Hello, Usagi readers, Todd Shogun here. 2006 marks the 10-year anniversary of the
official website of Stan Sakai’s long-eared samurai.
Developed specifically in dedication and admiration of
Stan’s long-lived anthropomorphic samurai epic, the
Dojo has enjoyed immense success and growth since
those early days. It was February 1996, and the
Internet was just barely getting into full swing. I
can still remember sitting in my school’s computer
lab, not exactly studying, but browsing the Dark Horse
Comics website, reading about the then upcoming UY
3-issue limited series. Coincidentally, April 2006
represents the 10-year mark for Usagi published by Dark Horse. What
a fitting way to reflect a bit on the Dojo’s first
decade...
My search for Usagi on 1996’s primitive (by today’s
standards) web led me to other Usagi pages. I asked
myself, “Why not start my own Usagi fan page?” As I
became more familiar with the web, I developed my own
personal home page and added an Usagi tribute page,
which I dubbed the “Usagi Yojimbo Dojo”. It became a
place for fans to come and learn about their favorite
ronin rabbit, and to hopefully introduce new fans to
Stan’s creation. I had known Stan for many years at
that point, writing countless letters of comment to
the book and following him around at conventions. I
told him about the site a few months after its
inception. Much to my delight, he offered to
contribute preview art and info for placement on the
UYD. The Dojo soon became the official website and the
ultimate source for information about Usagi Yojimbo
and Stan’s work.
We started forming strong ties to Dark Horse Comics in
the very beginning, with the website address appearing
in all Usagi-related advertising. In these early
days, former VP-Sales, Lou Bank and former Editor
Jamie Rich were instrumental in providing publicity
for the site, and helped it grow into what it is
today. We owe a lot to the fine folks at Dark Horse,
and I’d like to thanks Diana Schutz and everyone else
for their continuing support.
The UYD is more than just a website. It's also a fan
club/organization dedicated to the promotion of Usagi
and other works by Stan. Anyone interested can "join"
the UYD for free by simply signing up. Available to
all members are email- and web-based discussion forums
where “Sensei” Stan himself regularly participates in
discussions. We’ve also sponsored contests, for
which Stan has graciously offered up fantastic prizes
like original Usagi drawings. Of course, with so much
going on, I’ve had to enlist the help of other fans to
contribute to the site. If it weren’t for these fans
(who I refer to as Dojo Retainers), the UYD would not
be as successful as it is today. Fans like Glenn
Masuda, Becky Abram, Valancy Gilliam, and Aaron
Digulla, among many others, have played pivotal roles
in the evolution of the site. Thanks to all of you
for making the Dojo what it is today!
The Dojo has also hosted many fan gatherings over the
years, most of which have occurred at the San Diego
Comic Con. One of the most memorable was Fanime Con
2000, where the Dojo held a dinner party with Stan as
Guest of Honor. It was great. Stan really enjoys
participating in these activities. You can tell he
really appreciates his fans. It’s little wonder why
he’s known hands down as “the nicest guy in comics”.
Stan and the Dojo have shared a symbiotic relationship
that’s rare in the comic book industry. It’s run by
the fans for the fans, but Stan himself has often
found it to be a useful resource for Usagi. I’ll
never forget the day Stan contacted me regarding the
photo of Kusanagi-no-Tsurugi (the Grass-cutting Sword)
that I posted on the site. He could not find a visual
representation of the sword anywhere and was just
about to make one up... that was, until he saw the
rare photo I managed to acquire. He used that design
for the famous mythological sword in his epic story
arc “Grasscutter”.
We’ve also worked with Stan in offering Dojo t-shirts,
for which he has supplied original Usagi designs. The
last t-shirt celebrated 20 years of Usagi (1984-2004).
Our next t-shirt will be hot on the heels of the
last, and will celebrate the Dojo Decade. I am proud
to say the new shirts will feature the cover artwork
from Albedo NR 2, where Usagi first appeared. Albedo
NR 2 is affectionately known as the “holy grail” of UY
fandom.
