Pam’s Pictorama Post: It is a very exciting week here at Deitch Studio! As I write today (they are yanking our windows out of the wall as I start this) the big news here is that Reincarnation Stories is hitting the stands at last! Yay! Today I am putting on my dyed in the wool Deitch fan hat and telling all about how the books get made, followed by my honestly biased review of Reincarnation Stories tomorrow. While I have written about Kim’s work in the past (see my recent post about his book Beyond the Pale which was my introduction to him here) this launches with a bit of a diatribe on the subject of the books he has done during the time we have been together.
I realize I cannot help but start with Kim’s process of making comics because when I open a book that I have watched him make for me, the process of getting there, and the lingering memories of what we were doing during each stage telescopes before me. These are microcosms of our daily life and certain drawings take me back to utterly unrelated events. (We were watching the election back when that was drawn; I was traveling in Shanghai when he came up with that…) However, mostly I remember watching it all come to life on blank sheets of paper – or even before when the story was just a kernel that Kim told me or that grew from a nascent conversation, or with him waiting for me to wake up on a Saturday morning, sitting on the edge of the bed and anxiously saying he has a story idea he wants to try on me.
The first story I remember watching Kim work on was Molly O’Dare from what would become the Shadowland book. (Molly comes back for a rip roarin’ turn in Katherine Whaley.) We had started seeing each other and, Kim being Kim, he had his work along with him so that he could fit a few hours in here and there. It was my first chance to see how the sausage is made in a Kim Deitch comic book (they still were published as comic books, pamphlet length, then) and I was fascinated. The process from the simplest un-readable lay-outs to proper roughs and then fully realized lay-outs – which would then be traced and inked. (I had missed the character development sketch pages for that story. In some ways this has since become my favorite part of the process.)
As someone who draws (and actively was at the time) I was fascinated by Kim’s process. After writing the story in outline form, he more or less draws the entire book about four times. There are the roughest of roughs where the script sort of gets put down, and at that point Kim has to walk me through it because it isn’t legible. Then come the readable roughs. It was more layers than I would have dreamed possible.
About this time, if not earlier, those character drawings start fleshing out not just characters, but locations too, teasing out situations. Sometimes there is some back and forth – Kim using writing to push drawing forward and the other way around. If you’ve suspected that there is a Deitch universe behind every book, that somehow you never quite get to see – that’s it! The El Dorado – there actually is one! These are glorious pencil drawings on 11″x14″ copy paper. He makes piles of them.
Some have notes he’s written to himself with an arrow or box – sometimes it is a tidbit about the character Pam in her new size body or Transferring the souls of dead human beings into new miniaturized living bodies as from a new sheet hot off the press, shown below. Yes, I am here to tell you, everything does have a history and background. Some of the folks who follow Kim on Facebook see these as they develop. You too are getting a great backseat view of the process, albeit in pieces. And yep, we have ’em all and someday I want to see the best of them published.
Meanwhile, the process marches on and readable roughs get turned into layouts which are amazingly finished looking, yet further changes are made before – voilà – they are finally traced onto Bristol board before being inked. The lightbox Kim uses to trace his drawings was a novelty to me. (A small Butler-Deitch fact is that a lightbox of my own was the first gift he gave me – one that eventually went on to be a shared one when his died. I believed we are now ironically using one that I in turn bought him when that one died. Something about lightboxes.) I had, before meeting Kim, been holding things up to the window to trace them, usually in order to flip them. (Welcome to the 20th century Pam.)
Anyway, the sheets of drawings quickly pile up – first the Xerox paper pages, followed by piles of inked finished pages, until (awash in paper) the story sits finished in a grand pile next to Kim on his desk. (I believe I have mentioned that we live in a single room where Kim also works? Yes, storage is an issue.) These days things then get scanned – there was a time within memory when they were carefully wrapped, packed up and Fed Ex’ed to Fantagraphics. We would be on pins and needles until we were assured they had arrived safely – and again when they were to be sent back. Scanning has its own issues – faithful Pictorama readers know that our scanner died on the very last page of Reincarnation Stories. We are hard on scanners. (There is great grousing during the scanning phase which is persnickety with making sure all pages are scanned, kept in order and all the scans are good.)
Kim and I met after Boulevard of Broken Dreams was published as comic books, although I had the pleasure of revisiting it all when it was published in hardcover as a single book by Pantheon (’02). So now I am going to start to wear my fan hat a bit more and say that as much as I loved seeing Boulevard published as a book, the size disappointed me and I felt the same about Alias the Cat (’07) – as beloved as it is for me. Both are better printed in comic book size – some of the detail isn’t sharp enough when you take Kim’s drawings and scale them down. Shadowland, a book of ribald carnival related stories displaying Kim at his best with this genre, collected and published by Fantagraphics at the about the same time (2006) was printed in a glorious size which further highlighted the difference. (It is in a trade paperback format of roughly 9″x12″.) I would love to see all his books re-issued in this or the same size as Reincarnation Stories. (Just sayin’ to you all at Fantagraphics.)
Alias isn’t my first appearance in Kim’s comics (I have a cameo in Smilin’ Ed) but Alias is the first time my comic book character is in fully realized glory. I could and probably should devote considerable space to my love of Alias the Cat – I am quite sure few women can claim such a declaration from their spouse as this book is to Kim seeing me via my cat collecting mania. Now, looking back, the collection was in the somewhat early stages – readers here know that it has grown in leaps and bounds. Anyway, the thrill of opening that book never quite pales for me.
In passing I will say, as I am wont to do in person, that my comic book character is a tad more volatile than I think of myself. I don’t think I lose my cool as quickly as she does. (She’s a yeller and I am not.) Although some of her wardrobe reflects mine (a black beret-style hat I have worn for many seasons, handmade by a Japanese couple who used to have a store down the street – I have been recognized in it a comic book stores and cons when wearing it), but some is clothing designed by Kim I would love to own in real life. There is a certain winter coat that I would love to have – and the dress that I wear at the end of Reincarnation Stories is pretty spectacular too. I suppose my character being immortalized in them will have to be sufficient.
The Amazing, Enlightening and Absolutely True Adventures of Katherine Whaley (2013) breaks all the rules and the tosses much of the tradition of the making of a Kim Deitch comic book up in the air with an original more text (but not less drawing) format. While I do not appear in it (Kim barely does) I have a very strong sense that the design for Katherine Whaley is very much me, and Kim has said that the Eleanore Whaley character has much of me. Another shout out to Fantagraphics and especially the late Kim Thompson who edited that book – he took a chance and allow Kim to design it as a horizontal which the early art just screamed out for and it looks wonderful. Kim T. did a lovely job on that book and it is dedicated to him.
Meanwhile, the fact for the day for you Deitch Studio aficionados is on page 164, in the epilogue, is a small drawing of some beavers and the main character drawn by me. While the making of Katherine Whaley was in some ways stressful, it was a somewhat different process for Kim and the concern of whether or how it would be made to work remained a question during much of the conception and production, it really came out full blown from his mind in a very coherent way and he blasted through it. (It is my own opinion that this book will someday be considered a pivotal contribution that Kim made to the evolution of the graphic novel and perhaps suffered from being a bit before its time. I say that both as a biased wife and an uber Deitch fan.)
So, as I sit down now with this yummy amazing and satisfyingly fat copy of Reincarnation Stories I couldn’t be happier or more proud of Kim! Tomorrow I will get into what I will call a wife’s Very Biased Review of Reincarnation Stories. I hope your copy has arrived and that you will take the trip with me.