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Nineteen ninety-four was a dismal year for the comic book industry as a whole and the future looks uncertain with publishers buying distributorships and exclusive arrangements being negotiated between others.
And so, Mirage Studios will be shutting down their publications department at the end of this year. Usagi Yojimbo #16 will be the last issue that they will publish.
I'm currently talking to a number of other publishers about picking up Usagi and I'm confident that the series will continue on an uninterrupted schedule.
Watch for more news in the next couple of issues.
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STORY NOTES The Tanabata Festival, celebrated on July 7th, was one of the gosekku, or "five great festivals". It was first observed as a national event in 755 A.D. The festival was based on a Chinese legend about the stars Verda (Shokujo) and Altair (Kengyu) in the Lyra and Aquila constellations. Shokujo was an accomplished weaver and daughter of a celestial king. She met Kengyu, a herder, by chance and they fell in love and married, much to the displeasure of Shokujo's father. They were so much in love that Shokujo neglected her weaving and Kengyu his herds, so the king separated them by running the Milky Way (Amanogawa: River of Heaven) between them. Magpies felt sympathetic to their sadness and once a year they stretch out their wings to form a bridge across Amanogawa, enabling the lovers to meet. However, if the night is rainy, the river will flood and the birds cannot form their bridge and the lovers must wait another year. At festival time, everyone prayed for good weather. Special foods and sweets were prepared. Bamboo branches were set up in front of houses or shrines and decorated with tanzaku (narrow strips of paper on which love poems are written), fukinagashi (colored strips of paper representing weaving), tsuru (cranes representing long life), ami (nets for good fishing, hunting, bountiful harvests, etc.), kimono garments again representing the weaving arts), kinchaku (money pouch), paper stars and other ornaments. There was also the Tanabata-odori or folk dances in which people danced in circles to the beat of drums. It was primarily a girl's festival and young girls believe that if they observed Tanabata Matsuri earnestly, they would not only be granted a wonderful lovelife but also gain skill in weaving and sewing. In ancient times, there were no ready-to-wear clothing widely available and the women of each household made the clothing for the entire family. Mothers and daughters spent each evening sewing, taking great pride in their skill. Today the most spectacular Tanabata celebrations are held in the city of Sendai on August 6-8 in keeping with the ancient lunar calendar. Sendai is in the northern part of the main island of Honshu in what was once Mutsu Province. Besides the dozen or so books I used for art reference, I went to the following resources specifically for the Tanabata Matsuri: Matsuri: Festival by N. Araki and J. Horii covered five major festivals in detail; Quaint Customs and Manners of Japan by Mock Joya is a nifty book covering miscellaneous information about Japanese life; Festivals of Japan and A Look Into Japan, both published by the Japan Travel Bureau; and Dictionary of Japanese Culture by S. Kojima and G. Crane. But of course, my greatest resource is my mother, Teruko Sakai, who patiently answered all my questions, even those I had not thought to ask. A takoyaki, which Usagi and Kinuko snacked on at the festival, is an octopus dumpling. It is usually sold at street stands and consists of wheat flour, bits of octopus (tako), green onions, chopped cabbage, dried fish flakes and ginger. It is dipped in a spicy sauce and eaten hot. Gunichi also made a reference to "Enma's Hell". Enma (or Emma) is the king of Hades and the judge of the dead. His origins probably lie in India and came over to Japan along with Buddhism. Lafcadio Hearn describes an image of Enma in his book Glimpses of Unfamiliar Japan as "a goblin shape with immense cavernous eyes. His mouth is widely open as if speaking in wrath, and his brows frown terribly. A long red beard descends upon his red breast. And on his head is a strangely shaped crown, a crown of black and gold, having three singular lobes…below it, upon the deep gold-rimmed black band, flames the mystic character signifying KING." The kiku or chrysanthemum which Kinuko so admired is the national flower of Japan. It symbolizes peace, nobility and long life and is the emblem of the Imperial Court. There are more than 5,000 varieties with different blossoming seasons but the ones flowering in the autumn are the most popular. They can be divided into two types, the first having a few large flowers and second with hundreds of small blossoms. The latter is used for making kiku-ningyo or chrysanthemum dolls. Kiku-ningyo are living plants trained to form a life-size "doll" with blossoms of different colors used to create gorgeous costumes. They usually depict historical scenes and figures. These dolls are usually exhibited in autumn, particularly around early November when the blossoms are at their best. |