It’s been an exciting 10 years, and I am looking
forward to many more. The Dojo means a lot to me on a
personal level. It has allowed me to give back to the
talented Mr. Sakai in thanks for providing us with the
world’s greatest comic book, and to provide fellow
fans with a forum of all things Usagi to indulge in.
The Dojo has become more of a community than anything
else. While its primary mission continues to be the
promotion of the works of Mr. Sakai, it’s also
dedicated to uniting Usagi fans from all over the
globe. It’s here to bring the fans together, to
enable them to interact with one another and with Stan
himself. Abayo!
The Dojo Decade (Warning: UY #93 Spoilers!)
Moderators: Mayhem, Steve Hubbell, Moderators
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Todd Shogun
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The Dojo Decade (Warning: UY #93 Spoilers!)
Last edited by Todd Shogun on Sat Mar 04, 2006 22:27 -0700, edited 4 times in total.
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Todd Shogun
- Shogun
- Posts: 1916
- Joined: Fri Sep 20, 2002 12:43 -0700
- Location: Orange Co., California
- Contact:
Posted on behalf of Stan:
Ten Years of the Dojo
By Stan Sakai
I’ve known Todd Shogun for about 20 years now, and throughout that time he has always been a steadfast supporter of my work. When he asked to start an Usagi Yojimbo website, I heartily agreed. Besides, the internet was still relatively new and mysterious, and I had neither the inclination or the expertise to undertake such a project. In fact, I did not even have access to the world wide web at that time.
The Dojo, as it was later named, has become a great way for me to keep in touch with readers, and readers to get to know each other. It has also benefited me many times, and helped me with my research. When I was working on “Journey to Atsuta Shrine”, I needed visual references on the shrine. The call went out to the Dojo, and soon I was flooded with e-mails with links to the shrine, maps, and one Dojo member who had visited the place even sent photos.
The Dojo has become a forum for Usagi, where members communicate and share thoughts, comment on stories, and speculate on upcoming storylines. It can also be a support for readers. I know of one case where one member may have even saved another’s life, literally.
The Dojo has helped me to keep in touch with readers, and is a valuable reference tool. And it is always a treat to meet face-to-face someone I have communicated with on the boards, whether it is at the San Diego Con or France or Spain or even Poland. I have gotten to know many Dojo members, not just as readers, but as friends.
Thank you all.
Ten Years of the Dojo
By Stan Sakai
I’ve known Todd Shogun for about 20 years now, and throughout that time he has always been a steadfast supporter of my work. When he asked to start an Usagi Yojimbo website, I heartily agreed. Besides, the internet was still relatively new and mysterious, and I had neither the inclination or the expertise to undertake such a project. In fact, I did not even have access to the world wide web at that time.
The Dojo, as it was later named, has become a great way for me to keep in touch with readers, and readers to get to know each other. It has also benefited me many times, and helped me with my research. When I was working on “Journey to Atsuta Shrine”, I needed visual references on the shrine. The call went out to the Dojo, and soon I was flooded with e-mails with links to the shrine, maps, and one Dojo member who had visited the place even sent photos.
The Dojo has become a forum for Usagi, where members communicate and share thoughts, comment on stories, and speculate on upcoming storylines. It can also be a support for readers. I know of one case where one member may have even saved another’s life, literally.
The Dojo has helped me to keep in touch with readers, and is a valuable reference tool. And it is always a treat to meet face-to-face someone I have communicated with on the boards, whether it is at the San Diego Con or France or Spain or even Poland. I have gotten to know many Dojo members, not just as readers, but as friends.
Thank you all.
-
Todd Shogun
- Shogun
- Posts: 1916
- Joined: Fri Sep 20, 2002 12:43 -0700
- Location: Orange Co., California
- Contact:
A Q&A with UY Editor Diana Schutz
<B> WARNING! CONTAINS UY #93 SPOILERS!!!</b>
In celebration of the Dojo Decade, I've asked Diana Schutz, Editor of UY, to contribute a Q&A on the last 10 years of Usagi at Dark Horse Comics.
