Fans pick 100 books like Brian Blomerth's Bicycle Day

I’ve read Crawlspace a number of times, and the art never fails to give me a brain buzz. It’s a visual drug that always delivers. The story follows suburban teens who find they can leave their black-and-white world and enter an alternate reality through the door of a dryer. That reality is one of intricate, geometric patterns whose lines are filled with vibrating rainbow colors.

This hypnotically beautiful world has a quality at once entrancing and sinister as the teens encounter the strange creatures who inhabit it and begin to take on its colorful patterns themselves.

I love the look of late-1960s psychedelic art, which I associate with Peter Max and the animated movie Yellow Submarine. The style is one of simple linework filled with intense colors, to which are added decorative elements and optical effects.

A French cartoonist, Caza, brings this style to Kris Kool, his 1970 erotic science-fiction graphic novel. Like a male version of Barbarella, space traveler Kris Kool experiences bizarre and surreal adventures, many of them sexual. The plot is well constructed and carried me along with its surprising turns. There is no depiction of drug use, but the fantasies and imagery make reading it as trippy an experience as one can find between the covers of a book.

I was fascinated and appalled to learn of the CIA’s Project MK-Ultra, a long-running program in which the CIA dosed unwitting victims with LSD to study its effects and potential as a mind-control weapon. The subject has been covered in other books, but this graphic novel, illustrated by Stewart Kenneth Moore, brings this alarming tale to life visually.

His garish colors and mind-warping graphics depict the hallucinatory experiences in a sometimes appealing but more often terrifying manner. Moore’s art also gives the straight narrative elements of the story a warped, dreamy quality, imbuing even mundane reality with the disturbing quality of an acid flashback.

My mind was blown when I encountered the work of Philippe Druillet in the mid-1970s. This French cartoonist is considered one of the greatest of them all, creating alien worlds of startling originality and stupefying grandeur. Fifty years later, his work is as startling and original as it appeared back then.

No one has surpassed his ability to depict scenes of such mind-boggling scale and otherworldliness, as if he had a unique glimpse of some higher realm. As a young cartoonist, I was strongly influenced by Druillet, who inspired me with his demonstration of what it was possible to achieve in the comic book form. His work is not drug-oriented but depicts the sort of visions those who take hallucinogens would hope to experience.

This book brings the format of a graphic novel to the subject of women's resistance during enslavement and the trans-Altantic slave trade—and the result is fresh and compelling. As a historian myself, I appreciated the interwtined narratives of Hall's own research quest as a historian following the documentary record—and her reconstruction of the extraordinary revolt of the women held captive in 1772 on the slave-ship Unity. Both the search for truth and the dramatic uprising are conveyed with great skill and emotional power. The account of the Unity revolt calls attention to what we know, how we know it, and what we don't know. But Hall refuses to stop there. Instead, carefully marking speculation as such, Hall offers a fascinating, well-informed, effort to imagine a fuller account of what might have actually happened. We are left with a powerful sense of why this history matters two and a half… show more.

To me, Chunky just bursts with color, feeling, and frenzy. First and foremost, the art is beautiful, and the color palette is eye-catchingly unique. That just sucks you into the story, which is so funny and well crafted. It’s a loose autobiography; Hudi is an overweight, Jewish Mexican American kid who is trying to please his parents by fitting in and attempting various sports; meanwhile, he overlooks his true talents: drawing and performing. To help him cope, he conjures an imaginary (and hilarious) cheerleading mascot, Chunky. This is Hudi’s journey of finding self-acceptance. The book is so funny and imaginative, I could read it over and over.

This is a story about a girl who loves animals but discovers she’s allergic to all creatures with fur. Megan does such a great job of portraying Maggie’s feelings so starkly and truthfully, that she comes across as one of the most relatable, heartfelt characters. And the illustrations are spot-on. There are also fun and realistic side characters, like her new friend Claire and her annoying but lovable little brothers. Maggie’s journey to finding the perfect pet despite all obstacles helps teach kids about never giving up (yet going about it honestly) and counting on those you’re closest to. I found all the characters to be sweet, honest, and relatable.

Like the Greenberger book, this official history of Batman from DC Comics is essential for any fan. Unlike Kane’s book, this account gives much more credit to Bill Finger as Batman’s creator and highlights many of the writers and illustrators who followed, shaping the Caped Crusader's image over the years. The color reproductions and photos—including ones of collectibles and movie stills—alone are worth the price of this great book. 

I am not recommending a particular volume or compilation. In general I love the work of Harvey Pekar.  He has brought me closer to Documentary Comics than any other author. He worked with reflections and anecdotes and was one of those authors that from the writing was able to defy the common places in comics making. Yes, he was a scriptwriter, but he pulled out so many amazing comics from the graphic formula and made them work. I remember seeing gigantic balloons with blocks of text. Pages and pages of close-ups, and they weren’t boring.  A comic about him reflecting on his masculinity by unclogging the toilet. Amazing.

Joe Saccos’ work has had such an impression on me.

In 1991-1992, Sacco spent two months in the occupied territories, collecting stories for this masterpiece of journalism and comics. He was breaking new ground; Comics Journalism as a form did not really exist before this book.

On the ground, Sacco found that as a cartoonist, he could delve deeper into the experiences of the Palestinians he interviewed; all knew their identities were safe as the book would be drawn, with no identifying photos, no names. Their stories and pain pour forth. 

Looking back on this publication thirty years later, the situation has become far, far worse for Palestinians. This book is an excellent primer to understand the atrocities of the present and the context of their past.