Mirage Publishing Usagi Yojimbo #15    Kaiso August 1995 (Click on the thumbnails to view full size cover art)

STORY NOTES Nori is seaweed layer dried into thin, black sheets about eight inches square. There are three types: seasoned, non-seasoned and toasted. It is used to add flavor to a variety of Japanese dishes such as soups, deep-fried as tempura fritters, with vegetables or wrapped on various kinds of sushi such as in the case of kappamaki (seaweed rolled around vinegared rice with a piece of cucumber in the center). Kichiro's seaweed farm is based upon a farm in Tokyo Bay shortly after the turn of the century. The seaweed fences and geta-stilts may have been unique to this time and/or area since I didn't find any mention of them in descriptions of such farms further north. Each family in the village had their own plot in the off-shore field, however, poaching was a very real problem. So much so that the police would regularly cruise the area to deter thieves. Most of my research for this story came from an exhibit and video on kaiso farming that was shown at the Peabody Museum in Salem, Massachusetts in 1993 (they have an excellent Asian wing, by the way). Books included Japan Day By Day and Japanese Homes and Their Surroundings, both by Edward S. Morse, one of the museum's founders. These references gave wonderful insights into daily life in Japan, complete with illustrations such as a drawing of a kaiso pole or the architecture of a fisherman's home. Peabody Museum of Salem, E.S. Morse Collection/Photography, published in Japan by Shogakukan Publishing is a wonderful collection of three hundred hand-tinted slides, taken from 1890-1909, depicting many aspects of Japanese life from the most mundane activities, such as farmers husking rice, to elaborate festivals. Other books used were: Everyday Life in Imperial Japan by Charles Dunn, which pictured a wood cut of the interior of a seaweed shop on which I based Yamanaka's establishment (Incidentally, the –ya at the end of his name in the first panel of page 11 indicates a place of business as opposed to –san at the end which would indicate the name of a person.); Dictionary of Japanese Culture by Kojima and Crane; and Quick and Easy Sushi Cookbook by H. Toyama and Y. Moriyama, which contained information on nori. (By the way, this is also a great step-by-step cookbook on making sushi in case you're wondering what to do with those cuttlefish tentacles you've got in the refrigerator.) And lastly, my parents took a few pictures of a seaweed farm in northern Honshu when they visited Japan a few years ago. (Maybe now they can deduct the cost of the trip from their taxes. HA!)

LETTERS FROM OUR READERS

Dear Stan,

Having read UY for years, I'm finally writing to express my appreciation. I am also writing to express some concerns.

Of late, I've notice the number of stories, character developments and influences which have come directly from the letters section. This growing trend towards the inclusion of reader's suggestions are fine, as long as you're the one making the decisions; but I am not convinced that an interactive UY is necessarily good for the work, or for the readers.

After the artist, the readers are the most important element in any graphic comic's success. But, it does not follow that the reader should thus dictate what it is they feel they should see or what is best for the work. Certainly, as an avid supporter of any literary vision written or otherwise, the fulfillment comes from discovery and surprise, not from group decision (or "imagineering" as the Disney people have cynically titled their creative process).

In this sense, I believe many who write to "suggest" characters, stories or subject developments are confused as to what it is they are reading. Perhaps this is a result of the modern age we live in, with CD-ROM's and all; but what must be remembered is that it's the artist and their vision and approach that must be respected. I, for one, hope that you don't feel obligated to include the "research" presented by pushy readers. The only obligation an artist has to any of us is to always do their best. Stan, as writer, artist and creative source of Usagi Yojimbo, only you know what is best for your work. We, as readers, are involved when we follow Miyamoto Usagi through his life travels and share experiences. This is far more important and rewarding than attempting to tell Usagi how to live his life.

Thank you very much & "worried about the rabbit",
Richard Wong-Chu
N. Vancouver, B.C.

I appreciate readers' comments and any research that is suggested or given to me, but rest assured that no one makes any decisions in respect to the Usagi stories except me.

I've received numerous books, magazines, videos and invitations to cultural events or exhibits. I'm grateful to the fans who have given them to me but no one has ever attached strings to their gift that I was under any obligation to use them. Much of the references may lie around my studio for years. The article from Science News that I referred to in UY #11 was given to me at least 5 years ago at a San Diego Convention.

Dear Stan,

First, of course I've been a fan of Usagi since the beginning, but I've been a "fan" of Japanese art for far longer. I've seen every "samurai" flick produced, except for some of the Lone Wolf series. My first introduction to Japanese swords other than these movies was the magnificent artwork of their fittings. Also, I have a great friend, who is a blacksmith and metalist, that introduced me to the science behind the art of steel.

Some other books you would enjoy are Arms & Armour of Old Japan by B.W. Robinson (The Victoria & Albert Museum has a nice collection), Swords of the Samurai by Harns & Ogasawara and The Craft of the Japanese Sword by Leon & Hiroko Kapp & Yoshindo Yoshihara (a very complete book on the making, polishing and finishing of swords based on the current work of Japan's Living Treasures).

