Usagi Yojimbo Dojo - Letters - Usagi Yojimbo Volume 3, Issue 53

	Dark Horse Comics Usagi Yojimbo #53 Vendetta December 2001

	(Click on the thumbnails to view full size cover art)

USAGI YOJIMBO LETTERS COLUMN
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STORY NOTES by STAN SAKAI

"No man can live under the same sky as the murderer of his father." So goes the ancient Confucian precept. The Japanese extended it to "the murderer of his master," who, as the lord, was the father of the clan. The samurai who sought revenge was regarded as a man of honor, but he who let the killer go free was looked upon as weak and was despised by his companions.

Laws were passed that encouraged vendettas, or kataki-uchi, though they had to be registered with the proper authorities and carried out without delay. Vengeance was completed when the head of the killer was placed on the master’s tomb.

The most famous vendetta in Japanese history is the incident of the forty-seven samurai. In 1701, Lord Asano of Ako in Harima province drew his sword in the presence of Shogun Tokugawa Tsunayoshi, wounding Kira Kozukenosuke, the Grand Master of Ceremonies who had continuously insulted him. Asano was ordered to commit seppuku, or ritualized suicide. Also, his lands were confiscated and his more than 200 samurai retainers were declared masterless, or ronin. Oishi Kuranosuke, one of Asano’s chief retainers, devised a plan where they would meet in a year to exact their vengeance.

In the meantime, Oishi, watched by Kira’s agents, led a life of drunkenness and debauchery. Forty-six of the ronin met with Oishi at the prearranged time, and they attacked Kira’s mansion, killing their enemy. They paraded the head through town, and laid it at the gravesite of their master. They were ordered by the shogun to commit seppuku.

You can visit the graves of the loyal samurai in Tokyo. On December 14, the day they avenged their master, Sengakuji Temple is crowded with people paying homage to the heroes.

Dear Mr. Sakai.

I am a 14-year-old reader of Usagi Yojimbo and enjoy it thoroughly. I think it is the best comic I have ever read. Lately, I have noticed some stories are much like Kurosawa films. I read that he is one of your major influences. My questions are about the story "Showdown," which I believe was based on Kurosawa's Yojimbo, and Mirage issues #4 and #5, which remind me of the great film Seven Samurai. Were those stories influenced by those films? Thank you for your time and for making such a great book.

Robby Stefanisko
ThelcabisBat@aol.com

"Showdown" as well as the earlier "Silk Fair" were inspired by Yojimbo. "Shades of Green" was indeed taken from Seven Samurai. I am a great admirer of Kurosawa's work, and I am not alone. Star Wars was inspired by Hidden Fortress, and Lucas lifted the cantina scene from Yojimbo.

Dear Stan,

The latest proof of Stan's niceness came out in the letter of comment published in UY #50, in which Aki related his tale of the autographs. One of these years I have to go to San Diego and meet Stan for myself and thank him for his kindness to his readers, the greatest of which is the regular publication of Usagi Yojimbo.

I'd like to start with the cover of issue #50, because it allows me once again to praise the first-class colors of Tom Luth. They were gripping and powerful, and the cover managed to do what covers should not do: appease the reader for portraying a moment not inside the actual comic book! And I'm glad to see you're making use of the back covers for more than simply giving us the rabbit head (hey, Hugh Hefner!)

Inside, Stan took us through six pages in which Usagi didn't appear and in which Stan teased us. Amidst the commotion of the first page, what were we to center on? The answer slowly emerged in the form of Kitsune, who moved her head from side to side as if she were following the ball in a tennis match. Mirroring her to some degree was the individual we came to know as Boss Sohaku, and for once our favorite fox had a worthy opponent. Again and again, Sohaku's minions caught up with Kitsune, and it was Usagi and Gen (or just Usagi) who saved her. At the end, they couldn't even do that, and the "girl (who) has to do what she can to get by" seemed to have lost her touch...just when she needed it the most.

Then, with the stage all set, things really began to come together: Kitsune and her mysterious employer; Usagi and Gen; the boss and his men. There was mystery with the hooded man, comedy in Kitsune's escape from her pursuers, deft shifts in mood between the swordplay in the street and the swordplay in the dye shop, and an utterly priceless line about Usagi's ears. Who could want anything more?

Well, to be honest, I could; I could wish for the space and time to celebrate this story as completely as it deserved. Regrettably, I have neither, so I'll just say that I don't know how you keep producing this wonderful comic book, Stan, but I'm thrilled that you do, particularly when I know that sometime in the future we will witness the return of Lone Goat and Kid (Gorogoro! Gorogoro!). As long as you follow this road, I shall accompany you on it.

Charles Sperling
37-15 Parsons Blvd #4-C
Flushing, NY 11354-5814

Thank you, Charles, and to all the others who sent congratulations on Usagi’s 50th Dark Horse issue.

The Lone Goat and Kid will make their return in UY #54. It seems inevitable that they would show up now that Dark Horse is reprinting that excellent series (Lone Wolf and Cub). Glad you like the new back covers. The artwork is taken from convention sketches that I have done over the years.

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. Names, characters, places, and incidents featured in this publication either are the product of the authors imagination or are used fictitiously. Any resemblance to actual persons (living or dead), events, institutions, or locales, without satiric content, is coincidental.