LETTERS FROM OUR READERS
Dear Stan, I've only got a few words to describe the current storyline in Usagi #9-11: Absolutely BAD-ASS. I mean it, really. This is the type of stuff Usagi was meant for. Top-notch action, a well thought-out plot and some really intriguing new characters (Stray Dog, General Fujii). I didn't think the party could get any better until I read "Mongrels" in UY #11 with the re-introduction of Gen. Now it's time to really get down. The 7-page prologue in #11 about the crafting of a daisho was a real grabber. Stan, listen to me – this kind of stuff should be commonplace in Usagi Yojimbo. I remember reading in one of the previous letter columns that doing these type of segments on a regular basis would become redundant after a while. To this I say "no way". All right, I'll admit that doing them every issue may get a little repetitive, but I'd say one every five issues or so would be most excellent. Heck, I think the last time we saw anything of this caliber was something like five years ago in vol. 1 issue 20, "A Kite Story", which still remains as one of my favorite issues of all time. All I have to say about "Daisho" is that it was an awesome learning experience and that I'm going to have to re-evaluate the katanas, wakizashis and tantos that I've been purchasing from local cutlery and martial arts shops over the years. Although the blades are all 440 stainless steel, Japanese-made and razor-sharp, I now know I wouldn't want to go up against somebody armed with a Muramasa or a Masamune. One Question on swords: Why did the ninja or shinobi or whatever deviate from the traditional curved-edge katana by using straight-edge swords? Material for a future story perhaps? Well, until next time, groove with a rabbit in your kimono.
Todd Shogun
Cypress, CA
The Ninja sword was completely different than the Samurai's blade both in its meaning and in appearance. The katana was an almost mystical symbol of the samurai's class whereas the shinobikatana was merely another tool used by the ninja. The samurai's sword was crafted by master swordsmiths but the ninja's sword was of very poor quality, little more than a length of sharpened iron.
It was a straight blade, shorter than the samurai sword and with an oversized tsuba or handguard. The scabbard was about three inches longer than the blade to accommodate a hidden compartment in which powders or poisons could be stored. The ninja carried his sword across his back and the shorter, straight blade made drawing it in confined areas such as low-ceilinged Japanese homes easier than a samurai-type sword.
Muramasa and Masamune were two of Japan's greatest swordsmiths, though Muramasa blades were thought to be blood-thirsty and unlucky. There is a story which illustrates the different character of these blades. A Muramasa blade was dipped into a leaf strewn stream and even with such a gentle current, each leaf that passed it was cut in half. However, when the Masamune blade was dipped in, all the leaves avoided it.
Dear Stan & Co.,
I'm a kinda new Usagi Yojimbo reader. I actually started out reading the old Fantagraphics black and white issues and I thought they were great. When I got my hands on my first color issue, I wasn't so sure how it would turn out. But Tom Luth's doing a great job, just like all the rest of you who help make UY. I mean it too. But I've got one suggestion. In issue #3 you said in the reader letters that Gen has the part now that used to be Tomoe's. Tomoe's my favorite character (and I'm sure I'm not alone) and I liked Gen in his old part, so I propose that you put all the characters back the way they used to be. Besides, Tomoe was the only female character that wasn't a wife and she was really great.
Regarding Space Usagi – I loved it! Tomoe was my favorite. I read in one of the letters that she looked like Mariko, but I disagree. She looks the way Tomoe (the original) would if she was a bunny and she's got the attitude all the way. It was really too bad that she had to die, but her funeral was handled really well. Stan, are you going to do any more Space Usagi? If you already have just say so and I'll try to find them somewhere. If not, I really think you should. How about letting us see Princess Masayo again? And what about Spot – Kiyoshi's pet? Also, how ‘bout bringing Tomoe back as a guardian spirit for Usagi? It would make an interesting contrast in the characters. If Ryoko could come to Ch'yoko in dreams so couldn't Tomoe do the same sort of thing but in real time? (Yes, I know Ryoko and Ch'yoko were both psych-techs, but I still think it would work.) I was also thinking that when you drew them you were really harsh with their muscle lines and hair-tufts. No offense, but they looked like bumps on his head. They really didn't always look as cuddly as they could (maybe cuddly isn't the right word!).
