Often, our greatest discoveries come from venturing outside our comfort zones. As someone who typically steers clear of soap operas, approaches funny animal comics with skepticism, and finds pornography consistently underwhelming, I was genuinely surprised to find myself captivated by Omaha the Cat Dancer. This comic, against all my initial biases, has proven to be not just enjoyable, but consistently exceptional – a true standout in contemporary comics.
From its inception, Omaha the Cat Dancer has showcased the remarkable growth of Reed Waller’s artistic skills. Coupled with Kate Worley’s sharp, economical, and insightful dialogue, the comic transcends typical genre limitations. You become invested in these characters; their stories and relationships draw you in completely. And yes, the mature content is handled with a sophistication that is genuinely compelling.
My first encounter with Reed and Kate was years ago at a signing in Minneapolis. At the time, I wasn’t familiar with the city, nor did I grasp the accuracy of their portrayal of ‘Mipple City’ until later. Our paths crossed again at the 1990 San Diego Comic Convention, where I had the chance to get to know them better. Distinguishing them became easy: Reed, the quieter one with facial hair; Kate, the striking redhead. A somewhat infamous San Diego party led to a memorable tee-shirt swap with Kate just to retrieve my leather jacket—a tale that has evolved into various exaggerated versions over time, the true account of which remains safely with me.
Following those encounters, phone conversations with Reed and Kate became more frequent, especially during Reed’s illness, which unfortunately delayed the comic’s production. Reed faced a serious health issue without medical insurance. In response, Kitchen Sink Press rallied the comics community to create Images of Omaha, a benefit book to support his medical and living costs. The overwhelming outpouring of support from comics’ brightest talents, who enthusiastically contributed pin-ups and short comics, resulted in not one, but two benefit issues. This demonstrated the profound affection and respect for Reed, Kate, and Omaha that perhaps even they hadn’t fully realized. Contributing an afterword to the first benefit book was an honor, especially alongside such distinguished company. Thankfully, Reed recovered, and Omaha The Cat Dancer returned.
Reed Waller remains a dedicated and understated craftsman, though he opens up with familiarity, always offering insightful and pertinent conversation. Kate Worley remains, in memory, the unforgettable tall redhead.
Linda Williams, in her insightful film criticism book Hardcore, drew parallels between pornography and musicals, noting that in musicals, the narrative serves to link the song-and-dance numbers, while in pornography, the plot primarily functions to separate the sexual encounters. These elements—songs or sex—are what the audience anticipates and would feel deprived of if absent. This principle extends across genres and media.
Prior to writing this introduction, I had the pleasure of reading the entire Omaha saga in one sitting. Having previously read issues sporadically, this immersive experience revealed something crucial: in Omaha, the mature content, like the dialogue and character development, is integral to advancing the narrative.
Despite my initial genre-based hesitations, my appreciation for Omaha isn’t surprising in retrospect. It’s a masterclass in serialized comic creation for aspiring artists. Omaha The Cat Dancer operates as a soap opera, yet it’s grounded in genuine drama, not melodrama. It features funny animals, but they are imbued with real, relatable personalities. It’s neither purely erotica nor pornography, but rather a narrative where the story continues even as characters express intimacy – reflecting life as we know it. This is depicted with an honest charm that, for me at least, highlights the often-missing element of genuine human connection in other fictional works.
Neil Gaiman.
August 1993
