David Mack's Kabuki

Now I am going to discuss David Mack and his work with Kabuki with you. Volume four in his seven volume series is entitled Skin Deep. After reading its description on his website I have a feeling I haven’t read the entire volume, but I do have a snippet of it, and even before I read his bio, which proves him to be a very creative storyteller, I was in awe. This was over a year ago, maybe even two. Now it’s my turn. Back to my “Beginnings” blog, I have done an incredible amount of research since, both on the topic of the content of my book, and how to create and present a story in such a way that it captivates my audience. I like well-designed books, and picture books besides. I want reading to be an interactive experience, with several layers of information and discussion. That’s what makes me want to pick up a book and read it.

In order to design a book -- if you play both the role of author and designer -- you need to consider not only the existence of your characters or topic, but the book itself as a sentient being. For me personally, David Mack’s work, or the sample I have of it, would be one of my best practice case studies. There are others, but this is the example I have currently chosen.

This is a very interesting story. On the first spread, there are only 64 words in the conventional comic book font. Some writing looks like it was written using the left hand suggesting a child’s mind at work. Some writing is done in a much more mature hand, like Akemi’s “letter”, and some “writing” is very visually oriented, like doodling.
There are so many levels of information in this story; symbols, visuals, words, and the design layout itself, that are repeated and re-used.
The grid system is sometimes seamless between reality and Akemi’s diary and cartoons. Sometimes the grid system is used to reveal things; it acts as a logical classifying system with strict vertical and horizontal lines as Akemi talks about the doctor classifying and deconstructing her. It is also used to portray progression; shadow puppets, a conversation, an origami creation. On one page, the grid system is used as a plane for conversation; a 2D representation of an abstract phenomena that can only occur in the spaces of the 3D world. Here, time is separated into tiny squares with faces and speech/thought bubbles. On another spread, the subject; the dream of the dancers, is drawn in the background, behind the conversation, taking over as the writer engulfs you in the dream, and eventually the conversation becomes invisible.
On yet another level, further in the background, the story unfolds, oblivious to the characters who are telling the story. There is no narration. The story is up to the readers to figure out, and so it left me with a puzzle of how to put together the pieces.
That’s one inspiration for how I want to build my story. It won’t be as fascinating as David’s but his style is pretty incredible!