Well, I think I've said everything I needed to except I think you guys are doing a great job!
Lee Duh
Ellicott City, MD
P.S. What happened to all the reader art? I miss those pictures, especially Chuck Dillon's. They really kicked.
P.P.S. What happened to that duel Usagi promised Tomoe a long time ago?
| Fan Art by Lee Duh |
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I'm already in the middle of a third Space Usagi mini-series entitled "Warrior". I've just got to find a publisher for it.
I would love to print more readers' art, however, we haven't been getting too many. Remember, artwork should be black and white, inked on unlined paper. Clean photocopies are okay.
Usagi dueled Tomoe in the first Color Special from Fantagraphics Books way back in 1989.
Dear Mr. Sakai,
As I have followed Usagi since his Critters days, it was highly probable that a letter would eventually result and here it is.
Your response to Janet Kone in Mirage issue #12 seemed a bit disingenuous. The villagers may have held Usagi in the deepest respect, but they must also be aware that under the law of the Tokugawa bakufu, all samurai, even ronin, have the obligation of kirisutegomen, which means they may kill on the spot any peasant, craftsman or merchant who failed to show proper respect. The swordsman was the sole judge of what might constitute "proper". When in doubt, the commoner, who prefers not to be disemboweled, will show the most exaggerated deference.
One other thing; in the real world, rhinoceros horns grow back if cut off. It is actually a form of hair and not a real horn. This being said, I realize that we are dealing with an anthropomorphic comic by way of sword opera movies and your reality need not be the one in history books.
For your amusement, my father was a diplomat and I went through a large part of my childhood in Asia. I have seen far more episodes of Yubei, Master Swordsman than Bonanza. With luck, you will be ready, willing and able to produce Usagi's adventures for the rest of my life.
Sincerely,
John Fluker
[no address given]
You're right. A line that was inadvertently omitted in my reply to Janet is: "The ronin maintained their samurai status without burden of its duties but they were also without the protection and benevolence of a lord."
Dear Stan,
The first thing I noticed about UY #12 was that it looked…different. The coloring seemed a bit odd and some of the linework seemed slightly out of focus. Then I noticed the paper had changed! It's ironic that the very month Action Comics switched to "slick" paper, Usagi should go in the other directory.
Amidst the beautiful simplicity and tranquility of your style, at times it's quite jarring when violence erupts as abruptly as it did on page 10 when Takenokami challenged General Fujii. A panel full of "speed lines" has become a well-known trademark of Japanese comic-books and by comparison you show great restraint when it comes to the actual violence portrayed.
I loved the way you built up all the drama and suspense leading to the confrontation between Usagi & Fujii, including the dramatic shot on page 13 where Usagi says, "I'm coming after YOU!" and Fujii's nightmare on page 14. If a Usagi Yojimbo cartoon is ever produced, I pray it's done by a Japanese animation company that really understands the style, personality and cultural feeling of the material.
This issue was just full of surprises. After repeatedly claiming no interest in the bounty on Fujii, Usagi gets practical and decides to collect on his men, and split it with Hanako. And finally, we find Stray Dog does have more to him than meets the eye.
One of my favorite reads continues to be Usagi Yojimbo. I hope you continue to successfully tell such entertaining stories in your own unique way.
Henry R. Kujawa
Camden, NJ
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Usagi Yojimbo, including all prominent characters featured in the stories and the distinctive likenesses thereof are trademarks of Stan Sakai and Usagi Studios. Usagi Yojimbo is a registered trademark of Stan Sakai. Any similarities between characters, names, persons, and/or institutions in this book and any living, dead, or fictional characters, names, persons, and/or institutions is not intended and if exists is purely coincidental.