Neil Gaiman, a name synonymous with masterful storytelling and genre-bending narratives, lends his insightful perspective to a comic that defies easy categorization: Omaha the Cat Dancer. In this introduction, originally penned for a collected edition, Gaiman reveals his initial skepticism towards soap operas, funny animal comics, and pornography – genres seemingly at odds with his sophisticated taste. Yet, he confesses a profound admiration for Omaha the Cat Dancer, hailing it as “consistently one of the best comics being published today.”
Gaiman’s appreciation stems from the exceptional craftsmanship of its creators, Reed Waller and Kate Worley. He praises Waller’s artistic growth and Worley’s “economical, well-observed and effective” dialogue. More importantly, Gaiman emphasizes the emotional depth of the characters and the captivating nature of their ongoing story. This isn’t mere slapstick or shallow humor; Omaha the Cat Dancer delves into the lives of its characters with a sincerity that resonates deeply with readers.
His first encounter with Waller and Worley occurred at a signing in Minneapolis, long before he fully grasped the accuracy of their fictional “Mipple City” as a portrayal of the real place. Subsequent meetings, particularly at the San Diego Comic Convention, solidified their acquaintance, allowing Gaiman to distinguish the creators: “Reed is the small quiet one with the facial hair, Kate is the tall redhead.” A humorous anecdote involving a tee-shirt exchange with Kate at a San Diego party further illustrates their memorable personalities and the quirky situations that seemed to orbit them.
Gaiman recounts the period of Reed Waller’s illness, a challenging time that brought the comic community together. Facing medical expenses without insurance, Kitchen Sink Press organized a benefit book, Images of Omaha. The overwhelming response from comic talents who contributed pin-ups and short comics underscored the deep respect and affection for Reed, Kate, and Omaha. Gaiman himself contributed an afterword to the benefit book, a testament to his support and admiration. This act of solidarity highlights the strong community surrounding Omaha the Cat Dancer and its creators.
Drawing a parallel to Linda Williams’ film criticism in Hardcore, Gaiman astutely compares pornography and musicals. Just as musical numbers are punctuated by plot, the explicit scenes in pornography often serve as the anticipated highlights within a narrative framework. However, Omaha the Cat Dancer transcends this structure. In this comic, sex is not merely a spectacle but an integral part of the storytelling, interwoven with character development and plot progression.
Gaiman’s experience of reading the entire Omaha saga in one sitting revealed a crucial element: “in Omaha, the sex, like the conversation, like the people, exists to forward the story.” This distinguishes Omaha the Cat Dancer from typical adult comics where explicit content might overshadow narrative depth. Here, the adult themes are handled with a maturity and purpose that enhance the overall story.
Returning to his initial reservations, Gaiman concludes that his enjoyment of Omaha is, in retrospect, not surprising. He recognizes its value not only as entertainment but also as a potential guide for aspiring comic creators, particularly in serial storytelling. Omaha the Cat Dancer masterfully blends elements of soap opera, funny animal comics, and adult themes, yet it is none of these in a conventional sense. It is a drama populated by anthropomorphic characters who are undeniably real, navigating relationships and intimacy with an “unblinking charm.” This unique approach prompts readers to question the often-absent realism of sex and relationships in other fictional works. Neil Gaiman’s endorsement solidifies Omaha the Cat Dancer‘s place as a significant and sophisticated work within the comic book landscape, deserving of attention from those seeking mature themes and compelling storytelling within the funny animal genre.