Todd Shogun: Describe your involvement with DHC, starting off with your first assignment and leading up to editor of Usagi.
Diana Schutz: Mike Richardson, Dark Horse publisher, moved me to Portland, Oregon, in March 1990 to work for the then four-year-old company. My very first assignment, as I recall, was to get out the long-awaited Aliens vs. Predator miniseries by June of that same year -- which I miraculously managed to pull off.
Working with Stan Sakai has been a breeze by comparison!
When Stan first offered Usagi to Dark Horse in 1994, he wrote directly to me because he and I had worked together very briefly (on one story!) during my time at Comico in the late ’80s. By ’94, I was editor-in-chief at Dark Horse and simply could not take on another title at that time, so I reluctantly ceded the editorial reins on Usagi to my then-assistant Jamie Rich. Usagi was the very first book that Jamie would edit solo, but under my watchful eye. By the time Jamie left Dark Horse a few years later, I had already resigned from the editor-in-chief position in favor of hands-on editing again -- and I insisted on taking Usagi despite the fact that our editorial administration wanted to give it to another editor at that time. I argued that Stan had offered the book to me in the first place, and now that I had the opportunity to work with him again, I simply refused to pass it up! Hmm, I’m not even sure Stan knows that story…
TS: It’s been almost 10 years since DHC picked up
Usagi. Reflect on those early days when UY was poised
to be a 3-issue limited series but expanded to 5 and
then a regular ongoing series. What were the
circumstances involved in the decision?
DS: In the world of publishing, there are really only two major criteria that determine whether or not a book is chosen for publication:
The first is: Is it good? The second is: Can we sell it?
It goes without saying that Usagi is good. Stan consistently tells a strong story, issue after issue, year after year. The man knows what he’s doing! The reason Usagi continued -- and continues -- as an ongoing series is that the book, and now the trades, continue to sell in numbers that make it a profitable enterprise both for Stan and for Dark Horse.
TS: What is Usagi’s print run up to now compared to 10
years ago? Can DHC quantify the increase in Usagi’s
popularity since they started publishing him?
DS: The print run on Usagi is privileged information that Dark Horse is contractually not allowed to divulge, sorry. I think the primary difference between the sales of the book then and the sales now is reflected in the ongoing program of the Usagi trades. We’re currently working on Usagi book 20, so there is much more of an established library of Stan’s work on the series, and we continue to reprint the trades over and over as each individual print run sells out. This has lent a greater feeling of permanence, I think, to the entire enterprise.
TS: Describe DHC’s and your relationship with Stan over the past
10 years. How has it been, working with him? Are you looking forward to continuing as Usagi’s editor? Can this relationship last indefinitely?
DS: I don’t see why not, so long as Stan remains happy with Dark Horse. Certainly, Usagi’s become sort of an institution at Dark Horse now, in the way that Concrete or Hellboy or Sin City are, too. Plus, my 15-year-old nephew, who is a huge Usagi fan, would never forgive his auntie if I didn’t continue as Stan’s editor! From my vantage point, I’m kind of married to this series. I love the characters, Stan is a gem to work with, and it would be devastating to me to lose Usagi.
I think it’s important, also, to point out somewhere in here that Cary Grazzini, who took over the design work on the book as of issue #30 (July 1999), is just as involved with and committed to Usagi as I am. Cary’s responsibilities at Dark Horse have increased fairly dramatically in the last few years, and especially lately, as he’s become the Director of our Production department -- which is a massive job all by itself. But despite all his other responsibilities, which leave him almost no time for hands-on design work, Cary refuses to turn Usagi over to any other designer; just like me, he’s too in love with Stan’s work to let it go. In fact, The Art of Usagi was largely the result of Cary’s efforts. If anything, I was his assistant on that project! Cary spearheaded that baby from start to finish.
Anyway, I think Stan and Cary and I have a good rhythm going on the book, and we enjoy a kind of well-oiled working dynamic. That can be rare, so when the pieces fall into place so nicely as they’ve done and continue to do here, there’s no reason to mess with that.
