artistic expression merged to challenge mainstream norms through underground publications.

Kevin Smith brought cannabis comedy to mainstream audiences through his View Askewniverse films featuring Jay and Silent Bob, later translating this into the comic “Bluntman and Chronic.” His public persona as a cannabis user has remained consistent through podcasts, interviews, and public appearances.

• Comic creation: “Bluntman and Chronic” (2001, Oni Press), based on characters from his film “Chasing Amy”
• Film universe: Created the iconic stoner duo Jay and Silent Bob, with Smith playing Silent Bob—one half of the cannabis-associated comedy duo
• Public advocacy: Maintains consistent cannabis-friendly persona through podcasts and public commentary
• Business ventures: Caviar Gold produces “Snoogans from Jay and Silent Bob” cannabis brand
• Cultural bridge: Successfully brought underground stoner humor to mainstream film and television audiences

Smith represents the evolution of cannabis comics from countercultural niche to mainstream entertainment, demonstrating how cannabis themes can achieve commercial success while maintaining their rebellious roots. Those interested in cannabis-themed entertainment can stay updated through Herb’s Newsletters.

Denis Kitchen founded Kitchen Sink Press in 1969, publishing groundbreaking underground comix during prohibition, and created “Dope Comix” in 1978. Today, he serves as both a living historian of the movement and an active participant in cannabis-comics events.

• Publishing legacy: Founded Kitchen Sink Press, a major underground comix publisher (1969-1990s)
• Creative work: Created and edited “Dope Comix” (1978), directly addressing cannabis culture
• Historical preservation: Currently manages estates of underground comix artists and preserves original artwork
• Cultural education: Hosts “Cannabis and Comics” tours at Denver’s DINK convention
• Firsthand knowledge: Present during the underground comix era alongside R. Crumb and contemporaries

Kitchen’s unique position as both creator and archivist provides invaluable context for understanding the risks underground artists took. His VIP tours include dispensary visits and private panels showing original underground comix art, bridging historical preservation with contemporary cannabis culture.

Jeremy Myers created “The Circus of Reefer Madness,” a Kickstarter-funded horror comic using scary clowns terrorizing stoners as a metaphor for the drug war. His work combines cannabis advocacy with analytical examination of propaganda and language.

• Creative concept: “The Circus of Reefer Madness” uses horror to critique drug war policies
• Influences: Reports being inspired by Jack Herer’s “The Emperor Wears No Clothes” and cannabis advocacy
• Personal journey: Questioned D.A.R.E. anti-drug messaging from childhood, leading to deeper research
• Creative philosophy: Has described cannabis as valuable for achieving creative focus and flow
• Linguistic awareness: Advocates for using “cannabis” over “marijuana” to add professionalism

Myers represents a new generation of creators who approach cannabis advocacy through both personal experience and analytical frameworks, combining horror storytelling with political commentary.

As son of legendary cannabis advocate Bob Marley, Ziggy Marley brought his family’s cannabis legacy to comics with “Marijuanaman” (2011, Image Comics), launching on April 20th with collaborators writer Joe Casey and artist Jim Mahfood.

• Cultural heritage: Son of Bob Marley, continuing a family legacy of cannabis advocacy
• Comic creation: “Marijuanaman” (2011) launched on April 20th with Image Comics
• Creative team: Collaborated with writer Joe Casey and artist Jim Mahfood
• Positive messaging: Character presented with cannabis-positive themes and imagery
• Mainstream reach: Grammy-winning musician bringing cannabis advocacy to wider audiences

Marley’s approach demonstrates how celebrity can amplify cannabis advocacy through creative mediums, using the comic book format to extend his family’s message of cannabis positivity.

Verne Andru has maintained his “Captain Cannabis” comic since 1975, making it a long-running cannabis-themed comic spanning approximately 50 years. His character represents “the first superhero dedicated to peace, love, and understanding” and reflects Andru’s journey through changing cultural attitudes.

• Longevity: Created “Captain Cannabis” in 1975, maintaining it for approximately five decades
• Philosophy: “Captain Cannabis is the superhero that we all have inside of us. He’s a stoner created in the spirit of underground comics”
• Cultural witness: Experienced the shift from prohibition stigma to legalization acceptance
• Convention experience: Initially faced difficulty selling at conventions due to stigma; now reports enthusiastic reception at his convention stands
• Medical connection: Links his comic’s persistence with the legalization of medical marijuana

Andru’s decades-long commitment to cannabis comics provides a unique perspective on evolving social attitudes. His experience reflects the broader cultural shift Herb documents in its Editorial & How-Tos on cannabis legalization and social acceptance.

Scottish creator Jim Stewart produces the “Ganjaman” comic series in the UK, where he reports having faced cannabis-related legal challenges. His work combines humor with educational messaging about legal consequences, describing his character as “Bugs Bunny on weed.”

• Legal context: Creates during UK prohibition where “cannabis has been illegal for far too long”
• Personal experience: Reports having cannabis-related convictions that inform his educational approach
• Educational mission: States he “wanted to educate the young ones that there are consequences to smoking the herb, jail time is bad for your health”
• Censorship challenges: Claims “Forbidden Planet in Glasgow banned any comic I came out with” despite selling comics with violent content
• Humor balance: “Most people find the comics and me funny – it’s weed-based but it goes wider”

Stewart’s international perspective highlights how cannabis comics face different challenges outside North America. His reported experience with censorship demonstrates persistent stigma even in countries with evolving cannabis policies.

The relationship between cannabis and comics dates back to the underground comix movement of the late 1960s, when creators like Robert Crumb and Gilbert Shelton openly challenged prohibition through both their art and lifestyle. During this era, underground publishers sometimes faced obscenity enforcement, while cannabis possession remained illegal—creating dual legal jeopardy for creators. The 1970s-1990s saw continued underground advocacy through publishers like Kitchen Sink Press (founded 1969) and long-running series like Verne Andru’s “Captain Cannabis.” The 2000s brought mainstream crossover with Kevin Smith’s “Bluntman and Chronic,” while recent years have shifted toward educational advocacy with Box Brown’s historical graphic novel and Jeremy Myers’ political horror. Throughout this evolution, international creators like Jim Stewart have maintained cannabis comics despite varying legal landscapes, demonstrating the global nature of this countercultural connection.

The trajectory of cannabis in comics reflects broader cultural shifts from prohibition to advocacy. Early underground creators faced real legal risks but used their art as protest against censorship. As Box Brown has observed, cannabis use appears common among cartoonists but public discussion remains rare, highlighting persistent stigma even in more accepting times. Modern creators like Brown and Myers represent a new generation willing to “come out of the closet” about cannabis use, transforming personal experience into educational content. This shift mirrors Herb’s mission to “help users free their minds and inspire them through discovering products, content and experiences” within the cannabis community.

Several writers on this list describe cannabis as integral to their creative process. This perspective aligns with broader discussions about cannabis and creativity explored in Herb’s Editorial & How-Tos. The connection between cannabis and artistic flow appears consistent across generations, from Crumb’s psychedelic-inspired Zap Comix to Brown’s meticulously researched graphic novels. For those interested in exploring strains that might support creative endeavors, Herb’s Dispensary Directory can help locate products near you.