The finest blades are in the United States, many of them rusting in attics in the Midwest. They were taken as war souvenirs after the invasion of Japan at the end of WWII, or confiscated as weapons and destroyed by the US Army. Rare and beautiful swords still show up at the knife shows in the hands of people who have no idea what the "sword grandpa brought back from the war" is really worth and what it might mean to the people who made it or the families they originally belonged to.

Thank you as always for an excellent book and I, for one, truly appreciate the efforts you put in for the story's authenticity. I love the villages, farms, inns and other homes and everyday details you provide as well as the details on customs and pastimes. I love the songs the farmers sing!

Good Luck & Thanks!
Ellen Layendecker
Palo Alto, CA

Actually, those songs the farmers sing are all made up by myself so they are by no means authentic folk songs, but they are fun.

Esteemed Mr. Sakai,

I haven't written in for a while, and for that I apologize.

I pity Usagi right now. I can not even imagine what it must be like for him, having his very soul ripped from him and put to evil use. I have to idly wonder whether Usagi now holds Fujii in lower regard than the infamous Daimyo Hikiji. (All those people out there must be going "What? Lower than Hikiji? You're off your nut!" But, please hear me out.)

Yes, Hikiji's machinations slew Daimyo Mifune (UY [Vol. 1] #2), but that was two armies on the field of battle. Yes, Hikiji gave Usagi his famous scar (UY [Vol. 1] #4), but that was a duel between Samurai. Yes, Hikiji is a plotting, evil, twisted man; but would he sink so low as to strip a warrior of his soul? I think not. As proof, I offer his behavior towards General Toda (UY [Vol. 1] #1), who betrayed his own Lord Mifune and in so doing won Hikiji the Battle of Adachigahara. Was he accepted as a loyal servant? Rewarded for his aid? No. He was vilified (by the dastardly Hikiji) for violating the Bushido Principle of Loyalty. Toda was even refused the right to commit suicide to atone for his treachery. All this says to me that even though Hikiji is a plotting scoundrel, he at least conducted himself (for the most part) honorably. After all, how does killing men through war or treachery compare to defiling another's soul? Of those two evils, I would guess Hikiji's the lesser.

Here's hoping Fujii gets the death he richly deserves,
Alan Baugh
Indianapolis, IN

Dear Sakai-san,

Usagi Yojimbo #11 was another fine issue and it reminded me of the old Kite Story [UY Vol. 1, #20]. More issues like this one would be VERY welcome! I do know about the problems of researching for these types of storylines, but a reader can always hope…

I understand that the period of the first katana was also when there were important changes in Japan. Mounted archers were gradually replaced by sword-wielding warriors who eventually became the samurai we know today. Though archery still remained a significant part of samurai training, use of swords became more prominent. This period is still reflected in the fact that a Shinto war-god Hachiman wields daikyu (a Japanese bow) and his holy days are celebrated with archery contests.

On another subject, it seems you intend to give Jei some personality. Perhaps next you could give him a past. Obviously he is magically potent, though in a limited way and he also seems to be a "villain with honor". Overzealous in ridding the world of evil, Jei is fanatical, even killing those for rather minor offenses. This attitude must have been a result of a rather horrible experience…

Commenting on Godfrey Firth's letter (UY [Vol. 2] #13), in a somewhat strange manner he does hit the point by saying that you can still respect yourself the day after purchasing Usagi Yojimbo (instead of say, Maxx!). But, I would also like to make note that Zen-Buddhism, being a Buddhist sect, is not a separate religion. Also, UY is rather a loose depiction of Japan in the 1600's and the beginning of the Tokugawa period. This is a parallel reality with animals replacing humans so I would not be very concerned with the historical stuff. However, since the historical culture is the basis for all these stories, history can't be ignored all the time.

I have assumed that Usagi is of Jizamurai descent (i.e. – samurai of rural background), which made it easier for him to understand the concerns of heimin (farmers and commoners). No doubt he prefers this rural environment to the urban one and he would have to have a very good reason to go to Edo or Kamakura at all, not to mention to a Dutch trading base in the outer islands.

And, I do understand Usagi's fervor in retrieving his swords. One does not take lightly the loss of a family heirloom that you also happen to consider a part of your very being. In addition, he did not abandon the tenets of samurai, he challenged Fujii to the duel instead of backstabbing him like some shinobi. I do not see Fujii as a man of intelligence and culture, even though he does himself.

Last but not least, a few notes on Usagi Yojimbo #13. As a story of passion and duty this issue was very well done. I can't wait to see how Usagi handles his duties as yojimbo.

I hope to see Usagi in an epic similar to the storyline of "The Dragon Bellow Conspiracy", but I understand that longer stories are harder to do, especially if they are to make any sense.

Well, keep up the good work.

Take Care,
Vesa Lehtinen
Tampere, Finland

There is a multi-issue storyline just over the horizon. "Grasscutter" will begin with the mythological creation of the Japanese Islands and will advance forward to Usagi's time. It will involve the gods, the Shogun, the Emperor and, of course, Lord Hikiji. If that doesn't have the makings of an Usagi epic I don't know what does.