TS: What is your personal take on the UY Dojo website?
Do you visit it frequently?
DS: You’re going to hate me for this, but I have to confess that there are no websites that I visit frequently -- or on any kind of a regular basis, really. I didn’t grow up with the internet and didn’t have a personal computer until my late thirties. I haven’t even had a TV at home for 15 years now! You’re far more likely to find me, in my spare time, with my nose buried in a book or a comic book.
In part, that also has to do with the fact that I have very little spare time. My work is very demanding, and tends to require a lot more than the standard 40 hours a week. Additionally, I teach a college class in comics art history and criticism one semester per year -- and, yes, Usagi is on the reading list! Also, I’m usually signed up for a class or two when I’m not teaching; for example, right now I’m studying Spanish.
I think it’s remarkable -- and laudatory -- that the Dojo is celebrating its tenth year. That’s a testament not only to your hard work, Todd, but also to the kind of loyalty and devotion that Stan inspires in his fans.
TS: How is it working with Stan? On a personal level?
On a professional level?
DS: I think initially we were both a bit intimidated by the other. Our personal styles are very different. I’m kind of all over the place, totally scatterbrained, and always juggling a million different things. Stan, on the other hand, though always working, seems to be in much greater control of his life and his work! Stan is also much more reserved than I am -- and much smarter, much more knowledgeable about a wider variety of things. So, it’s fair to say I’m in awe of him still. I also have a profound respect for his talent.
Professionally, I think our different personalities work well for the book. Despite how scatterbrained I am, I’m still pretty organized and pay a lot of attention to detail -- and I’m very hands-on when it comes to the production of Usagi or any of my books. I don’t leave a lot to chance -- or other people. Stan doesn’t need any help, really, when it comes to telling stories. He delivers each issue completely done. I oversee everything at the publishing end: from initial marketing and scheduling all the way to the final digital files that go to the printer, checking the quality at every single stage of production.
But Stan is a gem. He pays attention to deadlines like almost no other freelance artist I know. I’ve said this before, and I’ll say it again here: if every artist I worked with were like Stan, I’d be out of a job! That’s because he makes it so easy for me to do my job.
TS: What are some of your greatest memories working
with Stan on the Usagi comic during DHC’s run?
DS: One of my favorite memories was very early on in our working relationship. It was at the San Diego convention in 1999, and we had been working together only a year at that point, I think. In any case, it was the night of the Eisner Awards ceremony, and I was seated at one of the Dark Horse tables with Frank Miller, and Stan and Sharon. By the end of the night, between Grendel, 300, and Usagi, there were something like nine Eisner Awards piled up on that one table! That was pretty memorable. I don’t think you could have seen more smiles at one single table that night!
TS: What’s your personal take on the whole Groo Crew
(Stan, Sergio, Mark, Tom)?
DS: Totally excellent people, all of them -- and hilarious. Speaking of the San Diego convention, the Groo panel is not to be missed! Of the four, I’ve actually known Sergio the longest; we met and became friends back in 1983, even before I began my career as a comics editor.
TS: What’s your favorite Usagi “epic” story line (i.e.,
Grasscutter, Dragon Bellow, etc)? Do you have a
favorite single issue?
DS: I think that probably Fathers and Sons is my favorite Usagi story line to date, though it’s less “epic” than, say, either of the Grascutter segments, but that’s probably why it appeals the most to me, too. With all the comics I read, not just the ones I edit, I tend to prefer the “smaller” stories -- the ones that are more personal and therefore have an impact that’s largely emotional. And without a doubt, Usagi #75, the last issue in the Fathers and Sons run, is far and away my favorite single issue. I mean, who could not be moved by the end of that issue, where Stan reveals that Jotaro knows, after all, that Usagi is his father? The two come so close to confronting that truth, but in the end they don’t. Oh, man! That totally knocked me out. And that amazing cover! Our designer, Cary Grazzini, was so in love with the art that he refused to cover it up with the Usagi logo!
And… cut to a week later: When I wrote the above, a week ago, I hadn’t yet read “Chanoyu,” in Usagi #93. And as much as Fathers and Sons remains my favorite story line, “Chanoyu” has bumped the last issue of that story arc (Usagi #75) out of first place as my favorite single issue. Issue #93 will see print in April, and it’s the story of a Japanese tea ceremony, “Chanoyu,” in which Usagi and Tomoe are the participants. It’s also a story of parting. Stan handles the tale with impressive restraint, and yet very powerful emotions bubble just beneath the surface. It brought me to tears, and shortly after I foisted it on her just to read, it brought our proofreader, Rachel Miller, to tears also.
TS: What are your thoughts on all the awards and
recognition Stan and Usagi have earned throughout the
10 years he’s been with DHC?
DS: Couldn’t have happened to a nicer guy. Couldn’t have been more well deserved.
TS: Does Stan sign all your books?
DS: Ha! No. But he’s such a nice guy that I bet he would if I asked him!
TS: Thanks, Diana!
<B> WARNING! CONTAINS UY #93 SPOILERS!!!</b>
In celebration of the Dojo Decade, I've asked Diana Schutz, Editor of UY, to contribute a Q&A on the last 10 years of Usagi at Dark Horse Comics.
Todd Shogun: Describe your involvement with DHC, starting off with your first assignment and leading up to editor of Usagi.
Diana Schutz: Mike Richardson, Dark Horse publisher, moved me to Portland, Oregon, in March 1990 to work for the then four-year-old company. My very first assignment, as I recall, was to get out the long-awaited Aliens vs. Predator miniseries by June of that same year -- which I miraculously managed to pull off.
Working with Stan Sakai has been a breeze by comparison!
When Stan first offered Usagi to Dark Horse in 1994, he wrote directly to me because he and I had worked together very briefly (on one story!) during my time at Comico in the late ’80s. By ’94, I was editor-in-chief at Dark Horse and simply could not take on another title at that time, so I reluctantly ceded the editorial reins on Usagi to my then-assistant Jamie Rich. Usagi was the very first book that Jamie would edit solo, but under my watchful eye. By the time Jamie left Dark Horse a few years later, I had already resigned from the editor-in-chief position in favor of hands-on editing again -- and I insisted on taking Usagi despite the fact that our editorial administration wanted to give it to another editor at that time. I argued that Stan had offered the book to me in the first place, and now that I had the opportunity to work with him again, I simply refused to pass it up! Hmm, I’m not even sure Stan knows that story…
TS: It’s been almost 10 years since DHC picked up
Usagi. Reflect on those early days when UY was poised
to be a 3-issue limited series but expanded to 5 and
then a regular ongoing series. What were the
circumstances involved in the decision?
DS: In the world of publishing, there are really only two major criteria that determine whether or not a book is chosen for publication:
The first is: Is it good? The second is: Can we sell it?
It goes without saying that Usagi is good. Stan consistently tells a strong story, issue after issue, year after year. The man knows what he’s doing! The reason Usagi continued -- and continues -- as an ongoing series is that the book, and now the trades, continue to sell in numbers that make it a profitable enterprise both for Stan and for Dark Horse.
TS: What is Usagi’s print run up to now compared to 10
years ago? Can DHC quantify the increase in Usagi’s
popularity since they started publishing him?
DS: The print run on Usagi is privileged information that Dark Horse is contractually not allowed to divulge, sorry. I think the primary difference between the sales of the book then and the sales now is reflected in the ongoing program of the Usagi trades. We’re currently working on Usagi book 20, so there is much more of an established library of Stan’s work on the series, and we continue to reprint the trades over and over as each individual print run sells out. This has lent a greater feeling of permanence, I think, to the entire enterprise.
TS: Describe DHC’s and your relationship with Stan over the past
10 years. How has it been, working with him? Are you looking forward to continuing as Usagi’s editor? Can this relationship last indefinitely?
DS: I don’t see why not, so long as Stan remains happy with Dark Horse. Certainly, Usagi’s become sort of an institution at Dark Horse now, in the way that Concrete or Hellboy or Sin City are, too. Plus, my 15-year-old nephew, who is a huge Usagi fan, would never forgive his auntie if I didn’t continue as Stan’s editor! From my vantage point, I’m kind of married to this series. I love the characters, Stan is a gem to work with, and it would be devastating to me to lose Usagi.
I think it’s important, also, to point out somewhere in here that Cary Grazzini, who took over the design work on the book as of issue #30 (July 1999), is just as involved with and committed to Usagi as I am. Cary’s responsibilities at Dark Horse have increased fairly dramatically in the last few years, and especially lately, as he’s become the Director of our Production department -- which is a massive job all by itself. But despite all his other responsibilities, which leave him almost no time for hands-on design work, Cary refuses to turn Usagi over to any other designer; just like me, he’s too in love with Stan’s work to let it go. In fact, The Art of Usagi was largely the result of Cary’s efforts. If anything, I was his assistant on that project! Cary spearheaded that baby from start to finish.
Anyway, I think Stan and Cary and I have a good rhythm going on the book, and we enjoy a kind of well-oiled working dynamic. That can be rare, so when the pieces fall into place so nicely as they’ve done and continue to do here, there’s no reason to mess with that.
TS: What is your personal take on the UY Dojo website?
Do you visit it frequently?
DS: You’re going to hate me for this, but I have to confess that there are no websites that I visit frequently -- or on any kind of a regular basis, really. I didn’t grow up with the internet and didn’t have a personal computer until my late thirties. I haven’t even had a TV at home for 15 years now! You’re far more likely to find me, in my spare time, with my nose buried in a book or a comic book.
In part, that also has to do with the fact that I have very little spare time. My work is very demanding, and tends to require a lot more than the standard 40 hours a week. Additionally, I teach a college class in comics art history and criticism one semester per year -- and, yes, Usagi is on the reading list! Also, I’m usually signed up for a class or two when I’m not teaching; for example, right now I’m studying Spanish.
I think it’s remarkable -- and laudatory -- that the Dojo is celebrating its tenth year. That’s a testament not only to your hard work, Todd, but also to the kind of loyalty and devotion that Stan inspires in his fans.
TS: How is it working with Stan? On a personal level?
On a professional level?
DS: I think initially we were both a bit intimidated by the other. Our personal styles are very different. I’m kind of all over the place, totally scatterbrained, and always juggling a million different things. Stan, on the other hand, though always working, seems to be in much greater control of his life and his work! Stan is also much more reserved than I am -- and much smarter, much more knowledgeable about a wider variety of things. So, it’s fair to say I’m in awe of him still. I also have a profound respect for his talent.
Professionally, I think our different personalities work well for the book. Despite how scatterbrained I am, I’m still pretty organized and pay a lot of attention to detail -- and I’m very hands-on when it comes to the production of Usagi or any of my books. I don’t leave a lot to chance -- or other people. Stan doesn’t need any help, really, when it comes to telling stories. He delivers each issue completely done. I oversee everything at the publishing end: from initial marketing and scheduling all the way to the final digital files that go to the printer, checking the quality at every single stage of production.
But Stan is a gem. He pays attention to deadlines like almost no other freelance artist I know. I’ve said this before, and I’ll say it again here: if every artist I worked with were like Stan, I’d be out of a job! That’s because he makes it so easy for me to do my job.
TS: What are some of your greatest memories working
with Stan on the Usagi comic during DHC’s run?
DS: One of my favorite memories was very early on in our working relationship. It was at the San Diego convention in 1999, and we had been working together only a year at that point, I think. In any case, it was the night of the Eisner Awards ceremony, and I was seated at one of the Dark Horse tables with Frank Miller, and Stan and Sharon. By the end of the night, between Grendel, 300, and Usagi, there were something like nine Eisner Awards piled up on that one table! That was pretty memorable. I don’t think you could have seen more smiles at one single table that night!
TS: What’s your personal take on the whole Groo Crew
(Stan, Sergio, Mark, Tom)?
DS: Totally excellent people, all of them -- and hilarious. Speaking of the San Diego convention, the Groo panel is not to be missed! Of the four, I’ve actually known Sergio the longest; we met and became friends back in 1983, even before I began my career as a comics editor.
TS: What’s your favorite Usagi “epic” story line (i.e.,
Grasscutter, Dragon Bellow, etc)? Do you have a
favorite single issue?
DS: I think that probably Fathers and Sons is my favorite Usagi story line to date, though it’s less “epic” than, say, either of the Grascutter segments, but that’s probably why it appeals the most to me, too. With all the comics I read, not just the ones I edit, I tend to prefer the “smaller” stories -- the ones that are more personal and therefore have an impact that’s largely emotional. And without a doubt, Usagi #75, the last issue in the Fathers and Sons run, is far and away my favorite single issue. I mean, who could not be moved by the end of that issue, where Stan reveals that Jotaro knows, after all, that Usagi is his father? The two come so close to confronting that truth, but in the end they don’t. Oh, man! That totally knocked me out. And that amazing cover! Our designer, Cary Grazzini, was so in love with the art that he refused to cover it up with the Usagi logo!
And… cut to a week later: When I wrote the above, a week ago, I hadn’t yet read “Chanoyu,” in Usagi #93. And as much as Fathers and Sons remains my favorite story line, “Chanoyu” has bumped the last issue of that story arc (Usagi #75) out of first place as my favorite single issue. Issue #93 will see print in April, and it’s the story of a Japanese tea ceremony, “Chanoyu,” in which Usagi and Tomoe are the participants. It’s also a story of parting. Stan handles the tale with impressive restraint, and yet very powerful emotions bubble just beneath the surface. It brought me to tears, and shortly after I foisted it on her just to read, it brought our proofreader, Rachel Miller, to tears also.
TS: What are your thoughts on all the awards and
recognition Stan and Usagi have earned throughout the
10 years he’s been with DHC?
DS: Couldn’t have happened to a nicer guy. Couldn’t have been more well deserved.
TS: Does Stan sign all your books?
DS: Ha! No. But he’s such a nice guy that I bet he would if I asked him!
TS: Thanks, Diana!
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Steve Hubbell
- Taisho
- Posts: 6050
- Joined: Thu Sep 19, 2002 15:25 -0700
- Location: Kalamazoo, MI
Very nice and informative interview.
I've read several interviews with Diana Schutz where she mentioned briefly her role in editing Stan's work, but nothing like this where she talks about it in so much detail.
Very interesting and enjoyable.....
It would also be interesting to get Mike Richardson's thoughts on Usagi Yojimbo's 10 years with Dark Horse Comics.
Abayo....
I've read several interviews with Diana Schutz where she mentioned briefly her role in editing Stan's work, but nothing like this where she talks about it in so much detail.
Very interesting and enjoyable.....
It would also be interesting to get Mike Richardson's thoughts on Usagi Yojimbo's 10 years with Dark Horse Comics.
Abayo....
-
Stan Sakai
- Sensei
- Posts: 4896
- Joined: Wed Sep 18, 2002 12:21 -0700
Thank you, Todd--both for the Dojo, and for this interview with Diana. I did not know that Usagi was going to be foisted on another editor, but she fought to keep it for herself.
I don't agree, though, that I'm in control of my life. If you've seen my studio, you would side with me.
Dark Horse is a wonderful group of guys to work with. Diana is a gem, as is Katie her assistant. Cary Grazzini is the most talented designer I've worked with, and a really nice guy.
I don't agree, though, that I'm in control of my life. If you've seen my studio, you would side with me.
Dark Horse is a wonderful group of guys to work with. Diana is a gem, as is Katie her assistant. Cary Grazzini is the most talented designer I've worked with, and a really nice guy.